France
alexandra.coghlan
Every year there are a couple of Proms that have a haphazard look about them, as if a fire had suddenly broken out in the BBC archives, and the programming committee grabbed whatever came to hand – a piano quartet, a couple of choral odes and a concerto for mandolin – and made for freedom. Though there had evidently once been a clear architecture to Sunday’s concert by the BBC Symphony Chorus and friends, in practice things were somewhat confused; endless personnel shiftings and a stuffed-to-bursting programme blunted the impact of music which demanded altogether simpler treatment.Bookending Read more ...
gerard.gilbert
My surname came to Britain with the Normans, and I must say that my forebears have had a bad press in their adopted homeland. From Hereward the Wake to Robin Hood, Anglo-Saxon legends have depicted us as despotic and cruel, whereas we were great builders of castles and cathedrals, brilliant horsemen and tip-top administrators, as well as being despotic and cruel. Anyway, it was good to have the refreshingly un-youthful and un-strident Professor Robert Bartlett (more Norman names) giving us his authoritative account of the antecedents and legacy of 1066 and all that. It’s about time we Viking- Read more ...
Kieron Tyler
The arrival of Gainsbourg: Vie Héroique in British cinemas this week – under its Anglo-Saxon title Gainsbourg – assumes that distributors think there’s an audience. Even so, Gainsbourg hardly has the appeal of a Johnny Cash biopic. Or even an Ike Turner biopic. The release continues a process that began in the early 1990s, when a slow, posthumous rise to recognition of Serge Gainsbourg began outside the Francophone world, au delà de l’Hexagon. France might be a non-stop train ride from London, but this particular Gallic cultural icon has taken a while to make a mark over here.Which means that Read more ...
anne.billson
Serge Gainsbourg, like Charles Bukowski, is one of those blokes who should be banned as a role model for impressionable young men, who may start imagining they too can behave like disgusting old soaks and pull any gorgeous bird who comes into their orbit. Note to Gainsbourg wannabes - this only works if you're a creative genius as well.Joann Sfar, hitherto best known in France as creator of The Rabbi's Cat BD (BD being short for Bande Dessinée or graphic novel, long regarded in France as a bona fide artform), makes his directing debut with Gainsbourg, an adaptation of another of his Read more ...
Ismene Brown
Coppélia is the name of the doll in the ballet-comedy - not that of the heroine, who is a bad pixie named Swanilda, a girl of youthful capriciousness but a heart of gold. What you hope for when you go to see this usually rather quaint 19th-century ballet is a ballerina of such intoxicating personality that she can serve you a ridiculous plot and make you lap it up. It’s what makes Natalia Osipova one of the most life-enhancing substances on earth today, and last night’s opening of the Bolshoi's Coppélia was a Champagne night.This cute little black-haired Muscovite is pure Read more ...
anne.billson
Sex, blood and shocking - these are the things Catherine Breillat does well. So long as she's busting taboos wide open you can forgive her the longueurs, the wilful refusal to attend to fundamental principles of storytelling, her characters' inclination towards such dreary soliloquising you feel like yelling, "For heaven's sake, shut up and get back to the full-frontal fornicating!" At first glance, the story of Bluebeard would appear to be right up her street.This, after all, is the director whose specialities include explicit tumescence and in-your-face childbirth (Romance), rape and murder Read more ...
Matt Wolf
The Menier Chocolate Factory could scarcely be on mightier form, or so it seems, punching far beyond its weight as a small, out-of-the-way south London playhouse that is nonetheless responsible at the moment for five commercial transfers between London and New York.The other three are Broadway musicals of different vintages and of differing degrees of renown, ranging from an alternately plaintive and raunchy product of the 1960s (Sweet Charity) to an arty 1970s Stephen Sondheim favourite (A Little Night Music) and on to a 1980s crowd-pleaser (La Cage aux folles) that won a Tony for Read more ...
fisun.guner
The unveiling of the Serpentine Pavilion (now in its 10th year) has become as much of a summer fixture as Henley. And yet it is not without controversy. Why, for instance, does the Serpentine Gallery in London insist on commissioning global stars such as Frank Gehry and now Jean Nouvel when it could be giving up-and-coming architects much needed exposure? Its original remit was to show architects who had not yet built on British soil, but though this has held true for eight of the 10 commissions, it certainly wasn't true of Gehry (who had built a cancer unit in Dundee), nor now of Nouvel: his Read more ...
howard.male
As an 11-year-old boy, I was awestruck from the first moment I saw Concorde on our three-channel black-and-white television, seemingly rearing up from its runway like a cyborg swan. At that age - and during that era - fact and fiction became vertiginously blurred when it concerned the fast-forward march of science and technology. While Factual-man was taking one slow-motion giant leap for mankind, Fictional-man was going where no man had gone before. And even if the US Enterprise did have warp-drive, our very own Concorde didn’t seem that far behind, as it hurtled through the blue at the Read more ...
Jasper Rees
But the theme of not knowing is by no means confined to the agony of uncertainty. Brenda Blethyn plays Elizabeth, a mother who sees the 7/7 bombings on the news and instinctively picks up the phone to check, as millions of other parents will have on that day, if her daughter is alive and well. When no reply comes to several increasingly anxious messages, she comes to London and is gradually forced to confront the truth that she no longer has any idea who her daughter is, nor what sort of changing society she lives in.London River is in effect a two-hander, but one in which the characters Read more ...
sheila.johnston
Infamously, the first production of La Bête, David Hirson's literary satire set in 17th-century France and written in rhyming couplets, closed in New York after only 25 performances. No such bleak fate is likely to attend this London (and Broadway-bound) revival nearly two decades on, powered as it is by three top-octane stars: Joanna Lumley, David Hyde Pierce and, above all, Mark Rylance, fresh from Jerusalem. Audiences who flocked to see Rylance dominate that play will thrill again to the actor's fabulously showboating turn in La Bête as the titular jackass clown. But is the play itself a Read more ...
Matt Wolf
Kristin Scott Thomas possesses an altogether singular beauty: classical yet faintly wistful, intimidating at times but equally capable of enormous warmth. And because this English rose has professionally blossomed not just in the Anglo-American cinema (and theatre) but also in France, there's something faintly "other" about her. That, in turn, has been useful to this actress's stage turns in Chekhov and Pirandello and accounts for her infinite variety on screen. After all, not everyone could move with ease from John Lennon's Liverpudlian aunt to her latest film role as a French doctor's Read more ...