Reviews
Jasper Rees
Daniel Radcliffe has worked hard to put distance between himself and The Boy Who Lived. Onstage he’s been buck naked and learned to sing and tap. On screen he’s been the young Ginsberg, Dr Frankenstein’s sidekick and last week in Imperium went undercover to infiltrate American neo-Nazis. He now goes the extra thespian mile in Swiss Army Man, in which he plays a flatulent reanimated corpse with an erectile auto-function.The scenario is this. Two young men are washed up on a beach, apparently after some sort of boat wreck. One of them is Hank (a heavily bearded Paul Dano), who ascertains that Read more ...
Marina Vaizey
The indefatigable Victorian spinster Marianne North (1830-1890) is the most interesting artist you've never heard of. The upper-middle-class Ms North thought marriage a terrible experiment, and with her single state allowing her control of her fortune, she took to cultural and physical independence. Her rich landowner father, Frederick, MP for Hastings, knew everyone who was everyone, including Sir William Hooker, director of Kew. It was a visit to the gardens that turned his daughter’s eyes to the world of plants. She was 25 and had found her vocation. Marianne deserted the drawing room Read more ...
Sebastian Scotney
This year, Valery Gergiev is marking the Prokofiev 125th anniversary with concerts and projects in no fewer than 17 countries. Yet much of last night’s concert, the first of a three-night stint in London, made this whole endeavour feel more like a duty than either an imperative – or a pleasure. The buzz that was around in London concerning the Mariinsky (then the Kirov) in the mid-Nineties, when they dazzled audiences in unfamiliar repertoire, has long gone. Gergiev himself is now very familiar indeed: he'll be popping back here within two months to conduct Prokofiev again, with the LSO Read more ...
David Nice
Stravinsky's music, chameleonic yet always itself, offers so many lines of thought. One struck me immediately with the descending, even harp notes and tender, veiled strings at the start of his 1947 ballet Orpheus last night: the inexorable beat of time is so often pitted against an expressive, human voice. Esa-Pekka Salonen, who started out as a rhythm and textures man, now gets the humanity too. This triptych of three Greek myths startlingly revisited offered other dualities, giving him and the Philharmonia the chance to move constantly between heaven, hell and somewhere in between.It’s the Read more ...
graham.rickson
Sandy Smith’s brass band transcription of Tubular Bells is an improbable triumph. He draws heavily on composer David Bedford’s 1970s orchestral arrangement, along with Mike Oldfield’s two recorded versions. Musically the work holds up very well. But the original 1973 LP sounds distinctly murky in places: this was a live performance in which every strand was audible.These musicians ably demonstrate just how different a brass band sounds to an orchestral brass section: cornets, euphoniums and tenor horns subtly warmer, less abrasive than trumpets and French horns. Ear plugs were on offer to Read more ...
Veronica Lee
Five nominations for the Edinburgh Comedy Award are surely a recommendation for James Acaster – and with his intelligent, offbeat humour and a wry delivery, he has rightly built up an impressive following at the Fringe (where I saw this show), having improved his craft year on year. Now he embarks on his biggest tour yet and is certain to add to his rapidly growing fanbase.His latest show, Reset, is a gem, a beautifully crafted and performed essay about having one's time again. In Acaster's very individual take on the subject, it could mean him going into the witness protection programme, or Read more ...
Kieron Tyler
In 1985, John Foxx released In Mysterious Ways: his fourth solo album since leaving Ultravox in 1979. In 1980, he had charted with “Underpass”, his first solo single. Subsequently, he charted a path where frosty, anomie-filled electropop gave way to the warmth of “Europe After the Rain” and the Beatles-inspired psychedelia of “Endlessly”. The 1983 album The Golden Section was his most straightforwardly poppy to date. Then, the patchy In Mysterious Ways and musical silence.In 1997, he re-emerged with two albums, Cathedral Oceans and Shifting City (made with Louis Gordon). From this point, Read more ...
David Kettle
It’s just a short trip down the A1 from Edinburgh. But East Lothian – with its big skies, wide-open spaces, empty beaches and seemingly inexhaustable supply of quaint, historic villages – feels like a long, long way from the Scottish capital. Especially from the heaving, hectic Edinburgh of the August festivals season – which East Lothian’s Lammermuir Festival follows by just a couple of weeks, managing to maintain the momentum of artistic endeavour, but also providing a far more reflective, considered antidote.The East Lothian festival takes its name from the surprisingly wild Lammermuir Read more ...
Russ Coffey
A single guitar note rang out over smouldering synth-chords. It was bent up a tone and then wavered in the air before gracefully falling. And so began the final residency of the Rattle That Lock tour. No hype. No support act. Just David Gilmour and his all-star band looking back on his long and prestigious career. At least that's how the programme described it. For everyone else this was Pink Floyd resurrected.Not the Nineties "stadium version", mind. This was more like early Floyd - a time when the band members were still totally immersed in the possibilities of making Read more ...
Marina Vaizey
Gorgeous, sumptuous, thrilling: here comes Abstract Expressionism riding into town, the first major overview in London since its own contemporary heyday in the 1950s. A clunky, unappealing label for such fabulously appealing stuff, it's best just to relax and enjoy this total immersion, for colour and gesture can never have been combined to such memorable effect. Nurtured by the melting pot of New York, this was the first homegrown group of American artists, its activities destined to put New York on the international culture map, wresting the crown of art capital from Paris.The diversity of Read more ...
David Nice
What's in a name? Imogen has a softer music to it than Cymbeline, the only one of Shakespeare's plays in which the title character is marginal, and the daughter certainly dominates in a way that her regal father doesn't. So Cymbeline Renamed, as half the subheading of Matthew Dunster's bold production puts it, is fine.Reclaimed, though, from what? There's no need to shift any of Shakespeare's centres of gravity, and Dunster doesn't. True, this "heavenly Imogen" is more earth than air, and Maddy Hill compels from the start – a good but tough girl in a harsh environment, in a new riff on the Read more ...
aleks.sierz
At its best, theatre is great at putting resonant metaphors on stage. And, as Elinor Cook’s new play abundantly proves, the activity of mountain climbing seems very promising as a metaphor for masculine endeavor. All that effort, all that heaving, all that straining. Blood and sweat and sometimes tears. And then the question: why do men want to stand on top of the world? And is it just men who have this urgent need for power and dominion? Although Pilgrims is a rather short and small play, it is provocative not only in the questions it asks, but also in some of the answers that it suggests. Read more ...