London
Adam Sweeting
As an opening line to BBC Two's new three-part series, “Rupert Murdoch is an enigma” failed to set pulses racing. It rather implied that after three hours of documentary TV, we may end up none the wiser about what makes the scary Australian media tycoon tick.Still, director Jamie Roberts and his team had done their due diligence in the research department, turning up a trove of nuggets from the archives interspersed with pithy interviews from assorted players in Murdoch’s extraordinary journey, including Alan Sugar, Hugh Grant, Piers Morgan and Andrew Neil. There were some chilling Read more ...
Matt Wolf
The cakes look great, but it's back to the recipe books in almost every other way for Love Sarah, a subpar film from director Eliza Schroeder about the struggles of a west London patisserie in the age of Brexit. The emergence of Schroeder's feature filmmaking debut just now may benefit from a citizenry eager to get back out to their local baker. Alas, all the best will in the world can't override the gathering irritation of a story that often feels like a peculiar amalgam of Fleabag and Notting Hill, albeit without the necessary eccentricity or charm of either. It's giving Read more ...
Laura de Lisle
Nicholas Hytner’s A Midsummer Night’s Dream, filmed for NT Live at the Bridge Theatre last summer, is – as it gleefully acknowledges – completely bonkers. But it doesn’t start out that way. A troop of actors trudge through the audience, singing dirge-like psalms in dark suits and The Handmaid’s Tale-esque headwraps. This is Athens, a terrifyingly patriarchal society in which a woman can be killed for refusing to marry the man her father chooses. It’s the part of the play you always forget: the waking nightmare, which makes the flight into the forest all Read more ...
Laura de Lisle
A British-Jamaican man is confused. It's the Second World War, and he signed up for the RAF on the understanding that he would serve as a pilot overseas. But instead he's ended up as ground crew in a grey Lincolnshire village. "You are overseas, aren't you?" sneers his sergeant. That question – of how great the distance between Jamaica and Britain was and is – lies at the heart of Small Island, Rufus Norris's epic, big-hearted production of Andrea Levy's 2004 ode to the Windrush generation, adapted for the stage by Helen Edmundson. It's also one of the reasons that the National Theatre Read more ...
Miranda Heggie
I'm not sure if it was the beauty of Roderick Williams’s velvety vocals, the poignant delight of seeing a live performance in a concert hall after all this time, or my generally unusual frame of mind during lockdown that caused me to immediately burst into tears at the opening bars of Schubert’s "Gretchen am spinnrade" ("Gretchen at the Spinning Wheel"), but the fact no other audience members were around to witness my impromptu blubbering was certainly one plus point to watching Williams and pianist Joseph Middleton’s Wigmore Hall recital at home on my laptop. Having listened to most of the Read more ...
Jessica Duchen
The Wigmore Hall’s triumphant series of lockdown lunchtime concerts by the finest of local recitalists is not without an audience; it’s just that the performers can’t see them. Conversely, online viewers can watch the artists closely enough to see what fingering pianists choose for the awkward passages, and the sound quality is remarkably fine - though may also depend on your computer or smartphone (I heard Steven Isserlis’s recital the other day on my phone from the middle of Richmond Park). It’s welcome, as it’s all we have at present, but I, for one, refuse to accept that bone-chilling Read more ...
Liz Thomson
Music, as the sociologist Simon Frith long ago pointed out, is “an experience of placing: in responding to a song we are drawn, haphazardly, into affective emotional alliances with the performer and with the performer’s other fans”. Music makes you feel things, it’s about shared emotional experiences. And while, since the invention of the Walkman, those experiences are possible in the isolation of one’s own headphones, nothing can begin to touch the communal concert experience.Performing alone onstage in a concert space, the audience unseen and unheard, can’t be easy, which is perhaps why Read more ...
Richard Bratby
After a devastating drought, even a light shower can feel like something of a miracle. Under normal circumstances, a 60 minute lunchtime piano recital from the Wigmore Hall would represent wholly unremarkable business as usual for BBC Radio 3. As it was – coming (as the presenter Andrew McGregor reminded us) eleven weeks after the Wigmore had last heard live music – this felt like an event of profound significance. Perhaps that’s no bad thing. Perhaps we haven’t always listened to artists as life-affirming as Stephen Hough, and music as great as his opening programme of Bach and Schumann, as Read more ...
joe.muggs
Will Westerman is not afraid of sounding retro. It's clear his influences are diverse, from jazz fusion to the bedroom proto-house experiments of Arthur Russell. But in their final form, his high gloss production, highly literate songs and fretless bass sound like something out of a creatively leftfield but megabucks studio-produced mid Eighties record: the likes of Talk Talk, Kate Bush, Roxy Music's Avalon and above all The Blue Nile loom large.Westerman's arrangements and DEEK Recordings owner Nathan “Bullion” Jenkins's production does an incredible job of doing what would have required Read more ...
joe.muggs
Footsie might not have the profile of a Skepta or Wiley, or even his Newham Generals partner and recent IKEA advert soundtracker D Double E. But anyone halfway schooled in grime will know that both as MC and producer he's a key player from grime's original generation, and still a pillar of the scene. Amazingly, though, despite the fact he's released a couple of mixtapes and four compilations of his instrumentals, he's never made an official solo album until now. So given that, since his beginnings in N.A.S.T.Y. Crew, he's been in the game for some 20 years, there's quite some weight of Read more ...
Laura de Lisle
Like an asp eating its own tail, the National Theatre's 2018 production of Antony and Cleopatra, streaming on YouTube until 14 May, begins as it will end. Director Simon Godwin's first tableau is the play's finale: Cleopatra (Sophie Okonedo) lies in queenly repose, a snakebite on her neck; her servants, Charmian (Gloria Obianyo) and Iras (Georgia Landers), slump around her. How did this triple suicide come to pass, ask thwarted Caesar (Tunji Kasim) and Agrippa (Katy Stephens), before answering their own question: behold, and see.It's a neat trick for Godwin, a National semi-regular since 2013 Read more ...
Matt Wolf
Has anyone else noticed how fulltime this streaming thing has become? Those who were of a mind to (and who never slept) could find enough cultural output to satisfy 24/7, especially if one adds to the free offerings that crop up by the week the ongoing back catalogue made available on sites such as Marquee TV or Digital Theatre, and the like. While those platforms continue to roam freely across productions and even art forms, each week brings with it a fresh supply of intriguing fare. This week's lineup includes curiosities from the very different minds of Andrew Lloyd Webber and David Read more ...