Reviews
Demetrios Matheou
I’m sitting in the Olivier waiting for the show to start, comfortable in the knowledge that I’ve seen the original production of Mnemonic, one of Complicité’s most lauded plays, in 1999; but I struggle to remember anything about it, the detail is fuzzy. A play about memory is challenging my own faltering apparatus.Who did I see it with? Where? What was that audience participation? I sift through the gears, opening mental doors in an attempt to find a clue as to whether I did actually see it, after all. Meanwhile, the magnificent Kathryn Hunter, stalwart of the Complicité troupe, Read more ...
Sarah Kent
Ukraine’s history is complex and often bitter. The territory has been endlessly fought over, divided, annexed and occupied. From 1917-20 it enjoyed a brief period of independence before being swallowed up once more by the Soviet Union after a vicious three year war – an example that Vladimir Putin is copying with his monstrous invasion.Now Ukrainians are being forced to fight, once more, for independence is an appropriate time to reveal that many artists of the so-called Russian avant-garde were actually from Ukraine. Famous pioneers of abstract art such as Kasimir Malevich, Vladimir Tatlin, Read more ...
Boyd Tonkin
The Academy of Ancient Music, which celebrates its “golden anniversary” this season, got going just as Handel’s operas began to leave the library at last and reclaim the stage. There they continue to flourish, dazzle and move – which makes any concert performance of them a slightly bittersweet pleasure.At the Barbican, the AAM’s Orlando boasted sumptuous luxury casting, headed by countertenor Iestyn Davies as the love-maddened warrior, and adorned by four other hugely gifted singers along with the savoury period sounds produced by director-harpsichordist Laurence Cummings and his crew. Read more ...
Matt Wolf
The reinvigoration of Andrew Lloyd Webber continues apace. New York is now hosting a ballroom culture, drag-inflected Cats, and the Olivier-laureled Sunset Boulevard, a breakaway hit last year on the West End, hits Broadway in the autumn.And here is Lloyd Webber's 1984 large-scale caprice, Starlight Express, reinvented for the era of Power Rangers and Transformers, with women inheriting men's roles and the entire thing feeling as if the audience has landed inside a video game itself on overdrive.I was at the 1984 West End press night of the original Starlight, as it happens, and vividly Read more ...
Rachel Halliburton
This luminously persuasive, radically inventive performance of Shostakovich’s music begins – quite literally – at the end. Beneath a slowly revolving monochrome moon, a lone musician delivers a plangent rendition of the Moderato and Allegretto from the final viola sonata the composer wrote before dying of cancer in 1975. From the shadows an accordionist emerges as the accompanist, eking out the understated melancholy from the shifting harmonies. It’s a deceptively simple, elegiac introduction to the wonderfully daring ninety minutes that ensues.The electrically compelling Finnish violinist Read more ...
Katie Colombus
If the holiday season has been lacking in sun so far in the UK, Sza bought the heat to the first Saturday of the iconic London summerfest in Hyde Park, set up by a strong afternoon of support acts from Sampha, Snoh Aalegra, Elmiene and No Guidnce.On a stage smattered with rather phallic looking stalagmites, stalactites and huge silver crystals as if the set were her very own fortress of solitude, the boundary pushing R&B singer showcased songs from both her 2017 album Ctrl and 2022’s SOS, teasing to her brand new collection Lana, asking the crowd “New album, are you ready?”Opening with “ Read more ...
aleks.sierz
The death of Marilyn Monroe is a wet dream for conspiracy theorists. Like the assassination of JFK in the following year there is plenty of material in the official accounts that doesn’t quite make sense – which opens the door to free-form speculation.Intrigued by the numerous theories about Monroe’s demise, actress Vicki McKellar and Olivier Award-winning West End and Broadway director Guy Masterson have teemed up to create The Marilyn Conspiracy, which was first staged at the Edinburgh Festival in 2018 and now comes to the Park Theatre in north London. The result is a cogent thriller which Read more ...
Jonathan Geddes
There was a point in this stadium spectacular when P!nk gave her fans two choices. They could either “make out with their partners or go queue for a beer” she suggested, prior to one of the first slow-paced numbers of the evening, but the latter choice was a dangerous one. Few shows, even among big pop jamborees, feature as much going on as Alecia Moore’s current Summer Carnival jaunt.The stunts, choreography and pyro were relentless, to the extent that my friend pondered if every single number would feature fireworks accompanying them. It wasn’t far off that, and the overall result was an Read more ...
Demetrios Matheou
Yorgos Lanthimos continues to navigate a highly distinctive, daring, one might even say sly path for himself. After attracting more mainstream audiences with his crowd-pleasing period romp The Favourite, and the gothic feminist fable Poor Things, he now returns to the bleak, discomforting and strange worldview of his earlier films. And for the more recent fans, the uninitiated to the director’s roots, Kinds of Kindness may be something of a shock. Regardless, it’s very refreshing to see a filmmaker mix it up in this way, finding ways of realising his sensibility Read more ...
Kieron Tyler
In 1974, two albums by German kosmiche musicians working with electronics became the first from the seedbed of what’d been dubbed Krautrock to explicitly embrace – and merge – melody and rhythmic structure. One was Kraftwerk’s Autobahn. The other was Cluster’s Zuckerzeit. Once on the record player, each LP instantly made its presence felt more directly than anything either had released previously.For Kraftwerk, this resulted in an unlikely international hit with a single edit of Autobahn’s title track. For Cluster, there were no singles and, consequently, no chance to fluke any chart action. Read more ...
Helen Hawkins
Nothing anybody over the age of 30 says about the new Mean Girls musical, spawn of Tina Fey’s witty script for the 2004 screen sideswipe of that name, will make any difference. As with all things Barbie, the pink madness seems deathless. Fey’s takedown of the human jungle that is the US high school has since been regurgitated as a film sequel, a film musical and now this stage musical, originally due here in 2018 but waylaid by lockdown. If you blindfolded me and played me a karaoke backing track of its score, minus lyrics, I wouldn’t be able to tell whether it was from Legally Blonde Read more ...
David Nice
“Tradition is sloppiness,” Mahler the opera conductor is credited with saying. But in the case of old master John Cox’s long-serving Garsington production of the greatest of operatic comedes, not if it’s refreshed with the subtlest insights in to human tensions and frailties.This time the house’s brilliant director of Strauss masterpieces, Bruno Ravella, who worked as assistant to Cox at the old Garsington in 2005, has been called in to fine-tune a rather wonderful cast, with relative youthfulness among the leads, and serves up a blissful Mozart evening totally in tune with the environment, Read more ...