1920s
David Nice
That spirit of delight which hovered over Christopher Alden’s stylish/surreal Handel bagatelle when I first saw it in the 2017 revival soars on eagle wings here. It’s hard to imagine a better or more charismatic cast, led by national treasures Nardus Williams and Hugh Cutting, or a more striking contrast to Dead Man Walking: with that and its slyly subversive Albert Herring, ENO is on a roll.Partenope one of Handel’s best Italian operas? Probably not, though as in all good comedies there are moments of depth, mostly in the last act; we even begin to care about the fraught relationship Read more ...
Robert Beale
From the team who gave us a sparkly L’étoile just a year ago, comes a fun-filled production of Prokofiev’s wacky, surreal and glorious comedy romp. The Love for Three Oranges requires a cast line-up that could prove daunting to many a professional company (Opera North triumphed with it in 1988 but haven’t done it since), but this is precisely where the Royal Northern College of Music have all the cards – and this year in particular they’re playing from strength.It's not just that they have the numbers in their technical team (I thought 20 names in the credits last year was impressive Read more ...
Helen Hawkins
As reports come in of theatre audiences behaving badly, slumped drunkenly in the aisles, gorging on noisy food and wrestling with their latest smartphones, it’s refreshing to see that kind of behaviour safely onstage, and played for big laughs. Surprisingly, perhaps, this mayhem comes courtesy of Noel Coward.The redoutable Menier has found another gem to polish after Nancy Carroll’s superb revival of Pinero’s The Cabinet Minister and its exuberant The Producers: a 100th birthday edition of Noel Coward’s Fallen Angels. Roundly denounced for its vulgarity and loose morals at its debut, the Read more ...
Like Water for Chocolate, Royal Ballet review - splendid dancing and sets, but there's too much plot
Helen Hawkins
Christopher Wheeldon has mined a new seam of narrative pieces for the Royal Ballet, having started out as a supreme practitioner of the abstract. After The Winter’s Tale and Alice in Wonderland, he landed in 2022 on the magical realist novel Like Water for Chocolate, set in Mexico at the turn of the 20th century. This for me is less successful than the other two.Which is not to say it doesn’t provide many pleasures along the way, not least its superb stage pictures, which start right from curtain up, when we see a long line of Frida Kahlos in wedding dresses and Day of the Dead masks, who Read more ...
Sarah Kent
Tate Britain’s Lee Miller retrospective begins with a soft focus picture of her by New York photographer Arnold Genthe dated 1927, when she was working as a fashion model. The image is so hazy that she appears as dreamlike and insubstantial as a wraith.It exemplifies one of the hallmarks of a good model – the ability to become a screen that invites projection, rather than expressing your own personality. And in shot after shot for British and American Vogue, Miller remains an enigma – impassive and searingly beautiful. Would the exhibition bring her into sharper focus, as I hoped, or would Read more ...
Helen Tyson
Writing in her diary just over 100 years ago on 19th June 1923, Virginia Woolf wrote: “In this book I have almost too many ideas. I want to give life & death, sanity & insanity; I want to criticise the social system, & to show it at work, at its most intense”.Set on a hot day in London in the middle of June in 1923, Mrs Dalloway might at first appear to be about very little – a middle-aged woman and survivor of the 1918 influenza pandemic, Clarissa Dalloway, wife to a conservative MP, is going to give a party. She buys some flowers; she repairs her green silk dress; she has a Read more ...
graham.rickson
Eureka’s second volume of Laurel and Hardy shorts catches the pair in 1928 on the cusp of their successful transition to the sound era, two of the 10 films originally released with synchronised sound effects and music.This works especially well in We Faw Down, though having another actor dub Stan’s laugh is disconcerting. Otherwise, it’s hysterically funny, much of the material reworked five years later in Sons of the Desert, the boys digging themselves into an ever-deeper hole while lying to their improbably glamorous wives about where they spent the previous evening.There’s some dispute Read more ...
David Nice
Tired after a hard day at the office? You might think you need a Classic FM-style warm bath, but the blast of Prokofiev’s Second Symphony, one of the noisiest in the repertoire, is the real ticket to recharging the batteries. Gianandrea Noseda, on the latest stage of his bracing journey through the composer’s symphonies and embracing the London Symphony Orchestra’s hugely popular Half Six Fix series, served it up with panache both in word and deed.The sweetener was the overture the 23-year-old Schubert furnished both for a “magic play with music”, Die Zauberharfe (no harp in the orchestra Read more ...
Robert Beale
Top Brownie points for the BBC Philharmonic for being one of the first (maybe the first?) to celebrate the birth centenary of Pierre Boulez this year. His Rituel – in memoriam Bruno Maderna was paired somewhat uneasily with a second half of bonbons by Ravel (it’s his 150th anniversary year, too).Mark Wigglesworth was the maestro who piloted both parts of the programme, however, showing equally calm assurance and sympathy with their differing idioms.Boulez’ tribute to another 20th century modernist was the longest piece on the list, and made a suitably solemn tribute as well as providing early Read more ...
Gary Naylor
The misadventures and misbehaviours of the English upper-middle class is catnip for TV executives. All those posh types on which us hoi polloi can sit in delicious self-righteous judgement, as we marvel at their cut glass accents, well-tailored clothes and ostentatious wealth. Meanwhile their worlds are always collapsing due to villainy, venality or misconceived virtue. Lovely stuff! While such tales are seldom far from a screen, they are often far from a stage, the challenge of scaling down just too intimidating for most adaptors. Not so Shaun McKenna and Lion Couglan who took on the Read more ...
Heather Neill
"Captain" Jack Boyle is a fantasist, a mythmaker, a storyteller. He relishes an audience – usually his sidekick, Joxer. There is a theatricality in his part as written by O'Casey, but in Matthew Warchus's hands this is made an explicit element of the whole production, culminating in the unexpected finale. When the first scene opens, swags of red stage curtains rise and remain looped in place throughout, framing the action.The play, the second in Seán O'Casey's Dublin trilogy, is set in the city in 1922. Citizens ground down by poverty suffer further as society is ripped apart by civil war Read more ...
Gary Naylor
One of the Finborough Theatre’s Artistic Director, Neil McPherson’s, gifts is an uncanny ability to find long-forgotten plays that work, right here, right now. He’s struck gold again with The Silver Cord, presenting its first London production for over 95 years. Carla Joy Evans’ beautifully observed costumes set the tone. The styling is just so for upper middle class New England in the 1920s, a touch of Paris (Paul Poiret gets a namecheck), a cloche hat and shoes to die for darling. Once I stopped ogling the cloth (the weight of which reflects the personalities wearing it) and the cuts, Read more ...