Katherine Waters

Articles By Katherine Waters

Bruno Maçães: The Dawn of Eurasia review - middle of nowhere Sunday, 21 January 2018 Read more...	Lumiere London review - London in a different light Saturday, 20 January 2018 Read more...
Art UK, Art of the Nation review - public art in a private space Wednesday, 17 January 2018 Read more...	The Nutcracker, English National Ballet review - a thoroughly enchanting performance Thursday, 14 December 2017 Read more...
Blue Planet II, BBC One review - just how fragile? Monday, 11 December 2017 Read more...	Rachel Hewitt: A Revolution of Feeling review - from passions to emotions Sunday, 10 December 2017 Read more...
The Melting Pot, Finborough Theatre review - entertaining morals Thursday, 07 December 2017 Read more...	Modigliani, Tate Modern review - the pitfalls of excess Friday, 24 November 2017 Read more...
The Best of AA Gill review - posthumous words collected Sunday, 12 November 2017 Read more...	Mother Courage, Southwark Playhouse review - this production is not one for our times Thursday, 09 November 2017 Read more...
Han Kang: The White Book review - between what is, what was, what might have been Sunday, 05 November 2017 Read more...	Age of Terror: Art Since 9/11, Imperial War Museum review - affecting but incoherent Wednesday, 01 November 2017 Read more...
Philip Pullman: La Belle Sauvage review - not quite equal Sunday, 22 October 2017 Read more...	David Bomberg, Pallant House Gallery, Chichester review - a reputation restored Saturday, 21 October 2017 Read more...
The End of Hope, Soho Theatre review - initially bold but not quite enough Thursday, 19 October 2017 Read more...	Young Reviewer of the Year Award Winner: Katherine Waters on Marc Quinn Wednesday, 04 October 2017 Read more...

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Monteverdi Choir, English Baroque Soloists, Suzuki, St-Marti...

In the Saxony of 1725 – still in the grip of Europe’s “Little Ice Age” – Bach and his musicians would seldom have had to deal with the sort of...

Patrick Wolf: Rough Trade East review - the Kent-based bard...

After the evening’s second song “The Last of England,” Patrick Wolf cautions “I’ve got nothing left to say.” During the shows leading up to this...

4.48 Psychosis, Royal Court review – powerful but déjà vu

Sarah Kane is the most celebrated new writer of the 1990s. Her work is provocative and innovative. So it seems oddly unimaginative to mark the...

The Buccaneers, Apple TV+, Season 2 review - American advent...

Edith Wharton hadn’t finished her novel, The Buccaneers, when she died in 1937, but it was completed in 1993 by Marion Mainwaring. The...

Red Path review - the dead know everything

Here’s a film you might not feel like seeing. After all, Red Path tells of a 14-year-old in Tunisia who is forced to carry home the...

Album: Loyle Carner - Hopefully!

Loyle Carner’s Hopefully! is a luminous, deeply personal exploration of fatherhood, identity, and artistic reinvention, marking the south...

The Midnight Bell, Sadler's Wells review - a first repr...

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

Album: HAIM - I Quit

Haim’s profile just grows and grows. Since their last album, youngest sibling Alana’s starring role in Paul Thomas Anderson’s whimsical Seventies...

Aldeburgh Festival, Weekend 1 review - dance to the music of...

This year’s Aldeburgh Festival – the 76th – takes as its motto a line from Shelley‘s Prometheus Unbound. The poet speaks of despair “...