Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Lloyd Evans Lloyd Evans

You can’t have Mojo and your money back

In 1992 Quentin Tarentino gave us Reservoir Dogs. At a stroke he reinvented the gangster genre and turned it into a comedy of manners with a deadly undertow. This new mutation looked as if it might be easy to copy. Many tried. Among them was Jez Butterworth, whose 1995 play Mojo takes Tarantino’s zany-macabre format and moves it to Soho in the 1950s. Butterworth also leans heavily on Pinter. The play opens in the back-office of a nightclub. Two pilled-up criminals are exchanging streams of lairy London chit-chat. Their boss, Ezra, has discovered a teenage heart-throb named Silver Johnny but rival gangsters are keen to muscle in and grab a

Michael Tanner

Should we watch the second act of Tristan und Isolde (without the first or the third)?

There aren’t many operas from which you can extract a single act and make a concert of it, in fact I can’t think of any except ones by Wagner. I’ve been to Act I of Die Walküre, Act III of Die Meistersinger¸ Act III of Parsifal at the Proms, Act II of Lohengrin, and several times to Act II of Tristan und Isolde. It’s not that Wagner’s acts tend to be longer than anyone else’s, they don’t: Handel’s often last as long, so do Rossini’s. It’s rather that some of Wagner’s greatest acts are so rich in musical and dramatic material, so perfectly shaped and have so powerful an impact,

Tuesday

Lara Prendergast Lara Prendergast

The Turner Prize lives the myth of constant renewal

Let’s imagine for a minute that the Turner Prize is cancelled next year. Would anyone care? A few members of the artistic elite and a handful of artists perhaps, but beyond that? I don’t think they would. There are plenty of other valuable art prizes out there, after all. And no one has really taken it seriously for a while now. Each year the same, tired debates come out about how ‘art can be whatever it wants to be’, which is true, but also happens to be the least controversial thing you can say. So it’s off. Cancelled. No more queues of people waiting to see a light switch turn

Thursday

Mike Poulton

How to think like Chekhov or Turgenev

I recently met an A-level English student who had never heard of Pontius Pilate. How is it possible to reach the age of 18 — to be applying to university to read English and European Literature — and never to have come across the man who asked the unanswerable question: what is truth? This student had completed a course in theatre studies, having read hardly any Shakespeare, nor any of his contemporaries, none of the Greeks — Sophocles, Aeschylus, Euripides — nothing from the Restoration, no Ibsen, no Shaw, and certainly no Schiller — though he had been given the role of Hippolytus in a school production of Phaedra’s Love,

Andrew Lambirth

In the National Gallery’s Vienna show, it’s Oscar Kokoschka who’s the real revelation

The current exhibition in the Sainsbury Wing claims to be a portrait of Vienna in 1900, but in fact offers rather an interesting survey of portraits made there from the 1830s to 1918. The gallery layout has been usefully adapted to display the work thematically rather than chronologically, which is more dynamic but stylistically confusing. The only way to enjoy the show is to wander at will and pick out the paintings that appeal. There are some horrors here (I wouldn’t linger over Broncia Koller), but plenty of good things as well. The first room gives you a taste of what’s on offer: there’s a mad portrait of Emperor Franz

Jenny Morris

Love-making in Air

Black swifts in the sky ascend, soar and glide. They turn all about, seem not to collide. When feeling great joy they scream and they sing. They swoop and they love to mate on the wing. And we on our flight are feeling the same. We eye up the crowd and drink our champagne. With blankets above, seats set to recline, we touch and embrace. Mile-high we entwine. This freedom in air — it must be our right (despite paunches and fat) to like sex at a height.

Michael Henderson

Don’t flog a dead parrot – leave Monty Python in the past

You can’t go home again, as the Americans say. It’s worth running that adage, taken from Thomas Wolfe’s unfinished novel of 1938, past those zealots who snapped up 20,000 tickets for Monty Python’s reunion at the O2 Arena in 43 seconds when they went on sale this week. Four more dates were immediately inked in, with more to follow, one feels certain, as Python fever covers the globe. What a horrible prospect. The Python team are not horrible. Goodness gracious, no. In four BBC series between 1969 and 1974 they were often outstandingly funny, in a way that nobody had been funny before. Many of the old sketches do not

Andrew Roberts

Save our Van Dyck!

