Arts Reviews

The good, bad and ugly in arts and exhbitions

Yesterday

Laura Gascoigne

The woman who revolutionised British fashion: Barbara Hulanicki interviewed

‘I was one of your original customers in Kensington Church Street,’ I tell the founder of Biba when we meet. ‘Are you coming to complain?’ she shoots back. At 87 and fresh off a flight from Miami, Barbara Hulanicki is as sharp as a tack. The designer was in London for the opening of The Biba Story, the Fashion and Textile Museum’s celebration of the revolution she accomplished in 1960s street fashion. Believe me, it was a revolution – I was there and yes, I remember. In fact I can summon a mental inventory of all the items of clothing I bought from Biba over its short life, from the

Sam Leith Sam Leith

Gorgeous and deeply absorbing: Manor Lords reviewed

Grade: A ‘God games’, as they used to be called, have a storied history. SimCity, Civilisation and the excellently sadistic Dungeon Keeper have all been responsible for many a PhD thesis being delivered late. The Almighty seems to have smiled on the latest iteration of the genre. The product of a one-man-band independent developer, Greg Styczen, its current pre-release version scored a million downloads on the first day it was available. You can see why. It’s made with such care and love. You take the role of a medieval lord of the manor – choose a surly avatar and a coat of arms – who starts with a handful of

James Walton

Nowhere near as miserable as I remember it: The Beatles – Let It Be reviewed

Beatles lore has long held that the film Let It Be was a depressing portrait of the band falling apart. According to the same lore, that’s why Peter Jackson’s Get Back was such a revelation. Revisiting Michael Lindsay-Hogg’s footage of the group at work in January 1969, Jackson discovered there was far more joy around than anyone suspected – including the surviving Beatles. Yoko remains a darkly brooding presence (the revisionism that sees her as benign needs its own revision) All of which, it now turns out, only goes to prove the ever-reliable power of suggestion. I vaguely remember seeing Let It Be on TV in the 1970s, before it

Lloyd Evans Lloyd Evans

Fawlty Towers – The Play is the best museum piece you’ll ever see

Fawlty Towers at the Apollo may be the best museum piece you’ll ever see. A full-length play has been carved out of three episodes: ‘The Hotel Inspectors’, ‘The Germans’, and ‘Communication Problems’ in which the deaf guest, Mrs Richards, made a nuisance of herself by refusing to switch on her hearing aid in case the batteries ran out. For anyone who saw the sitcom in the 1970s, this is a pleasantly weird show. It’s like returning to a seaside funfair after half a century and finding all the rides unchanged and the staff more or less as you remember them. If Beckett had written family comedies he might have created

Laura Gascoigne

Beguiling: Yinka Shonibare, at the Serpentine Galleries, reviewed

More than seven centuries ago, the medieval cartographer Richard of Haldingham created Hereford Cathedral’s Mappa Mundi; I say ‘created’ because when he drew his map it was largely a work of the imagination. Its terra incognita is populated with bizarre creatures born of the fever dreams of early travel writers: his Africa is inhabited by Monocules, one-eyed, one-legged men who use their single foot as a parasol, and his Asia is roamed by the Bonnacon, a bull-like creature with inward-curling horns whose only defence is his projectile faeces. As a Londoner who grew up in Lagos he felt kinship with the hybrid creatures of the Mappa Mundi Five years ago,

Richard Bratby

Meet the man who says improvisation is the key to Mozart

In August 1993, the pianist Robert Levin sat down in Walthamstow Assembly Rooms with the conductor Christopher Hogwood and the Academy of Ancient Music (AAM) to record the complete piano concertos of Wolfgang Amadeus Mozart. Mozart was big – the bicentenary celebrations of 1991 had made a global impact. And Hogwood and the AAM were big too. After their groundbreaking period-instrument Mozart symphony cycle a decade earlier, the 27 piano concertos seemed like a wholly achievable ambition. What could go wrong? ‘For Mozart’s contemporaries, what surpassed even his virtuosity was his ability to improvise’ Only, as it turned out, the entire classical record industry. The project was meant to take

Deborah Ross

Predictable but has a certain French verve: Two Tickets to Greece reviewed

Within the first five minutes of Two Tickets to Greece you know what it is and where it’s going. It’s based on what I call ‘the hate-love formula’ with its in-built guarantee: any two people who can’t stand each other at the outset of a film will have bonded by the end. In this instance it’s a womance featuring two middle-aged women who were inseparable at school but haven’t seen each other for 30 years. One is Blandine who, as an adult, is reserved and buttoned-up, while the other, Magalie, is – gulp – a ‘free spirit’. (Run, Blandine; run like the wind!) But while the film is predictable, it

