Reviews
Sam Marlowe
The murders of five prostitutes in Ipswich: it’s hard to imagine a less likely subject for a musical, not least because the memory of the crimes of forklift-truck driver Steve Wright, committed in late 2006, is still so horribly fresh. But there is nothing lurid about this exceptional piece of theatre, created by Alecky Blythe and composer Adam Cork, and directed with restraint, tenderness and potent simplicity by Rufus Norris. It’s moving, fascinating and even funny. And if it is also occasionally shocking, it’s only because of its startling directness and honesty.Blythe habitually uses a Read more ...
emma.simmonds
Kelly Reichardt’s quietly radical vision of the Wild West is a slender, provocatively ambiguous work and the antithesis to the genre’s muscular action-packed epics. It’s a western which aligns us with those who don bonnets rather than Stetsons, and which favours quiet pluck over showy heroics. With a narrative shorn almost entirely of incident, its existential, quasi-religious minimalism recalls Waiting for Godot.Set during the earliest days of the Oregon Trail in 1845 and based on real events, Meek’s Cutoff is the story of three families who, in their pursuit of a better life, hire a guide, Read more ...
David Nice
Long before the curtain rose on this soapy operatic tale of power and poison, one big question loomed: could director Paul Curran, could anyone, bring Rimsky-Korsakov's sweet, doomed and very Russian bride to convincing life? The music's mostly strong, and unusually singer-friendly for this composer; the historically dodgy plot's patchy, but not inimical to resetting in the queasy milieu of the new Russian rich. Given the bloodstained start in a swish Moscow restaurant, I thought Curran could be on to something, but by the end of the evening it was just a tawdry old melodrama dressed up in Read more ...
Veronica Lee
Normally, comedy critics maintain the polite convention of not writing comics’ jokes in reviews - it spoils the fun for punters if they then see the show and already know the punchline. But even if this review was peppered with gags from Tim Vine’s Joke-amotive, they would represent only a tiny percentage of the astonishing number of funnies he gets through in his set. Puns, one-liners, surreal wordplay, sight gags and musical jokes follow each other in rapid succession as the pace never slackens in his 75-minute set.Vine, whom you may have seen as an actor on BBC One's Not Going Out, comes Read more ...
Ismene Brown
We’ve been so well educated or so roundly brainwashed to expect a certain high standard of Russian ballet that to experience the first two programmes of the three offered by the “Russian Seasons" team at the Coliseum, so-called tributes to Diaghilev, is more than a shock - it’s a brain injury.While one would like very much to support the producer, Andris Liepa, in his laudable wish to reacquaint the world, and Russia in particular, with the sights and sounds of the 1909-12 seasons with which the Russian émigré Sergei Diaghilev shook the Western cultural universe, the shoddy production and Read more ...
Kieron Tyler
As her black robe swirled around a black leotard, Lykke Li became the anti-Stevie Nicks. Instead of conjuring the mellow California feeling, she sang “sadness is a blessing”. Yet this Swede’s pop is as uplifting, as transporting as any good vibe merchant. More so. Last night’s show transfixed with its Bo Diddley beats, gospel choruses and wheezy garage rock organ. Rather than being a retro futurist, Lykke Li takes from the past and recasts it to fit her vision of what affecting pop ought to be.Recent album Wounded Rhymes was a magnificent drama, the post-nuclear-age Shangri-Las slugging it Read more ...
graham.rickson
Unpleasant feelings of confinement and claustrophobia hit you when the curtain rises after Beethoven’s disconcertingly jolly overture; one small room is visible on stage, framed by black curtains. The sun shines oppressively through the barred windows, and the characters look constrained, physically awkward. After the occasionally over-the-top visuals of several recent Opera North productions it’s good to watch something so clean and uncluttered. The beauty of Tim Albery’s production, originally staged by Scottish Opera in 1994, is its unfussiness and clarity – nothing happens on stage that Read more ...
Adam Sweeting
So Monroe reached the end of series one, and I still couldn't read what its tone was supposed to be. Some artsdesk readers have expressed enthusiasm for the theme tune, but I find its jogging Celtic jauntiness symptomatic of Monroe's wider problems. Obviously you can't expect too much from a bit of title music, but surely it should give you a clue as to whether the show is a hard-hitting drama about life and death or a sitcom?Quips and badinage abound when Monroe (James Nesbitt) and his team are in action, and staff and patients alike are lucky to survive the barrage of one-liners Read more ...
Sarah Kent
The opening of Turner Contemporary is being heralded as one of the most important cultural events of the year. Described as "a national and international venue in the regions" the gallery, it is hoped, will attract visitors from London and abroad and transform Margate’s flagging fortunes by stimulating new businesses such as commercial galleries, as well as cafés, restaurants and bars.I hope they are right, but the opening exhibition is such a low-key affair that I can’t imagine visitors flocking to see it. Regeneration is clearly the name of the game, though. The train passes by the ruins of Read more ...
Sarah Kent
The opening of Turner Contemporary is being heralded as one of the most important cultural events of the year. Described as "a national and international venue in the regions" the gallery, it is hoped, will attract visitors from London and abroad and transform Margate’s flagging fortunes by stimulating new businesses such as commercial galleries, as well as cafes, restaurants and bars.I hope they are right, but the opening exhibition is such a low key affair that I can’t imagine visitors flocking to see it. Regeneration is clearly the name of the game, though. The train passes by the ruins of Read more ...
Matt Wolf
Foot fetishists will have a field day at Betty Blue Eyes, given that the producer Cameron Mackintosh's latest venture is also the first in my experience to sing of bunions, calluses and corns, the last encompassing a passing reference to a lyric from Oklahoma!: another show on Sir Cameron's CV. But the happy news is that musical enthusiasts will themselves find reason to cheer a defiantly homegrown entry that turns a comparatively little-known film (A Private Function) into a generous-hearted, eminently tuneful tribute to British decency and pluck. The duck à l'orange may within the Read more ...
David Nice
Bear with me while, like supergroomed rising star Miloš Karadaglić retuning his guitar to a mellower vein, I adjust my concert-hall vocab and describe this as a no-gimmicks sell-out gig underground with young musicians from the London Philharmonic’s Foyle Future Firsts scheme presenting two varied sets and Karadaglić headlining. And now I’ll just revert to old habits and declare the meat to be a slice of Classicism chromatically spiced (Mozart) and a 20th-century maverick pushing Neo-Baroque into near-atonality (Stravinsky), our top guitarist serenading by way of late-night coda. All this to Read more ...