Reviews
Jenny Gilbert
Agitprop is a term that seems to have dropped out of use. It has too many negative connotations; it smacks of political rant. Yet artistic director Neil McPherson, whose small and feisty Finborough Theatre at Earls Court receives no public funding whatsoever, has never pandered to delicate West London sensibilities, and I Wish to Die Singing: Voices from the Armenian Genocide, scripted by him, certainly doesn’t flinch from its task. This is, no less, to fill a gaping hole in the official history of the 20th century. Propaganda? You decide.McPherson’s bold project sprang from a perceived need Read more ...
Veronica Lee
Peter Kay's first sitcom in 10 years is always something to look forward to, and it achieves another first: the BBC made the six-parter available on iPlayer to watch in its entirety before showing it on a terrestrial channel, and it has broken all viewing records.Despite the title, it isn't a Peter Kay creation, although he does direct and star. It is by Paul Coleman and Tim Reid, but Kay and his co-star, Sian Gibson, are also credited as writers so clearly some of this is improvised; there's the occasional clue of Kay and Gibson looking just about to corpse before the camera cuts away.They Read more ...
Peter Quantrill
Be a soloist: take responsibility for yourself. These are not maxims often encountered in musical ensembles where unity of purpose and execution is valued, but they lie behind the philosophy and sheer style of Ensemble InterContemporain, which Pierre Boulez founded in his own image to show confidence in the necessity and vitality of a Modernism always under threat when an easy life and easy listening are so easily bought.The Barbican’s celebration of Boulez in his ninetieth year began last week with the solemn obsequies of his Rituel and continued here in a vein of remembrance with Mémoriale Read more ...
Matt Wolf
God love Christine Baranski: Eight years after the Tony and Emmy-winning actress played the supporting role of Carlotta Campion in a semi-staged 2007 production of Stephen Sondheim's Follies in New York, along came the leggy, eternally lithe performer in the same musical, once again in concert form but this time upgraded to a starring role. And as Phyllis Rogers Stone, the one-time showgirl who misplaced her soul somewhere along the way to becoming a New York sophisticate ice-queen, Baranski took the Albert Hall's two-performances-only salute to Sondheim's 85th birthday and knocked it out of Read more ...
Jessica Duchen
It took just two bars of Debussy's La plus que lente for Stephen Hough to transport the entire Royal Festival Hall to Paris. The nearest thing the French composer ever wrote to a café waltz – inspired by a gypsy band in a local hotel – this bewitching, louche yet elusive little piece might in other hands make a more suitable encore than opener. But it set the tone for an evening in which Hough’s sleight-of-hand seemed to shrink the spaces of the venue: he is one of those rare pianists who, rather than “projecting to the back row”, produces a touch so seductively quiet that his listeners, Read more ...
Matthew Wright
San Fermin have enough brass to rock Mardi Gras and the vocal range to stretch an opera chorus, but they are, still, a pop group. The Brooklyn indie octet’s straight-through rendition of their second album Jackrabbit, released last week, inspired the Jazz Café on Monday night, their obliquely hyperactive compositions, by Yale graduate and Nico Muhly associate Ellis Ludwig-Leone, decked in the gaudy distractions of the carnival.With eight musicians, all with a relentless dance routine, on a modestly-proportioned stage, the energy is tangible. Even Ludwig-Leone, playing keys, squirms like a Read more ...
Jasper Rees
The past is a foreign country. Celebrities do things differently there. Programmes which put people in time machines and whizz them back to a less centrally heated era have been around for a while. Back in the day they’d pick on ordinary people and make them live as a skivs and drudges in some specifically benighted era before the invention of such new-fangled concepts as electricity or the flush mechanism or gender equality. But that was then. Reality in the jungle has turned us all into schadenfreude addicts, so now we get the same idea but with famous faces. Besmirched famous faces.24 Read more ...
Adam Sweeting
What Nashville did for country music, Empire may very well be about to do for the lurid world of hip hop. If not more so. Created by Lee Daniels (director of Precious) and written by Danny Hunger Games Strong, it's about ailing music mogul Lucious Lyon and how he must decide which of his three sons to hand over his Empire Entertainment conglomerate to.It's a potentially powerful setup, even if it is basically King Lear with beats and sons instead of daughters. In the lead role of Lucious, a worried-looking Terrence Howard effectively conveys an aura of disillusion and world-weariness, as he Read more ...
Demetrios Matheou
From the great, gasp-inducing rush of colour when the curtain opens on American Buffalo to the embrace that closes it, this revival of David Mamet’s career-making rummage through the junkyard of the American Dream has you in a vice-like grip. It’s been eagerly anticipated, and doesn’t disappoint.Most great plays have an air of having just been written. American Buffalo is now 40 years old, yet speaks loudly and painfully about the state we’re in today. While a number of our bankers and businessmen are crooks, Mamet’s crooks regard themselves as businessmen. And business, declares junk store Read more ...
David Nice
Judge Judy meets The Only Way Is Essex: this endlessly resourceful production of Gilbert and Sullivan’s first (mini) masterpiece Trial by Jury is one that cries out to appear on TV. Which in a make-believe sense it does: we’re the audience in the studio where Court on Camera is about to air. A warm-up chappie who turns out to be the Usher (Wagnerian bass-baritone in training Martin Lamb) – on other Sundays it will be a lady – gauges our capacity to applaud and boo, and we’re off on a case of breach of promise of marriage as you never saw it before.The pleasure is doubled because in Charles Read more ...
stephen.walsh
There’s a lot to be said for concert performances of Wagner. Not only are you spared the post-prandial lucubrations of aspirant directors – the moonmen and the fighter pilots, the jackboots and the biogas installations. But it’s possible to concentrate on Wagner’s greatest theatrical gift: not his stagecraft or stage imagery, but his management of time and psychological growth through purely musical means. And the final act of Die Walküre, which the Wales Millennium Centre mounted in a concert performance by Welsh National Opera on Sunday, is the best possible example, with its evolving Read more ...
Nick Hasted
Stonehearst Asylum is bookended by classic Hammer horror scenes. Within minutes of Dr Edward Newgate (Jim Sturgess) being dropped off at the titular, fog-bound mansion by a swiftly exiting coach and horses, he meets a full-blooded Gothic gang: stiff-backed asylum overlord Dr Lamb (Ben Kingsley), his leering henchman Mickey Finn (David Thewlis), and beautiful, sexually terrified Eliza Graves (Kate Beckinsale). Elsewhere on the premises lurk Dr Salt (Michael Caine) and Mrs Pike (Sinead Cusack). This enviable cast relish Joe Gangemi’s archly witty script, and its finally moving debate on who is Read more ...