wed 26/06/2019

1920s

Ain't Misbehavin', Southwark Playhouse review - a jazz-hot musical revue

The joint is jumpin’ at Southwark Playhouse, now hosting an irresistible Fats Waller-inspired, Manhattan-set musical revue (a co-production with Colchester’s Mercury Theatre, where it opened last month). Though originating in the Seventies,...

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Fiona MacCarthy: Walter Gropius review - a master of modernism

The centenary of the founding of the Bauhaus (literally, “Building House”) art school is on us, prompting publications and exhibitions worldwide. Subtitled “Visionary Founder of the Bauhaus”, Fiona MacCarthy’s revelatory biography of the figure...

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Follies, National Theatre review - the Sondheim spectacular returns, better than ever

This is a golden age of London Sondheim revivals, with Marianne Elliott’s thrilling Company still playing in the West End, and Dominic Cooke’s Follies getting a hugely welcome second run at the National – both testament to a director’s...

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The American Clock, Old Vic review - Arthur Miller's musical history lesson drags

This year’s unofficial Arthur Miller season – following The Price and ahead of All My Sons at the Old Vic and Death of a Salesman at the Young Vic – now turns to his 1980 work, The American Clock, inspired in part by Miller’s own memories of the...

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Katya Kabanova, Royal Opera review - inner torment incarnate

Backstories, we're told, are a crucial part of stage visionary Richard Jones's rehearsal process. Janáček, or rather Russian playwright Ostrovsky on whose The Storm the composer based Katya Kabanova, gives several of his hemmed-in characters...

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Hadelich, CBSO, Măcelaru, Symphony Hall Birmingham review - industrial strength Vaughan Williams

Well, I didn’t expect that – and judging from the way the rest of the audience reacted, nor did anyone else. After Cristian Măcelaru slammed the City of Birmingham Symphony Orchestra full speed into the final chord of Vaughan Williams’s Fourth...

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Fantastic Beasts: The Crimes of Grindelwald review - mischief not quite managed

Two years after the release of Fantastic Beasts and Where to Find Them, we return to the Wizarding World once again for the next, somewhat convoluted, chapter in the five planned prequel instalments, with Fantastic Beasts: The Crimes of Grindelwald...

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Our Classical Century, BBC Four review - enthusiasm and delight

Jerusalem! This fact-studded story of 20th century British music told us that the nation's unofficial national anthem, Hubert Parry’s setting of William Blake’s poem, originated in 1916 as a commission from the “Fight for Right” movement. Officials...

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Hallé, Gardner, Bridgewater Hall, Manchester review – drama and humanity

Edward Gardner was back amongst friends when he opened the Hallé’s Thursday series concerts. This was the place where he made his mark, as the Manchester orchestra’s first ever assistant conductor (and Youth Orchestra music director), and he’s been...

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Psappha, Kok / Kempf, Northern Chamber Orchestra, Stoller Hall, Manchester review - new and old

The Stoller Hall, the modest-size auditorium inside Chetham’s School of Music, is really proving itself to be the venue Manchester has long needed this season. Two concerts on successive days, each the first of a series and both making something of...

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Prom 66, Wang, Berlin Philharmonic, Petrenko review - intense perfection

Setting aside any reservations about a slight overall timidity in repertoire choices - no problems with that last night - this year's Proms have worked unexpectedly well, above all with their weekend strands. The trump card with the usual roster of...

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Aftermath: Art in the Wake of World War One, Tate Britain review - all in the mind

Not far into Aftermath, Tate Britain’s new exhibition looking at how the experience of World War One shaped artists working in its wake, hangs a group of photographs by Pierre Anthony-Thouret depicting the damage inflicted on Reims. Heavy censorship...

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