Michael Hann

Lovely slice of Cosmic Scouse: Michael Head & the Red Elastic, at EartH, reviewed

One of the more bizarre but recurring tales about how the music of Liverpool has been shaped over these past 45 years concerns Courtney Love, the American musician famed, music aside, for being married to Kurt Cobain, and for being wildly unpredictable. This story claims the 17-year-old Love, who had travelled across the Atlantic to be near the bands she loved, introduced Liverpudlian musicians to LSD, setting in train a decades-long phenomenon known as ‘Cosmic Scouse’. The slight problem with this is that Love only came to Liverpool in 1982, by which point the musicians she had come to celebrate – Echo & the Bunnymen and the Teardrop Explodes among

Thursday

Julian Spalding

The brilliance of Beryl Cook

Nobody claims Beryl Cook was an artistic genius, least of all the artist herself. ‘I think my work lies somewhere between Donald McGill [the saucy postcard artist that George Orwell wrote so lyrically about] and Stanley Spencer,’ she once told me. ‘But I’m sorry to say I’m probably nearer McGill.’ She was, as ever, being modest. I actually think she’s nearer Spencer – and Hogarth, come to that. Cook’s paintings make us laugh but that doesn’t stop them from being art. (Few would say Shakespeare’s comedies are as profound as his tragedies, but they’re brilliant creations, nevertheless.) Though Victoria Wood dubbed her work ‘Rubens with jokes’, there aren’t actually any

Jenny McCartney Jenny McCartney

A gripping podcast about America’s obsession with guns

The love affair between so many Americans and their guns – long a source of international fascination – appears to be getting more painfully intense. The greater the publicity over gun crime, the more Americans think they’d better acquire a firearm to keep themselves safe. There are now roughly 400 million guns in the US – but most citizens feel more unsafe than ever, and with some justification. Last year featured both the highest level of gun ownership in US history and the highest recorded number of mass shootings. This really is one to listen to in bed, in the pitch dark – even better, pretend you’re in a couchette

Damian Thompson Damian Thompson

Yunchan Lim’s Chopin isn’t as good as his Liszt or Rach

Grade: B- In 2022 the South Korean pianist Yunchan Lim became, at 18, the youngest winner of the Van Cliburn competition, displaying a virtuosity that stunned the judges. You could see conductor Marin Alsop’s astonishment as he bounded through the finale of Rach 3, combining accuracy and swirling fantasy at daredevil speed. It’s been viewed nearly 15 million times on YouTube. In truth, though, he’d have had to screw up badly not to win, because he’d already dispatched Liszt’s fiendish Transcendental Études with perfect articulation and mercurial wit; in places he out-dazzled even the current master of this repertoire, Daniil Trifonov. Decca snapped him up and here’s his first studio

Laura Gascoigne

Fascinating insight into the mind of Michelangelo

You’re pushing 60 and an important patron asks you to repeat an artistic feat you accomplished in your thirties. There’s nothing more daunting than having to compete with your younger self, but the patron is the Pope. How can you say no? Besides, it’s an excuse to get away from Florence, where your work for the republicans who expelled the Medici has become an embarrassment since their return. So you tell Pope Clement VII that, yes, you will move to Rome and paint a Last Judgment on the altar wall of the Sistine Chapel. Bladder stones, colic, backache, gout – Michelangelo had them all and moaned about them in letters

Richard Bratby

Across Britain punters are lapping up ultra-trad opera – the Arts Council will be disgusted

Another week at the opera, another evening with an elitist and ethically dubious art form. I love it; you love it; but the authors of the Arts Council’s recent report on opera in England are less enamoured. One issue they identified was that ‘the stories which opera and music theatre tells are failing to connect fully with contemporary society’. Possibly the memo never reached the promoters of Ellen Kent’s spring tour, which since January has visited 40-odd venues not typically served by major opera companies, and has done so without public subsidy. You might imagine that the only commercial outfit to make live opera pay in Wolverhampton, Ipswich and Sunderland

