London
alexandra.coghlan
It’s typical: you wait ages for a Belshazzar’s Feast and then two come along at once. And judging by the performance delivered by Ed Gardner and the BBC Symphony Orchestra and Chorus last night, Andrew Nethsingha and his massed Cambridge choirs will have their work cut out to follow it next week at the Royal Festival Hall. Throbbing with dance, gaudy as an Eastern bazaar painted by a second-rate Victorian artist, Gardner’s Belshazzar was a wash of Technicolor extravagance among the twee reds and greens of Christmas classical programming.And speaking of gaudy – it was quite the curiosity that Read more ...
judith.flanders
Well, the stars were out near Leicester Square, and it was neither the premiere of a Hollywood blockbuster, nor even a clear night. Instead, the stars were in conjunction at Gaby’s Deli, now the hotbed of a revolt against the plastification of London, a valiant push-back against the heart of theatre- and cinema-land being turned into a clone of every high street in the country.Gaby’s Deli has fed hundreds of thousands of audiences before and after shows, with its mix of Jewish deli and Middle Eastern favourites. It has also, crucially, fed thousands of actors, singers, dancers and musicians. Read more ...
judith.flanders
Even in London’s variegated show-world, something called Cabaret Falafel stands out as an exotic title. To discover that it will take place in a delicatessen, performed by the wonderful Henry Goodman, makes it both more piquant and more explicable, for Gaby’s Deli, a stalwart part of Charing Cross Road and of every London theatre-goer's map of the West End, is under threat.Charing Cross Road has already lost most of its independent bookshops; Chinatown has been trampled on by developers who want to root out the Chinese markets; now the Marquess of Salisbury, ground landlord to Gaby’s, has in Read more ...
alexandra.coghlan
A recent newspaper article championed the topicality of Richard II, laboriously rewriting it from camp conservatism to a politically current meditation on the “sad stories” we still tell of the deaths of kings. Heads may have rolled and states collapsed this year, but thank goodness Michael Grandage felt no need to underline Shakespeare’s fragile lecture on kingship with gaudy contemporary markers. Uncluttered, direct, and tense with the energy of political unrest, this Richard II is a fitting farewell from the director to the theatre he has led for the past nine years.Everything in Read more ...
matilda.battersby
Can the Hanson brothers ever rid themselves of the shackles of “MMMBop” (the 1997 hit that brought them global renown)? More to the point, should they bother to try? These were the burning questions I armed myself with as I prepared to watch a band whose progress, it’s fair to say, I’ve hardly followed in the last 15 years since their falsetto singing and rambunctious head-banging brought the world such joy. So, having done some serious mugging up, and listened to their back catalogue, I was interested to see where fortune would have taken the clean-cut trio with the flowing blond hair.As Read more ...
Gillian Slovo
I was shocked by the riots. I think everybody was shocked by the riots. It’s not just the scale of the rioting that was shocking. It’s the failure of the police and the fire services to take control of the situation. During my research for The Riots I interviewed a man who had his flat burned down and he told me that he couldn’t believe this could happen in a democracy.I was actually in the Scottish Highlands during the riots so I watched it on TV while friends in London called and texted to tell me what was happening (Slovo pictured below right; image by Charlie Hopkinson). The scale of Read more ...
aleks.sierz
Ever since 9/11, political theatre has mobilised the techniques of verbatim drama, and the Tricycle Theatre in Kilburn, north London, has an impressive reputation for its tribunal plays, often staging the proceedings of judicial enquiries. Earlier this year, they bought us Tactical Questioning: Scenes from the Baha Mousa Inquiry. Now, as an instant response to this summer’s disturbances and apparently provoked by outrage at the Government’s unwillingness to hold a public enquiry, comes The Riots, which opened last night.Written by journalist Gillian Slovo, who was part of the team responsible Read more ...
John L Walters
The 10-day London Jazz Festival, now in its 19th year, is a diverse and international festival that embraces the unapologetically commercial Jazz Voice, the outer reaches of (free) free improv and even Abram Wilson’s Jazz for Toddlers. Despite a line-up that’s both starry and distinguished there was no single name that might encapsulate the festival’s rainbow palette. You can get a taste of its breadth from the three giants competing for our attention on the final night: Brazilian pioneer Hermeto Pascoal, guitarist Bill Frisell and free-jazz pioneer Ornette Coleman. I rationed myself to Read more ...
peter.quinn
There aren't too many pianists who excite jazz aficionados and hip-hop fans in equal measure. But then no other artist has been inspired equally by hip-hop beats on the one hand and Thelonious Monk on the other. And while it appears increasingly that jazz artists are refusing to be straitjacketed by genre convention, US pianist Robert Glasper is perhaps the prime example of this blurring at the edges.Glasper's previous Blue Note album, Double Booked (2009), celebrated this creative duality by featuring his acoustic trio in the first half and the electric Robert Glasper Experiment in the Read more ...
peter.quinn
Funkier than a James Brown bridge, the mighty Soul Rebels Brass Band swung back into town last night and flattened all before them. Possessing that rare combination of serious chops, impeccable stagecraft and down-home soul, they confirmed their position as one of the most explosive live acts on the scene. From the very opening bars of Stevie Wonder's “Living for the City”, taken from their current Rounder album Unlock Your Mind, the Soul Rebels had the entire QEH off their seats.The continuous set featured the reggae-fied uplift of the title track, the dazzling call-and-response interplay Read more ...
peter.quinn
It would be difficult to imagine a more impressive curtain-raiser to the London Jazz Festival than Jazz Voice, and this year's vintage was the finest yet. One sensed from the very opening bars of Gregory Porter and Ian Shaw's a cappella duet, “Feelin' Good”, that something remarkable was about to unfold, and so it proved. Drawing on major anniversaries, birthdays and milestones that link the decades stretching back from 2011, the annual vocal extravaganza – hosted this year by Victoria Wood – featured a typically adventurous mix of singers from the worlds of jazz, pop and soul.With spine Read more ...
alexandra.coghlan
We all know the question at issue last night at the Young Vic where Hamlet was opening, but down the road in the Queen Elizabeth Hall it was one of applause. Clapping between movements is a well-worn topic; we’ve had editorial, essays, even an RPS lecture devoted to the subject with no resolution in sight. Every year the Proms reminds us of the natural release a good clap can provide after a monumental first movement, and every year we return to our hands-clenched ways afterwards. Last night, witnessing some of the finest Beethoven London has seen in a vintage year for the composer, I can’t Read more ...