1940s
Love Life, Opera North review - Lerner and Weill's blast into the pastFriday, 17 January 2025
The past is a foreign country: they do things differently there. But in Love Life, Kurt Weill and Alan Jay Lerner’s musical from 1948, it’s all the same country. The couple whose marriage is at the centre of it all are seen in different eras of US... Read more... |
Vermiglio review - a simple tale, simply but beautifully toldFriday, 17 January 2025
Another new release opens with the sounds of people in bed playing over the credits, but these are not Babygirl’s sighs of a woman faking sex but the angelic breathing of three young sisters sharing a bed in the snowy Alto Adige.It’s 1944, and Italy... Read more... |
Twelfth Night, Orange Tree Theatre review - perfectly pitched sad and merry musical mayhemSaturday, 30 November 2024
It's all too easy to underplay the melancholy of Shakespeare's comedy of divided twins, misplaced – sometimes narcissistic – love, drunken frolics and a Puritan given his comeuppance. Tom Littler's decision to present the action in a very English... Read more... |
Kolesnikov, Hallé, Elts, Bridgewater Hall, Manchester review - the dude who dazzlesFriday, 08 November 2024
Pavel Kolesnikov returned to the Hallé last night with a bobby-dazzler of a concerto. He’s a laid-back dude in appearance, with no tie, flapping jacket and cool appearance – quite a contrast with the full evening dress worn by the orchestra members... Read more... |
The Third Man rides again - 75th anniversary of Carol Reed's noir classicFriday, 06 September 2024
It was originally released in Britain 75 years ago this month, making its debut in a small cinema in Hastings on 1 September 1949, and quite a few people will tell you that The Third Man is their all-time favourite film. Carol Reed’s noir classic... Read more... |
theartsdesk Q&A: violinist and music director Pekka Kuusisto on staged Shostakovich, Sibelius, sound architecture and folk fiddlingMonday, 01 July 2024
Lilac time in Oslo, a mini heatwave in June 2023, a dazzling Sunday morning the day after the darkness transfigured of Concert Theatre DSCH, the Norwegian Chamber Orchestra’s from-memory Shostakovich music-drama. Pekka Kuusisto and I decide not to... Read more... |
Album: Madeleine Peyroux - Let's WalkMonday, 24 June 2024
Madeleine Peyroux made her name with her second album, 2004’s Careless Love. It consists almost completely of cover versions, delivered in a quiet, jazz-bluesey shuffle redolent of singers from the 1930s. She’s never flown as high again but has... Read more... |
Kiss Me, Kate, Barbican review - an entertaining, high-octane Cole Porter revivalThursday, 20 June 2024
Lincoln Center’s Bartlett Sher is back in town to direct the Barbican’s latest summer blockbuster, Cole Porter’s classic Kiss Me, Kate. It’s an energetic, largely intelligent production of what is at base a screwball comedy with great songs. ... Read more... |
Blu-ray: The Small Back RoomTuesday, 18 June 2024
Powell and Pressburger’s least remembered Forties film is shrouded in Blitz darkness, deepening in the warped flat where alcoholic weapons expert Sammy (David Farrar) stares at a whisky bottle as if it’s a bomb. Following the vivid English fantasias... Read more... |
The New Boy review - a mystical take on Australia's treatment of its First PeoplesSaturday, 16 March 2024
This is writer-director Warwick Thornton’s third feature film, his first since 2017's excellent Sweet Country, and it took him 18 years to bring it to the screen. He describes it as “a really special one” with “a lot to say”, though viewers may find... Read more... |
The Human Body, Donmar Warehouse review - Keeley Hawes and Jack Davenport excel in an intriguing stagingThursday, 29 February 2024
Keeley Hawes onstage is something to look forward to, so rare are her appearances there. In Lucy Kirkwood’s new play, The Human Body, we are given a double treat: Hawes, plus her black and white screen image, projected all over the Donmar’s back... Read more... |
The Zone of Interest review - garden gates of deathFriday, 02 February 2024
The jokey serious point in Mel Brooks’s The Producers is that you shouldn’t be able to make a musical set among Nazis. But if you shouldn’t make a musical, can you make any fiction?The renowned chronicler of the death camps, Elie Wiesel, said that a... Read more... |
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