Graeme Thomson

Dense, melancholic, hypnotic: Brighde Chaimbeul, at Summerhall, reviewed

The hip end of the folk spectrum is in rude health right now. Dublin’s mighty Lankum lead the way, but plenty of other interesting artists are following in their wake, Brighde Chaimbeul among them. If a Gaelic-speaking trad musician from Skye reinterpreting Philip Glass for the small pipes sounds like your thing – and why on earth wouldn’t it? – then Chaimbeul is worthy of exploration. At 17 she won the BBC Radio 2 Young Folk Award. Her 2019 debut, The Reeling, released via Rough Trade, cross-pollinated traditional with experimental electronic music. More recently, and still in her early twenties, she has collaborated with American avant-garde saxophonist Colin Stetson on

Lloyd Evans Lloyd Evans

Minority Report is superficial pap – why on earth stage it?

Minority Report is a plodding bit of sci-fi based on a Steven Spielberg movie made more than two decades ago. The setting is London, 2050, and every citizen has been implanted with an undetectably tiny neuroscanner which informs the cops about crimes before they’ve been committed. However, as the first scene reveals, the undetectably tiny neuroscanner can be removed from the flesh with a corkscrew. The character who gouges out her tag is a computer geek, Julia, who invented the surveillance method in the first place. She stands accused of planning a murder and she goes on the run to clear her name. The actors appear to be trapped inside

James Delingpole James Delingpole

Why did C.J. Sansom approve this moronic Disney+ Shardlake adaptation?

What would C.J. Sansom have made of the Disney+ version of his novel series about 16th-century crookback lawyer Matthew Shardlake? Sadly, because he died just a few days before its release, we’ll probably never hear the full story. But this comment from the show’s producer offers a hefty clue: ‘Chris [Sansom] has been enormously generous and he wants more people to read the books, and this is such a good way.’ Sounds very much like Sansom accepted this atrocity of an adaptation as a necessary evil: his books had been stuck in development hell for nearly two decades (possibly, because his labyrinthine whodunits about monastic reform and court politics in

Rupert Christiansen

There are passages of considerable eloquence in Royal Ballet’s The Winter’s Tale

There’s no escaping Christopher Wheeldon – a modest, amiable fellow from Yeovil of whom anyone’s mum would be proud. Reaching outside the ballet bubble, his stagings of An American in Paris and the Michael Jackson musical have wowed the West End, Broadway and beyond. My guess is that his take on Oscar Wilde, to be premiered in Australia later this year, will soon travel north, too. Next season the Royal Ballet will revive his box-office smash Alice’s Adventures in Wonderland as well as a programme drawn from his plentiful short pieces. Two summers ago, he presented us with an adaptation of the novel Like Water for Chocolate (not so tasty).

Deborah Ross

Wonderfully special: La chimera reviewed

La chimera, which, as in English, means something like ‘the unrealisable dream’, is the latest film from Italian writer/director Alice Rohrwacher (The Wonders, Happy as Lazzaro). Her films are arthouse, in the sense that if you’re in the mood for someone blowing stuff up and escaping by speedboat while enjoying flirtatious repartee with a sexy lady, this probably won’t cut it. But if you’re in the mood for something original and woozy and riotous and wonderfully special, you will be able to fill your boots. Arthur has a kind of superpower that enables him to locate buried loot just by coming over funny It is set in Italy in the

Thursday

Sam Kriss

It’s time to free art from being ‘interactive’ and ‘immersive’

The American artist and critic Brad Troemel once pointed out that art galleries have all turned into a kind of adult daycare, and ever since then I haven’t been able to visit a gallery without noticing it. Nearly two decades ago, Carsten Höller installed a set of big aluminium slides in the Turbine Hall at Tate Modern, and they were undeniably good fun because going down slides is fun. It’s also fun, although maybe for a different type of person, to ask if going down slides counts as art. These days, though, you can hardly move for this stuff. The world is already interactive. You walk around in it. You

Rupert Christiansen

Don’t write off Hofesh Shechter – his new work is uniquely haunting

In 2010, when his thrillingly edgy and angry Political Mother delivered modern dance a winding punch right where it hurt, I had high hopes for Hofesh Shechter. Here was an outsider with the courage to make his own rules and engage dance with real-world issues (he had served a traumatising period in the Israeli army) rather than blindly following the fashionable goddess Pina Bausch down the rabbit hole of postmodern irony. He wasn’t interested in playing games. But success has taken his edge off and what has followed has largely been disappointing. Trapped by a limited choreographic vocabulary, Shechter has repeated himself, relying too hard on the brute effect of