tue 19/03/2024

New York

Album: Kim Gordon - The Collective

Some icons sit back and bask. Kim Gordon does not. She has occasionally intimated that her New York cool and relentless work rate may be down to a smidgeon of imposter syndrome, even after all her years on the frontline. Whatever the truth of it,...

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Say She She, Koko review - flawless, pizazz-filled show from rising stars

Back in 1979, Koko operated as The Music Machine. As such, the Camden Town venue lent its name to the film Music Machine, marketed as the British equivalent of Saturday Night Fever. Buying into this vision of the North London setting as a hot-bed of...

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Cruel Intentions, The Other Palace review - uneasy vibes, hit tunes and sparkling staging

Transgression was so deliciously enticing. Back in the Eighties when I saw Les Liaisons Dangereuses in the West End on three occasions, life was simpler – or so us straight white men flattered ourselves to believe. Consent was for unproblematic...

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Yoko Ono: Music of the Mind, Tate Modern review - a fitting celebration of the early years

At last Yoko Ono is being acknowledged in Britain as a major avant garde artist in her own right. It has been a long wait; last year was her 90th birthday! The problem, of course, was her relationship with John Lennon and perceptions of her as the...

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Plaza Suite, Savoy Theatre review - real-life married couple brings panache and pain to period comedy

Sarah Jessica Parker's screen renown as Carrie Bradshaw in Sex and the City has made a London event out of the West End revival of Plaza Suite, the Neil Simon triptych from 1968 that is as definably New York as the TV series in which Parker made her...

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Richard Dorment: Warhol After Warhol review - beyond criticism

2023 was a good year for Andy Warhol post-mortems: after Nicole Flattery’s Nothing Special, after Alexandra Auder’s Don’t Call Home, Richard Dorment’s Warhol After Warhol.Their publication journeys undoubtedly benefitted from the value Anglophone...

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The Motive and the Cue, Noel Coward Theatre - National Theatre transfer excels in the West End

Plays about the theatre tend to go down well with audiences. Why wouldn’t they? The danger is that they become too cosy as actors and audience smugly agree on the transcendence of the artform. Jack Thorne’s The Motive and the Cue comes perilously...

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Maestro review - the infinite variety of Leonard Bernstein

The only seriously false note about Maestro is its title. Yes, Bernstein was masterly as a conductor, and Bradley Cooper gives it his best shot. But he was no master of his life as a whole. Maybe the title should have been something like Lenny and...

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Blu-ray: After Hours

Not all Scorsese films are behemoths; Killers of the Flower Moon may last over three hours but After Hours, a low-budget black comedy released in 1983, packs an incredible amount into just 93 minutes.That Scorsese directed the film at all is a happy...

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Madonna, Celebration Tour, O2 review - spectacular, ambitious and occasionally bemusing

Exactly 40 years since Madonna’s first UK hit, “Holiday”, was skittering about the Top Five, she launches her global Celebration Tour at the O2.It is spectacle on the very grandest scale. In the latter half, following a video montage of tabloid...

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Hiroshi Sugimoto: Time Machine, Hayward Gallery review - a Japanese photographer uses droll humour to ask big questions

A polar bear stands guard over the seal pup it has just killed (main picture). How could photographer, Hiroshi Sugimoto have got so close to a wild animal at such a dangerous moment? Even if he had a powerful telephoto lens, he’d be risking life and...

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Dalíland review - a tidy portrait of a chaotic artist

The director Mary Harron is famous for staying classy while tackling blood-splashy topics – notably the attack on pop art’s leader in I Shot Andy Warhol (1996) and whatever the hell was going on in the Bret Easton Ellis novel that became Harron’s...

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