New York
Nick Hasted
“What happens if you’ve overstepped your mandate?” aristocrat-architect Cesar Catalin (Adam Driver) is asked. “I’ll apologise,” he smirks. Francis Ford Coppola’s forty years in the making, self-financed epic is studded with such self-implicating bravado, including a wish to “escape into the ranks of the insane” rather than accept conventional thinking, as if at 85 he is not only Cesar but Kurtz, plunging chaotically upriver again, inviting career termination.Coppola subtitles Megalopolis “a fable”, and its tale of an imperious architect fighting venal New Rome’s Mayor Cicero (Giancarlo Read more ...
Thomas H. Green
Sometimes a gig suddenly and completely elevates. Such is the case tonight when Moby, on his first UK tour in 12 years, plays “Extreme Ways”, his 2002 anthem for hedonism and its desperate consequences. What has been an adequately entertaining night blossoms into something more riveting. The 20,000-strong O2 crowd, previously mostly seated, rise en masse, move and sing along. The place is a-buzz.Perhaps this is because it’s the moment when Moby finally owns the stage. He is up front on guitar, delivering the song like a classic rock turn. Much of his multi-million-selling back catalogue, Read more ...
Mark Kidel
Laurie Anderson is what Leonardo da Vinci would have hailed as una donna universale: inspired by science and technology, she's wide-ranging artist, a writer, film-maker, and explorer. She has a remarkable gift for story-telling, and her latest offering, an imaginative account of the woman aviator Amelia Earhart’s last voyage, taps into many of the creative currents that distinguish her.With a voice that feels as if she were sharing her tale in the most personal way, a style that she originally displayed on her first super-hit, still as fresh as ever, “O Superman” (1981), she creates a feeling Read more ...
Miranda Heggie
Commissioned by the New York Philharmonic and premiered in 2018, Julia Wolfe’s Fire in my mouth is a multi-sensory oratorio written to commemorate the 146 workers who perished in a factory fire in what was the deadliest industrial disaster in New York’s history. Scored for orchestra and female chorus, each voice part represents an individual worker who died, most of them Jewish or Italian immigrants.The piece begins with a depiction of passengers on a board a ship, and in this performance the female voices of the National Youth Choir of Scotland were on their standard excellent form, swaying Read more ...
Helen Hawkins
A Chorus Line reigned supreme on Broadway from 1975 to 1990, a bold, bare-bones piece that for once put musical theatre’s hoofers in the spotlight. “As welcome as a rainbow after a thunderstorm” was Clive Barnes’s summation in the New York Times.It was there when Aids began to decimate theatre-land, taking its creator, Michael Bennett, in 1987 too. It was a show that acknowledged the flesh and blood performers who went on making the magic happen and lent them added poignancy. And it presumably did so again in 2021, when the Curve Leicester created this production as a one-finger salute to Read more ...
peter.quinn
Meshell Ndegeocello's groundbreaking new album No More Water: The Gospel of James Baldwin takes you on a musical journey which defies categorisation.Eight years in the making and set for release on 2 August – Baldwin's centennial – the album’s origins date back to Ndegeocello’s 2016 musical and theatrical tribute to the iconic writer and activist, "Can I Get a Witness? The Gospel of James Baldwin", commissioned and produced by Harlem Stage through its WaterWorks programme.A nuanced exploration of race, sexuality, religion and other recurring themes explored in Baldwin’s canon, which takes its Read more ...
David Nice
Jerry Herman is the king of pep. Way too much of it in the first 20 minutes of the recent revue Jerry’s Girls had me screaming for a breather, but here the opening cavalcade, gorgeous overture included, intoxicates thanks to Dominic Cooke‘s razor-sharp direction. And the two torch songs, "Before the Parade Passes By" and the title number, begin in pathos before Imelda Staunton flashes her high-heeled party shoes.Consider the context: a widow of advancing years wants a second chance to be at the centre of things in 1890s New York. Marriage-broker Dolly Gallagher Levi isn’t your usual leading Read more ...
Thomas H. Green
US electronic perennial Moby has had a good run. He was a rave culture phenomenon from 1991 onwards. He blew that with a vegan punk album. He released Play at the decade’s end and sold millions. He then had decadent superstar years, a run of huge, often juicy albums. He quit booze’n’drugs in 2008. His music blossomed again, culminating in a trio of albums raging at the state of his nation. Following the last of these in 2018, not much has held the attention. Always Centered at Night has moments that do.Those wanting energy and urgency should look elsewhere. This is mostly a downtempo Read more ...
Adam Sweeting
New York in the 1980s is the setting for Abi Morgan’s new six-part drama, and it’s a city riddled with squalor, homelessness, racism and rampant crime. The Aids pandemic is also beginning to rear its hideous head. It’s here that the brilliant puppeteer Vincent Anderson (Benedict Cumberbatch) has masterminded his children’s TV puppet show Good Day Sunshine, which bears a striking resemblance to such Jim Henson creations as Sesame Street and The Muppets.You might think that Vincent would be happy with his life, since he’s hailed as a genius in his field and Good Morning Sunshine isn’t just a TV Read more ...
Markie Robson-Scott
“Begin the mission and the funds will come,” says feisty, tubercular nun Francesca Cabrini (Christiana Dell’Anna; Patrizia in Gomorrah) to Pope Leo XIII (Giancarlo Giannini) in 1889. She specialises in defying expectations, especially when men tell her she should stay where she belongs. She became the first American saint, canonised in 1946.Directed by Christian conservative Alejandro Monteverde, whose Q-Anon-approved movie Sound of Freedom about child sex-trafficking was, disquietingly, a controversial hit last year, this biopic is overlong, sanitised and sepia-toned, awash with angelic Read more ...
Adam Sweeting
Maybe California-born Matthew Modine caught the movie bug courtesy of his father Mark, who used to manage drive-in theatres, but after bagging his first film role in John Sayles’s Baby It’s You (1983) he never looked back. Blessed with a gift of employability that must make many of his fellow-actors green with envy, Modine has been clocking up a stream of memorable performances for 40 years on both the small and big screens.The title role in Alan Parker’s Birdy (1984), where he played opposite a fledgling Nicolas Cage, signalled the shape of things to come. His performance as Private “Joker” Read more ...
Aleks Sierz
It’s often said that contemporary American playwrights are too polite, too afraid of giving offence. But this accusation can’t be levelled at Stephen Adly Guirgis, whose dramas – from Jesus Hopped the ‘A’ Train in 2002 to The Motherfucker in the Hat in 2011 – are dirty-tongued and often fiercely emotional. Now his Pulitzer-Prize-winning play, Between Riverside and Crazy – which opened Off-Broadway in 2014 and has also won other prestigious awards – comes to the Hampstead Theatre in a production directed by Michael Longhurst, and with a cast headed by the excellent Read more ...