Reviews
Adam Sweeting
The get-the-President movie, a genre we might term "POTUS in Peril", has had a chequered history, from The President's Plane Is Missing, Air Force One and Escape from New York to White House Down and Olympus Has Fallen. Now here's London Has Fallen, which is the sequel to the last of these, but adds almost nothing in the way of innovation or inspiration.However, fans of Gerard Butler, the bookmaker's son from Paisley who has risen to become the new Chuck Norris as well as an ambassador for Boss Bottled ("a truly masculine fragrance for men"), will be rewarded with copious helpings of his Read more ...
alexandra.coghlan
Anyone who says Handel can’t do psychology should spend an evening with Orlando. Form, orchestration, even exit conventions are all reinvented or cast aside for a work of startlingly contemporary fluidity, where music is completely the servant of drama. Stripped back to little more than the score last night, in one of the Barbican’s very-semi-stagings, Handel’s emotional architecture was completely exposed, allowing us to see just how jaggedly inventive its lines really are.Which makes it all the more frustrating that, while stylish and efficient, The English Concert’s performance wasn’t just Read more ...
aleks.sierz
Hurray, the two-part epic wizard-fest Harry Potter and the Cursed Child lands in the West End this summer, and its playwright is the ever-versatile Jack Thorne (who also successfully adapted the vampire romance Let the Right One In for the stage). But audiences who’d like to enjoy Thorne at his thorniest, rather than most Rowlingesque, might prefer to take a look at this, his 2015 two-hander about a couple and their loss of a child. It’s a Hogwarts-free zone and its main emotional fuel is horrific loss coupled with courageous honesty. Strictly for adults only.Like any romcom, the story of Read more ...
Veronica Lee
Was Leonardo da Vinci (1452-1519), who straddled the arts and science in such a unique way, several hundred years before his time? Did the painter-inventor-engineer really draw the prototypes for, inter alia, the aeroplane, the motor car, the helicopter and the submarine, or were they doodles to which history has ascribed more genius than they are due? This small but interesting exhibition attempts to answer those questions as it places his mechanical works under scientific scrutiny.This show has its origins in an exhibition in Milan in 1952 to celebrate the 500th anniversary of Leonardo's Read more ...
Marianka Swain
“Murder is hilarious,” quips Zawe Ashton’s scheming maid, and in Jamie Lloyd’s high-octane, queasily comic revival of Jean Genet’s radical 1947 play, it really is. It’s also lurid, strange, bleak and powerfully transcendent, as befits a piece that locates hunger for creation and liberation in the imitation and destruction of another. Lloyd employs Benedict Andrews and Andrew Upton’s salty new translation – the latter’s wife, Cate Blanchett, led a 2013 Sydney Theatre Company production – to emphasise the unflinching modernity of Genet’s piece, which uses and unmasks theatrical Read more ...
Matt Wolf
The causes kept coming – diversity, of course, but also climate change, sexual abuse, LGBT rights and more – at the 88th annual Academy Awards, which surely ranked as the most politically charged Oscars in years. And that’s not only because one of the warmest welcomes of the night went to the American vice president, Joseph Biden, in an evening during which Donald Trump’s name – surprisingly or mercifully, or maybe both – was heard only once.As expected, and ever since this year’s nominations were first announced, the #OscarsSoWhite hashtag promised a provocative evening, and host Chris Rock Read more ...
Tom Birchenough
When it comes to losing power, and powers failing, Michael Gambon has once again proved himself the ruler of choice. The actor who gave us his Lear when he was only just hitting his forties has had three decades of gurning and grouching to ready himself for Churchill’s Secret, and those earlier royal storm rantings even got a wry mention in Charles Sturridge’s nicely autumnal, rather more sotto voce drama. The nuances of ceding control and attendant family upset were gentler, more manicured lawn than blasted heath, but the sense that death’s door was creaking open gave Gambon a chance to riff Read more ...
Jenny Gilbert
Here’s a paradox. Just as the words “new Cold War” were beginning to form on the lips of political commentators in the West, two British film-makers, former TV newsmen no less, were being granted uncensored access to the Bolshoi Theatre – just 500 metres from the Kremlin – to make a candid documentary for HBO. Their cameras didn't stop turning for four months.The Bolshoi had plenty of reasons to shun such publicity at that juncture. In January 2013 Sergei Filin, the artistic director of the ballet company, had been the victim of an acid attack as he returned home in Moscow after a performance Read more ...
Christopher Lambton
To a freezing grey night in Scotland’s capital, the conductor Carlos Miguel Prieto brought a welcome ray of Mexican sunshine. Wearing a broad grin he marched onto the platform of the Usher Hall and launched into Rodion Shchedrin’s impish Concerto for Orchestra No.1, Naughty Limericks, with the Royal Scottish National Orchestra. As its title suggests, this short piece is virtuosic mayhem for a large orchestra: at first hearing it has the swagger and tomfoolery of Gershwin’s An American in Paris but with the admixture of an earthy bawdiness that is totally Russian.Prieto, a tall man, conducts Read more ...
Kieron Tyler
When the Sixties-inspired The Prisoners released their second album Thewisermiserdemelza in 1983, the decade they looked to for their musical and sartorial style was closer to the album itself than it is to today. Now, the half-century remove from what the Medway band drew from then ought to be as distant as, say, the minutiae of 1916 are from those of 1966. Yet this is not the case. The 1960s have never been consigned to the dusty drawer of distant memory, a point rammed home by the Victoria & Albert Museum's annoucement last week that they are to hold a major exhibition dedicated to the Read more ...
Hanna Weibye
One of the secrets to enjoying life is mastering the creative use of disappointment. Many in the Covent Garden audience last night were no doubt deeply disappointed not to be seeing Natalia Osipova's legendary portrayal of the title role in Giselle, injury having removed the Russian superstar from the opening night cast. If Royal Ballet regulars they might have been even more disappointed to realise they would therefore be seeing two of the company's more underpowered actors, Sarah Lamb and Matthew Golding, headlining this most dramatic of ballets.All credit to Lamb and Golding; considering Read more ...
Matt Wolf
A prevailing sense of farewell ripples through this closing production in the Sam Wanamaker Playhouse's hugely welcome season of Shakespeare's final quartet of plays. That valedictory feel is traditionally true of The Tempest, a text commonly regarded as Shakespeare's own leave-taking and one that here also marks the final staging after a decade at the helm of the venue's sure-to-be-missed artistic director Dominic Dromgoole, who now hands over the reins to Emma Rice.It's tempting, of course, at such moments to view the staging itself as some sort of summary achievement whereby a director's Read more ...