Reviews
igor.toronyilalic
We critics often find ourselves "embarrassed by historical facts", as Craig Raine once put it. Raine was trying to explain why so many people still value Wilfred Owen's poetry - to him, the most overrated corpus of the 20th century. "[Owen's] life and death as a soldier make literary criticism seem invalid and pedantic," he argued, before proceeding to a very validly pedantic demolition job. Music has its own Wilfred Owens. Viktor Ullmann is one. His reputation (which was showcased last night in a rare staging of his only opera, The Emperor of Atlantis, at the Arcola Theatre) seems to Read more ...
ash.smyth
It is easy to see why Danish director Susanne Bier’s latest movie would have scooped up all the Foreign Language gongs, made the festival selection lists and generally five-starred it all over the shop. Riffing on the theme of violent conflict as it arises both in an African refugee camp and a generic Danish town (here, picnics in wheat fields, fresh lakes for swimming, unlocked front doors, faces like golden apples; there, Darfur-style dirt-scratching), In a Better World centres on the friendship of two schoolboys, Elias (Markus Rygaard) and Christian (William Jøhnk Nielsen), one perennially Read more ...
geoff brown
Roger Wright’s reign as director of the BBC Proms has luckily spared us some of the more desperate themed programming that ran through the seasons in Nicholas Kenyon’s day. "Music and Shakespeare", I remember; music and the sea; and one year of Spain, Spain and Spain. I never wanted to hear another castanet again. But individual concerts still need careful planning. And if you’re hunting for a convenient hook, the name of Serge Koussevitzky – fiery Russian conductor of the Boston Symphony Orchestra for 25 years, double-bass player, minor composer, famed promoter of the new – is as plausible a Read more ...
Adam Sweeting
Directing and writing his first full-length feature, John Michael McDonagh fully exploits the wild and windswept landscapes of Connemara, and similarly extracts maximum value from his leading man, Brendan Gleeson. Perhaps he picked up tips from his brother Martin, who directed Gleeson in In Bruges. As Garda Sergeant Gerry Boyle, Gleeson finds himself on the trail of a trio of ruthless drug smugglers, about to land a colossal stash somewhere on the Irish west coast. This has attracted the attentions of FBI agent Wendell Everett (Don Cheadle).The narrative is partly driven by the culture shock Read more ...
marcus.odair
“Wynton Marsalis has had an enormous impact on jazz over the last 40 years,” say the programme notes, “being one of the first artists to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz.” Although it seems to bestow an extra precociousness upon the American trumpeter, who was only born in 1961, the first part of that sentence is undoubtedly true. The second part is true too, until the last two words. The one thing Wynton Marsalis does not do is modern jazz.That was clear in his set tonight, blues-indebted and swinging – or, occasionally, Read more ...
Veronica Lee
DeAnne Smith, Gilded Balloon **** Don’t be fooled by DeAnne Smith’s gamine appearance of boyish clothing and Bieberesque hairstyle. And don’t be fooled either by the way her act begins with a riff on existential angst - prompted by an Australian waiter saying “No worries” when he took her order - which turns into a song (one of a few in the set) accompanied by a ukulele. Don’t be fooled because you’ll realise there’s a lot of much edgier and darker material that she gets away with because she looks and sounds so sweet.Don’t be fooled by DeAnne Smith’s gamine appearance of boyish Read more ...
Marina Vaizey
Photography isn’t looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures. Thus Don McCullin, quoted on the information board of a new display at Tate Britain of around 50 black-and-white silver gelatin photographs, chosen and printed by the artist himself. No digital here, the process of the darkroom is under his control.The subjects cover anything but his direct war work, although his wholly justified fame rests on decades of hideous risk-taking (he was wounded several times and the lucky escapes Read more ...
Veronica Lee
Jason Cook has masterly audience skills, and he needed them all the night I saw him. A middle-aged teacher (who really should know better), whose refreshment clearly led her to the delusion that she was the person people had paid to see, kept interrupting. Even the engaging and unfailingly polite Geordie comic's patience was wearing thin, but he constantly bested her and got on with the job of making us laugh.The Search for Happiness isn't as high-concept Cook's previous Fringe outings, but no less enjoyable for that because can make a room happy just by chatting - the gags Read more ...
Ismene Brown
The fact that the world’s most popular ballet score had never, until last night, been performed in full at the Proms says something about the lowly regard in which musical circles long held composition for ballet. The fact that the Albert Hall’s capacity audience bayed six times for Valery Gergiev’s return to take their appreciation of his and the Mariinsky Theatre Orchestra’s performance of it last night says something about it being about time that musical circles stopped being so snobby.Those of us who haunt ballet theatres have become inured to shoddy performances of Swan Lake, its Read more ...
Nick Hasted
The title is the film. In a new low point for high concepts, producers Ron Howard and Steven Spielberg only needed to see the cover of the titular, unfinished comic book to give Cowboys & Aliens the green light. Iron Man’s director Jon Favreau, JJ Abrams’ writers, Harrison Ford and Daniel Craig similarly found the prospect of the sort of six-shooter/laser dust-up last seen when 1980s schoolkids tipped up their toy boxes irresistible. It’s nothing like as much fun as it should be, the strain of turning the concept into an actual film overwhelming everyone.It’s 1873 and we’re in Absolution Read more ...
fisun.guner
This warm-hearted production of E Nesbit’s most famous novel premiered to glowing reviews at its site-specific venue last summer. I didn‘t catch it last year, but I doubt this swift revival is any less captivating, nor the new cast any less sure-footed or engaging. Marcus Brigstocke has taken on the role of the gruff but loveable station master Mr Perks, whilst the three adult actors playing the children - Amy Noble as the sensible Bobby, Tim Lewis as the ever so mildly rebellious Peter and Grace Rowe as the charmingly ditzy Phyllis - bring just the right balance of earnestness and Read more ...
alexandra.coghlan
To lose one performer (to misquote Oscar Wilde) may be regarded as a misfortune, to lose three begins to look like carelessness. With last night’s Prom killing off soloists faster than you can say Sinfonia da Requiem there are few who wouldn’t have forgiven a comfortably adequate sort of Sunday evening. As it was, however, despite the loss of Christopher Maltman, John Mark Ainsley and conductor Jiří Bělohlávek, the combined BBC Symphony, Chorus and Singers under Mark Wigglesworth delivered a performance that grasped not only the casual brilliance of Benjamin Britten’s virtuoso writing, but Read more ...