Reviews
Nick Hasted
Julian Assange’s white hair marks his public persona. To some he’s an unmistakably branded outsider, or a lone white wolf hunting global injustice. Hollywood would cast him as the coolly enigmatic superhero who’s revealed as the supervillain in the last reel. Laura Poitras’ Risk shows him as a slippery character in his own spy film, dying those famous locks brown as he alters his appearance under his adoring mother's gaze, before making a Bourne-like motorbike getaway under the authorities’ noses, to become a cramped citizen of Ecuador.Poitras’ extreme access films several such pivotal Read more ...
aleks.sierz
The recent general election result proves that the power of the rightwing press has diminished considerably in the digital age, but there was a time when media magnate Rupert Murdoch could make grown-up politicians quake in their socks. James Graham, whose This House, his National Theatre play about the 1970s hung parliament, was a big success in the West End recently, now looks at the origins of the Sun, and its Frankenstein-like rejuvenation in 1969, when Murdoch was a young Australian tyro whom few took seriously. He is played by the ever-likeable Bertie Carvel in a theatrically confident Read more ...
Jasper Rees
Is meat murder? Will people eat anything if it’s cheap? Is the taste of bacon really what stops us half the western world turning vegetarian? Okja is a commercial stretch, a partly subtitled children’s fable from South Korea which unstintingly confronts all of these deep moral questions. But it does so in the most – if you will – palatable manner. After the briefest release in the cinema, it makes the short on-trend transition to a streaming service, and it’s on Netflix that it should be consumed by anyone and everyone with a strong enough stomach to enjoy an enchanting adventure with a Read more ...
Peter Quantrill
It’s often said that Ariadne auf Naxos is all about The Composer – not only Richard Strauss but an affectionate parody of his younger self – and Katharina Thoma takes this idea seriously in her Glyndebourne production. In the role, Angela Brower plays an important if silent part in the Opera proper, and brings an upbeat flourish to an absorbing if rather pensive reflection on this uncategorisable piece of theatre.Part spoken play, part tragedy, part commedia dell’arte, Ariadne is 100 percent meta-opera. From the outset, place and time are established so firmly – wartime Glyndebourne – that it Read more ...
David Nice
Why stage a stiff opera about half-frozen royals by a not-yet-divine Mozartino? The best Mitridate really deserves is one of those intimate concert performances with brilliant young singers at which Ian Page's Classical Opera excels. Yet this is the third revival of a 1991 Royal Opera production by Graham Vick, never among his more probing psychological studies (which in any case the 14-year old Mozart, impressive but no teenage genius here, hardly deserves). The best in show is Paul Brown's colourful if restrictive costuming, and this latest cast looked very promising on paper. The actual Read more ...
David Nice
Perfect comedies for the country-house opera scene? Mozart's Figaro and Così, Strauss's Ariadne - and Britten's Albert Herring, now 70 years and a few days old, but as ageless as the rest. With the passing of time it's ever more obvious that this satire of provincial East Anglian tricks and manners also has universal appeal and stands with the best. Eric Crozier was surely Britten's finest librettist once Auden stepped aside after Paul Bunyan, his Da Ponte or Hofmannsthal. The sharp wit of text and music needs absolute focus and playing it as straight as possible. It got both from a splendid Read more ...
stephen.walsh
Opera directors must, I suppose, direct. But one could wish that they kept their mouths shut, at least outside the rehearsal studio. The condescension in Longborough’s programme-book interview with the director (Orpha Phelan) and designer (Madeleine Boyd) of the festival’s new Fidelio beggars belief. And when the curtain goes up, or to be exact, when you enter the theatre and are confronted with the usual “back story” of a production line of white clad, masked hospital technicians packing drugs, filling syringes, and then – unbelievably – playing eurhythmics in time with Beethoven’s Overture Read more ...
Sarah Kent
Portraying a Nation juxtaposes photographs by August Sander with paintings by Otto Dix. It's an inspired idea as both artists wanted to hold up a mirror to German society during a time of extreme change. Dix described his lucid form of critical realism as “life undiluted”, while Sander wrote “We must be able to bear seeing the truth.” “Photography”, he observed, “can depict things in magnificent beauty, but also in terrible truth.” Sander planned to create a portrait of his country by photographing people from all walks of life. Begun in 1920, this mammoth task was still unfinished Read more ...
Marina Vaizey
Reading the Rocks has a provocative subtitle, “How Victorian Geologists Discovered the Secret of Life”, indicating the role of geology in paving the way to an understanding of the evolution of our planet as a changing physical entity that was to eventually support ever-evolving forms of life: but this is not so much revealtion of a secret, more a history. In a series of short pithy chapters, we are treated to a fascinating cast of characters who invented a new subject, both academic and practical, with enthusiasm and almost overwhelming energy, embracing those on the other side of the Channel Read more ...
Kieron Tyler
Considering Shelleyan Orphan, Melody Maker said “someone’s been smearing themselves in art…were they artists or did they just wallow in shit?” While the late Eighties’ British music press often made assertions to seek attention, slagging off a band because they sought to follow their own path is, with hindsight, rich given that roughly contemporary cover stars such as Chakk and Set The Tone dealt in music so precisely fixed in the moment they now sound as dated as Sheena Easton’s efforts to get funky and U2’s lunges at the blues.Shelleyan Orphan – the duo Caroline Crawley and Jem Tayle – Read more ...
mark.kidel
As Wonder Woman hits screens worldwide, the publication of a book that explores the myth and reality of the Amazon seems timely. The latest of John Man’s works of popular history is opportunistic enough to end with a fascinating account of the origins of the female world-saviour originally launched by DC Comics in 1941. He relies extensively on – and acknowledges – Jill Lepore’s The Secret History of Wonder Woman, which explains the proto-feminist origins of the female answer to Superman.The invention of Wonder Woman is one of the most recent manifestations of a mythologising thread Read more ...
Nick Hasted
Isabelle Huppert isn’t just here for the nasty things in life. Her rape non-victim in Elle was one of the most iconoclastic performances even she’s given, enigmatic yet emotionally rich, rooted and moving. She won’t get nearly as much attention for her role here as Liliane, a singer who came second to Abba at Eurovision, who’s lured out of an anonymous retirement by a besotted, 21-year-old boxer who becomes her lover and manager. Souvenir is an unashamedly breezy romcom, full of gauzy romance, wish-fulfilment, a great faux-Eurovision soundtrack by Pink Martini, and a May-December romance that Read more ...