Reviews
Rachel Halliburton
Anne-Marie Duff blazes across the stage like a meteorite in Beth Steel’s excoriating drama about the changes sweeping through a Northern mining town over the course of five decades. As Constance Webster, a frustrated miner’s wife, her angry energy simultaneously lights up every room she appears in and sets it on fire; the more strongly she tries to escape her world, the closer she comes to destroying it.Steel has made her name with great state-of-the-nation dramas. In Wonderland she excavated the emotional traumas left behind by the miners’ strike, while in Labyrinth she created a riveting Read more ...
Gary Naylor
Barry Gibb was at the considerable peak of his era-defining songwriting powers when he provided the song that played over the opening titles of the iconic 1978 film, so it's a wise decision by director, Nikolai Foster, to go straight into "Grease is the Word" after a brief prologue.The energetic dancing by the boys and girls of Rydell High, the strength of the harmonies and the warm familiarity of the tune builds two bridges – one back to the movie, the other across the fourth wall. For all its flaws, this new production recognises that, perhaps in big musicals more than any other genre Read more ...
Kieron Tyler
Toronto’s Tallies have acknowledged their fondness for Aztec Camera, The Smiths and The Sundays. Add Cocteau Twins into the building blocks, too. Encountering a band so strongly immersed in the back catalogues of familiar names can obscure what’s really notable about them. Do they transcend their influences?Seeing them live on the final date of a short UK tour – booked before the July release of their second album Patina – meets the question head on. Yes, a Smiths “Heaven Knows I’m Miserable Now” guitar swirl fuses with a Cocteau’s shimmer. And The Sundays are never far.But whatever there is Read more ...
Adam Sweeting
Sarah Perry’s 2016 bestseller The Essex Serpent has been described as “a novel of ideas”, which almost sounds like a warning to anybody wanting to televise it. Happily, director Clio Barnard and screenwriter Anna Symon picked up the gauntlet, and have wrought a kind of contemplative television in which the story’s historical and philosophical preoccupations are expressed through landscape and imagery as much as dialogue and action.Huge credit goes to cinematographer David Raedeker, whose astoundingly beautiful and haunting images of marshy Essex coastline in the Maldon and Brightlingsea area Read more ...
Jonathan Geddes
“This town makes me sweat”, declared Charlotte Aitchison at one point in this set, as she took a brief breather between songs. The 29-year-old should have tried being in the audience, for this was a sweat-drenched evening right from the opening seconds, with a wildly devoted crowd which congregated into a heaving mass rapidly and consistently.Aitchison might have too many quirks to ascend beyond a venue like the O2 Academy, but something about both her personality and performance suggested she is better suited to such a setting anyway.Which isn’t to say that the Essex native is Read more ...
Graham Fuller
Life, opined Thomas Hobbes, is “nasty, brutish, and short”. In Gaspar Noé’s Vortex it’s not short enough for a dementia-afflicted octogenarian psychiatrist (Françoise Lebrun) and her addled film critic husband (giallo auteur Dario Argento), whose joint decline is a protracted saga of alienation, confusion, and fear.When worrying is your default mode and oblivion your near future, dignity is an out-of-reach luxury and survival a harrowing moment-to-moment ordeal. As blunt as ever about human flaws and vulnerabilities, the Argentina-born French filmmaker Nóe typically offers no bromides or balm Read more ...
caspar.gomez
My friend George claims to have nightmares about The Great Escape. In them he’s standing in an endless queue, never reaching the front, never entering the venue, and never seeing the band he wants to see. That was his experience the only time he attended, and he consequently reckons The Great Escape is rubbish.“I’ve been going for years and that’s never happened to me,” I said to him.“Yeah, well, you’re press, aren’t you,” he responded, with only a smidgeon of bitterness.“I s’pose so,” I replied, with only a smidgeon of smugness.But now photographer Finetime and I are standing outside Horatio Read more ...
Rachel Halliburton
Jude is the kind of girl that no-one would want to mess with – she can dance like a demon to Eric Clapton, skewer an ego in seconds and hit an apple from thirty feet with a knife. Yet in a play that’s so uncompromising it could give Neil LaBute a sprint for his money, what happens on the night of her seventeenth birthday raises questions that tear through the lives of her closest friends for decades.Naomi Wallace’s script burns like ice. It’s a coming-of-age story that asks profoundly uncomfortable questions about money, sex, class and violence. Yet it works because it also makes you Read more ...
David Nice
As the final slew of episodes in the last series of Ozark begins, Marty and Wendy Byrde, ever more the Macbeths of Osage Beach, are “in blood stepp’d in so far” that we don’t much care about their fate. Sympathy has long shifted to trailer girl Ruth Langmore, so clever and empathetic that in another life she would have taken wing, as much caught in the web of drug-dealing and cartels as her elders, but still the nearest thing we’re going to get to a moral core among the leading players.You wonder whether the team responsible for Ozark envisaged as big a role for Julia Garner when Ruth first Read more ...
Gavin Dixon
Conductor and pianist came at Liszt from opposite directions last night. Michael Tilson Thomas is a venerable presence at the podium and has been Laureate Conductor of the London Symphony for decades. Their relationship speaks of deep empathy and close communication. In the Liszt First Piano Concerto, MTT dug deep into the rich string tone of the LSO for round, warm sonorities, and always with plenty of bass. Lukáš Vondráček (pictured below) is a generation or two younger than MTT, and is the leading Czech pianist of his generation. He’s not a complete stranger to the LSO; they played Read more ...
Veronica Lee
Andy Zaltzman comes on stage to deliver a short preamble to his show Satirist For Hire. Much of the hour is suggested by the audience as they choose subjects they want him to muse on. Some have emailed before they arrive, others have left it till they arrive at the theatre; one shouts out a suggestion from the bar. Zaltzman leaves the stage for a few minutes to write some notes and then returns for the show proper.The performance is purportedly about the comic being on a mission to try to solve the world's problems with satire. But Zaltzman won't over-promise – after all, he says, the Read more ...
Robert Beale
Saturday’s concert by the BBC Philharmonic was in large measure about the Mahlers – Gustav and Alma. The former’s First Symphony formed the substantial second part of the programme: Frau Mahler was the inspiration of the piece that opened the evening. New Zealand-born Gemma New returned to Manchester to conduct: we saw her last October on the Hallé rostrum, and the energy and fierce attention she brought then were even more evident this time.That first piece was Die Windsbraut, by Alissa Firsova (daughter of Elena and of Dmitri Smirnov), a short essay in putting pictorial ideas into music, Read more ...