Reviews
Saskia Baron
Fresh from the success of Harry Potter and the Cursed Child, Jack Thorne now gives us his exuberant adaptation of another much-loved text. Charles Dickens’ novella A Christmas Carol is the well-worn morality fable seared into our collective memory by countless screen versions and stage musicals. Matthew Warchus' new production places much emphasis on Scrooge’s philosophy that the poor have brought their misfortune upon themselves – Victorian sanctimony chiming with 21st century austerity. It’s a dark message embedded in a Christmas treat.Chunks of Dickens’ text unspool on stage as the cast Read more ...
David Nice
Even given the peerless standards already set by Sakari Oramo and the BBC Symphony Orchestra in their Sibelius cycle, this instalment was always going to be the toughest, featuring the most elusive of the symphonies, the Sixth, and the sparest, the Fourth. As it turned out, all challenges were met with Oramo's characteristic mix of energy and sophistication, and the interloper, Swedish composer Anders Hillborg's Second Violin Concerto in its UK premiere, saw to it that Lisa Batiashvili carried the flame.Was it going to be generic contemporary? The skeetering strings at the beginning suggested Read more ...
Veronica Lee
Margaret Cho takes no prisoners: if you don’t like good honest filth or feel uncomfortable around matters of feminism, sex and race, then this Korean-American comic is not for you. Cho was voted among the top 50 comics of all time by Rolling Stone magazine and was a protégée of Joan Rivers, a scabrously funny stand-up herself who skirted dangerously around taste and decency.Like Rivers, Cho appears to have no embarrassment in talking about her toilet habits or her sex life, and says her move from being lesbian to bisexual was because she realised she had “a place for cock in my life – inside Read more ...
Matt Wolf
Genuine emotion does battle with gerrymandered feeling in Wonder, which at least proves that the young star of Room, Jacob Tremblay, is no one-film wonder himself. Playing a pre-teen Brooklynite who yearns to be seen as more than the facial disfigurement that announces him to the world, Tremblay is astonishing once more in a movie that feels as if it wants to break free of the formulaic but can't quite bring itself to do so. When the director Stephen Chbosky keeps the focus on 10-year-old Auggie's domestic life – that's to say the scenes involving his interactions with his mum and dad Read more ...
David Nice
When you've found your living ideal for Schubert's sonatas - Elisabeth Leonskaja, surely - it can be a challenge to stay open-minded and welcome another take on the profundities. Mitsuko Uchida didn't make it easy for herself or us at the start by plunging into the technical challenges of the fierce C minor Sonata, first in the miraculous final trilogy; nor did she hint more than fleetingly at the sublime to come. But come it did, in a journey to the plains of heaven intensively walked in the hypnotic G major masterpiece, D894, with Uchida's unique personality defining the route.She doesn't Read more ...
Will Rathbone
You say you want a revolution? Good luck locating one amid the tonally muddled Inside Pussy Riot. The immersive production from Les Enfants Terribles takes audiences on a promenade-style journey through the terrifyingly true story of Nadya Tolokonnikova, the Russian activist who (along with bandmate Maria Alyokhina) was sentenced to two years in a Siberian prison in 2012 after performing 40 seconds of an anti-Putin protest song in a Moscow church. The setting for the piece is the Saatchi Gallery in affluent Chelsea and a stone's throw from not a few Russian oligarchs: ah, the irony of Read more ...
Steve O'Rourke
This sequel to the reasonably well-received 2015 game has attempted to address the initial criticisms of the first title lacking offline gameplay by incorporating a new single player campaign, with mixed results.Let’s cut straight to the chase, the new solo campaign is a damp squib. It’s very much blast-by-numbers stuff, with the combat objectives offering the same type of missions we have seen dozens of times before. You shoot, slash or occasionally dogfight your way through a dozen stages of mindless Rebel soldiers on a conveyor belt of generic action. Rinse, reload and repeat. Yawn.There Read more ...
Helen Wallace
Reading the line-up for Huddersfield Contemporary Music Festival can be a bit of a //+DiGit<ijjjjjjjjjjjjj.ggiiigggggH1-RMXn4000// experience (and no, I haven’t invented those). There are flashing light warnings. Ear defenders are routinely handed out. The message is clear: prepare for a sonic assault course.So what delight to find oneself swept along the luminous stream of an expertly curated programme, whose narrative began with the minutiae of sound and grew into full-blown music theatre. This was Riot Ensemble, offering a string of premieres directed with authoritative poise by Read more ...
David Nice
Even seemingly immortal singers grow old. Sir Bryn is closer to the "Martinmas summer" of Shakespeare's and Verdi's Sir John than when first he put on the fat suit at the Royal Opera 18 years ago. Even if he walks the gouty walk that matches the belly, vocally he seems richer than ever. Maybe not quite the definitive operatic Falstaff of our era - that honour falls to Ambrogio Maestri - but a suitable planet for the variable young moons of Liverpool's European Opera Centre to revolve around, at least two of them shining bright. With the Royal Liverpool Philharmonic Orchestra very much present Read more ...
Adam Sweeting
A thankless task, perhaps, to find oneself following in the footsteps of the berserk Spanish melodrama I Know Who You Are (theartsdesk passim). However, BBC Four’s new Saturday night import, whose first series was shown on Channel 4 a couple of years ago, is a French cop show which knows what it’s talking about and does the simple stuff right.Eschewing the bright lights of Paris or the sumptuous sleaze of the Côte d'Azur, Witnesses – or Les Témoins, if you will – is set in northern France, where the skies tend to be grey and the air is cool and damp. There were sweeping shots Read more ...
Kieron Tyler
In 1976, Polydor Records was actively considering signing the Sex Pistols. The label’s Chris Parry checked them out live in Birmingham during August. In September, he had a prime spot behind the mixing desk at the 100 Club’s punk festival from which to consider British punk rock’s figureheads. However, the band’s manager Malcolm McLaren signed them to EMI. Moving on, Parry began pursuing The Clash and recorded demos with them that November. They went on to sign with CBS.Despite being led up the rock ‘n’ roll garden path by the Pistols and The Clash, Parry didn’t give up on punk and, following Read more ...
Owen Richards
Laid Bare – it has a lurid implication which is all too suitable for Joe Orton’s work. During a time where the straight-laced British struggled to ease into sexual liberation, Orton stretched acceptability to its very limits. Salacious acts had been going on behind closed doors long before the Sixties, but everyone hid behind a modest front. In his brief career, Orton’s plays challenged this hypocrisy with razor wit and poetic eloquence.Despite the title, Joe Orton Laid Bare was not as scandalous nor revolutionary as his writing; indeed, it was a rather traditional piece of programming. Read more ...