America
Boyd Tonkin
Does John Wilson ever stumble?The Sinfonia of London, the Gateshead-born conductor’s ad hoc all-star super-band, rode into a full-to-bursting Royal Albert Hall once again last night with an all-American Proms programme that promised not just crowd-pleasing Stateside favourites (Gershwin’s Rhapsody in Blue in its centenary year, Barber’s Adagio for Strings) but the towering Yosemite peak of John Adams’s massive symphony-in-all-but name, Harmonielehre. There were a couple of moments, especially in a sometimes routine rendering of Copland’s Billy the Kid, when their famously blazing Read more ...
Adam Sweeting
The music scene on the New Jersey shore in the late Sixties and early Seventies must have been a thing of wonder, a kind of Merseymania-on-Sea. Its mix of soul, R&B and primitive rock’n’roll fuelled countless groups, not least Southside Johnny and the Asbury Jukes and eventually Bruce Springsteen’s E Street Band. Stevie Van Zandt was a key member of both of those outfits.While history has decreed that Springsteen’s vast shadow should eclipse everything, Bill Teck’s documentary (originally made for HBO) does a solid job of reminding us that maybe the Boss did need a little help, and he got Read more ...
Nick Hasted
“I don’t care what they’re talking about,” says the best bugger in the business, Harry Caul (Gene Hackman). “I just want a nice fat tape.”In the minor-key masterpiece Francis Ford Coppola made in the brief interlude between The Godfather (1972) and The Godfather Part 2 (1974), Harry is a freelance genius of surveilled sound, whose mask of isolated control is incrementally dismantled by a recording of a clandestine lovers’ rendezvous in San Francisco. “It’s not an ordinary meeting,” he realises. “It makes me feel something.”The Conversation is a shadowy tone poem Read more ...
Adam Sweeting
Laura Lippman’s source novel for Apple’s new drama became a New York Times bestseller when it was published in 2019, and director Alma Har’el’s screen realisation has fashioned it into an absorbing dive into various social, racial and political aspects of mid-Sixties America.Set in Baltimore, the story is filtered through separate though overlapping perspectives, personified by the twinned leading characters Maddie Schwartz (Natalie Portman, in her first TV role) and Cleo Johnson (Moses Ingram).Maddie is a Jewish housewife and mother from suburban Pikesville, who seems, superficially, to be Read more ...
Graham Fuller
There comes a point in I Saw the TV Glow when the repressed high-schooler Owen (Justice Smith) smashes his television’s screen by trying to dive into the box itself, to cross the great divide between his numbed reality and the feminine supernatural fantasy-land of his favourite series.Bursting into the room, Owen’s brutish widowed father (Fred Durst) pulls him from the wreckage. The scene is a metaphor for gender dysphoric Owen’s inability to start transitioning into a girl, a block that will leave him emotionally crippled. That is the nub of Jane Schoenbrun’s dazzling second feature, not so Read more ...
Adam Sweeting
“Blow, winds, and crack your cheeks!” urged King Lear, accompanied by the Fool, on the blasted heath. But that’s not quite snappy enough for the storm-chasers of Twisters as they drive their souped-up four-by-fours across the tornado-blitzed flatlands of Oklahoma. Their motto is “if you feel it, chase it!” which is pretty much all they do for the movie’s two-hour duration.So OK, it isn’t Shakespeare, but Lee Isaac Chung’s movie, with a screenplay by Mark L. Smith, sustains a hectic and frequently hysterical pace while delivering oodles of gobsmacking footage of terrifying storms threatening Read more ...
Liz Thomson
You can take the woman out of the Left Bank, but you can’t take the Left Bank out of the woman. Madeleine Peyroux would be perfectly at home in a boîte in the Latin Quarter, or perhaps Montparnasse. Alas, we were in the sadly unromantic surrounds of London’s Barbican, where the lighting crew had done a good job of creating a smoky vibe before curtain-up.If the smell of Gauloises and Lillet were of necessity left to the imagination, Peyroux and her four-piece band provided a 90-minute transport of delight to the near-capacity audience that was, surprisingly, notably older than the singer Read more ...
Helen Hawkins
Before Lucas Hnath wrote Red Speedo, he had heard a 2004 speech at a hearing investigating baseball doping that declared the practice “un-American”. That started him thinking about the concept of fairness. After the play had been produced in New York In 2016, another politician was boasting that Americans were going to win such a lot, they "might even get tired of winning”. Red Speedo inhabits the ground between these two positions and is a timely arrival at the Orange Tree, just as athletes prepare for the Olympics, where performance-enhancing drugs may well crop up as an issue. But a Read more ...
Tom Birchenough
There’s an exuberant comedy from the start in Katori Hall’s The Hot Wing King, which comes to London after an initial Covid-truncated Off Broadway run which brought her a Pulitzer prize in 2021. Roy Alexander Weise’s production puts in all the energy it can find and then more, doing its best to balance that comedy with the more serious themes, such as family responsibility, and a man’s role in the world, with which it is interspersed.It’s a balance that the production does not finally quite achieve, however, with an extended first half dominated by the kitchen banter of four Memphis friends, Read more ...
Helen Hawkins
Fans of American playwright Annie Baker’s work know what they are likely to get in her film debut as a writer-director: slow-paced interactions between characters thrown together in a confined space – a workplace, a B&B, a clinic – where long bouts of silence are not uncommon and little happens but everything important somehow gets said. Janet Planet is classic Baker in this respect. In some scenes, the birds and crickets make more noise than the humans, and whirring fans get solos. There’s also music, a rarity in a Baker stage production, here mostly coming from car radios or home Read more ...
Veronica Lee
Hannah Berner isn't a big name in stand-up (yet), but she's well known enough in the United States to have come to Netflix's attention. Her fame comes from TikTok and Instagram (where she has three million followers), her podcasts and formerly being a cast member of the Bravo reality series Summer House. We Ride at Dawn is her first, but I suspect not her last, Netflix special.In the stand-up hour filmed at the Fillmore in Philadelphia, the Brooklyn-born comic muses on a range of subjects – mostly sex, politics and relationships – but also riffs on Disney princes and the things that annoy her Read more ...
mark.kidel
The artist Bill Viola died, after a long illness, early in the morning of Friday 12 July. I had the privilege of getting to know him while making a documentary about his life and work in 2001-2003. He quickly became a friend, as did his wife Kira and his sons, Blake and and Andrei. He felt like a kind of brother, who’d grown up through the same changes that shook culture up in the 1960s and 70s. Although he was American, I felt that we spoke the same language.I’d become interested in video art – the principal domain of his work – in the mid-1970s. I wrote about it, persuaded the BBC to give Read more ...