Reviews
carole.woddis
Back in the early 1960s, anyone with half a curious cultural brain in their heads would take themselves off to small fleapit cinemas like The Academy or the Classic in Oxford Street (now defunct). There you could catch the latest European art film. And at one of these I remember seeing Italian director Antonioni’s La Notte with Jeanne Moreau and Marcello Mastroianni. Such was its impact that neither I nor the flat mates I was with were able to utter a word until we reached home.That, of course, may have been due to the fact that we were confused and not willing to show it; on the other Read more ...
stephen.walsh
Dragon Opera (or Opera’r Ddraig, if you insist: they don’t) is in every sense a young company, founded a mere two years ago, and based at Cardiff’s Royal Welsh College of Music and Drama. Its singers, directors and orchestral players are nearly all recent or current students at the college, the company is run by recent graduates, and its funding is set up by a student collective called RepCo, run from the RWCMD, and parent also to a couple of student orchestras and a community choir. Even the audience is, for once, not the usual gathering of senior citizens. In terms of arts enterprise, this Read more ...
Thomas H. Green
It seems to me that Esben and the Witch would like to perform in absolute darkness. Or perhaps in silhouette behind a screen like an oriental shadowplay. Such a theatrical device might even suit their dark, menacing music. Instead, two of the three band members have to make do with a curtain of hair between themselves and the audience. Young and shy, they deliver their moody, occasionally explosive music with low-key confidence and, in fact, their slight awkwardness in front of a crowd only enhances the edginess of the atmospherics.Outside, the Brighton night is aptly overcome with mist which Read more ...
peter.quinn
As star pianist Gwilym Simcock amusingly recalled during his solo set last night, German efficiency almost scuppered the making of his latest and universally acclaimed release, Good Days at Schloss Elmau. Recorded at the deluxe Alpine spa in just a single day last September, the pianist's Herculean keyboard feats were made against a subliminal backing track of meadows being mown and kitchen deliveries being made. The results, tractors and bratwurst notwithstanding, suggest that the crisp mountain air clearly agreed with him.Launching the album in the slightly less tony environs of Camden Read more ...
Adam Sweeting
If the jewel in Sky Atlantic's crown is the award-guzzling Boardwalk Empire, great things are also expected of its new cop-opera Blue Bloods, judging by the number of trailers spattering the Sky networks. It's the Dynasty of law enforcement, chronicling the relationships and travails of the Reagan family of New York.Whether the family name was intended to convey any kind of political resonance is a matter for conjecture, though it serves well enough for a multi-generational family of Big Apple police officers of Irish descent. Actually, they're not quite all police officers – the various Read more ...
alexandra.coghlan
“Tumult and peace, the darkness and the light – were all like workings of one mind.” Writing almost a century after Mozart’s Die Zauberflöte, Wordsworth was still contemplating the essential duality of the sublime – that greatest of Enlightenment legacies. Rationalism, order and science, we are reminded, are only the admissible part of an age that would also beget the sinister fantasies of Romanticism and the Gothic – those most pernicious of bastard offspring. It is in exposing this messily contingent relationship between the light of truth and the shadows of superstitious doubt that David Read more ...
Ismene Brown
Was it the worst-played and worst-danced performance of Duo Concertant I’ve ever seen? I can’t remember a direr in my experience of quite a few DCs. But then the opening night of American Ballet Theatre’s London tour was a set of fine promises falling flat with a thud. A delicate new sextet ruined by the piano player. A masterpiece of musical ballet murdered by the violinist, the pianist and the ballerina. A cod-ballet duet by Twyla Tharp deflated by an unhumorous leading lady. And the only tick - inasmuch as at least the dancers gave it what it needed - was a piece of ensemble window- Read more ...
aleks.sierz
British theatre prides itself on being contemporary, up to date - in a word, hot. So it’s odd that, over the past decade, there have been so few plays about climate change. While everybody, and I mean everybody, has been talking about global warming, while climate-change deniers have been branded the new fascists, and while well-publicised protesters have tried to stop electricity stations from functioning, British playwrights have - with only a couple of exceptions - blithely ignored the subject. So at first sight this new play, which opened last night at the flagship National Theatre in Read more ...
igor.toronyilalic
When future historians write the story of 21st-century film, Mike Figgis will play a founding father-like role. Figgis's Timecode (2000) was one of the world's first and most ambitious digital films. I still remember the excitement the day I saw it, the unified screen before me shattering into shards of narrative. This was the first film to sing in four simultaneously cast parts in the manner of a Bach fugue. Notwithstanding its many faults, it felt like the silver screen's Ring cycle. Last night saw Figgis try his hand at a real Gesamtkunstwerk, Donizetti's rarely heard Lucrezia Borgia Read more ...
Jasper Rees
For a while in the 1990s, the NASDAQ of polar exploration knocked Scott off his plinth and installed Shackleton as Britain’s favourite Antarctic hero. To a modern sensibility, survival seemed a more laudable pursuit than sacrifice. Better a live donkey, as Shackleton phlegmatically put it when turning home 90 miles from the South Pole, than a dead lion. For decades Scott has been comprehensively, even vindictively rubbished by the revisionist historian Roland Huntford. He was the one who pointed out that someone would have had to undo those tent ties for Oates to go outside and be some time, Read more ...
Adam Sweeting
Revisiting Brighton Rock was bound to cause an uproar. A couple of weeks ago, The Daily Telegraph’s Simon Heffer launched a ferocious assault on Rowan Joffe’s new screen version of Graham Greene's novel, while admitting he hadn’t seen it. Mind you, he had read some hostile comments on the internet. “Well ought to have been left alone,” he decreed.Joffe’s film has little hope of acquiring the mythic status of the 1947 John Boulting version, as he’s doubtless well aware. But Joffe’s line is that he didn’t set out to remake the Boulting film, but to shoot a new interpretation of Greene’s book. Read more ...