Why should a portrait of a Flemish painter by a Flemish painter be considered so important to Britain that the culture minister Ed Vaizey has slapped a three-month export delay on it, and the National Portrait Gallery has announced a £12.5 million campaign to keep it in the country? Moreover, why is it so important that after reading this article you should immediately go to www.savevandyck.org and make a generous contribution to save it from going abroad? The answer lies in four words: Sir Anthony Van Dyck. No other single artist has had such an impact on British art as Sir Anthony Van Dyck (1599–1641) not only in his own

Camilla Swift Camilla Swift

Blackfish and the scandal of caged killer whales

If you were in a bathtub for 25 years, don’t you think you’d get a little bit psychotic? Well, yes, probably. But this is how captive killer whales live. Tilikum is no different from many of these. A 31-year-old orca who was scooped out of the North Atlantic in 1983, aged two, he has spent the remainder of his life in captivity. Over that time, he has grown to weigh five tons, and has been ‘involved’ in the deaths of three humans. He currently lives at SeaWorld in Orlando, and the documentary Blackfish tells his tale. Much of the video footage in the film speaks for itself; but the interviews

Kate Chisholm

Why didn’t financial journalists blow the whistle on Paul Flowers? Robert Peston can’t tell you

As I listened to Robert Peston early last Friday fluffing on about the Revd Paul Flowers and the possible effect of his indiscretions on the future of the Co-operative Bank, I couldn’t help wondering why none of the financial journalists smelt a rat when Flowers took over as chairman of the once-dependable, now-fragile bank. The former Methodist minister, it is now emerging, has made a career out of duping those who employ him. He’s evidently a conman of considerable talent, but even so it’s incredible that none of the BBC’s keen-eyed investigators into the City and matters financial thought it worthwhile to check out Flowers once it was known that

James Delingpole James Delingpole

Gary Bell is the real rudest man in Britain – and he’s on your side

Gary Bell is the rudest man in Britain. I have known the bastard for years and no one —move over, lightweight Starkey — comes even close to matching his bluntness, his tastelessness, his heroic urge to offend at all costs regardless of how much collateral damage he causes his friends, his family or indeed his own reputation and career as a brilliant QC. But Gary has a dark secret: underneath that elephantine carapace of intellectual arrogance, gratuitous cruelty, and room-clearing crassness beats a heart so warm and tender it makes Princess Diana look like Hannibal Lecter. If a mate were in serious trouble, Gary would be the first to rush

Giannandrea Poesio

Stuttgart Ballet – still John Cranko’s company

Stuttgart Ballet’s rapid ascent to fame is at the core of one of the most interesting chapters of ballet history. Between 1961 and 1973, the year of his untimely death, the South African Royal Ballet-trained choreographer John Cranko turned what had been a fairly standard ballet ensemble into a unique dance phenomenon. Although Stuttgart is still known as a ‘choreographer’s company’, his legacy was never artistically constraining. His successors took his powerful vision on board and broadened the repertoire in line with it. It was thus a pleasure to see the history of the company celebrated through the composite programme Made in Germany, in which past and present were seamlessly

Lindsay Johns

Trading Places at 30 – one of the funniest films of all time

Next month marks the 30th anniversary of the release of what is, in my opinion, one of the funniest films of all time: Trading Places. Starring comedic demigods Eddie Murphy and Dan Ackroyd, together with Jamie Lee Curtis and Denholm Elliot, this 1983 critical and commercial success is an amusing and trenchant satire on race, class, money and the whole American dream. When a destitute street hustler Billy Ray Valentine (Murphy) unknowingly swaps places with pampered, prissy Wall Street commodities broker Louis Winthorpe III (Ackroyd) and takes over his privileged life as part of a one-dollar bet — a nurture versus nature scientific experiment conducted by the fabulously wealthy yet

Deborah Ross

Deborah Ross: If you don’t enjoy Saving Mr Banks, there’s something wrong with you

Saving Mr Banks tells ‘the untold true story’ of the making of the Disney classic Mary Poppins via the stand-offs between Walt and the book’s author, P.L. Travers, and it is not a taxing film. You always know where it’s going and, with its rather melodramatic flashbacks, there is no ambiguity as to where it is coming from, but neither matters as much as they should as there is just so much joy to be had otherwise. It stars both Tom Hanks and Emma Thompson (you spoil us, ambassador!), is smartly and deftly directed (by John Lee Hancock) and if you can’t get off on the composers, the Sherman brothers,

Michael Tanner

Opera review: The Barbican’s Albert Herring was a perfect evening

Of this year’s three musical birthday boys, Wagner has fared, in England, surprisingly well, Verdi inexplicably badly, and Britten, as was to be expected, has received the royal treatment. No one could have predicted, though, that the culmination of the celebrations would be as glorious as it was: a single semi-staged performance at the Barbican of what, in my minority opinion, is his operatic masterpiece, Albert Herring. Surely after attending it, or hearing it on Radio 3, that might become a majority opinion. For what this performance revealed was a work that is inspired throughout, has no longueurs, which are to be found in almost all Britten’s other operas, even

Lloyd Evans Lloyd Evans

Ben Miller interview: ‘Everyone was doing alternative comedy. I thought I’d distinguish myself by just telling jokes’

Ben Miller is wolfing down a pizza. I meet the comedian in a Cambridge restaurant where he demolishes a Margherita shortly before racing off to appear on stage in The Duck House, a new farce about corrupt MPs. The show is set in 2009. Miller stars as a Labour backbencher who wants to jump ship and join the Conservatives. But first he has to convince a Tory bigwig that his expenses claims are entirely legitimate. He’s not helped by his dim-witted wife, his corrupt Russian cleaner, and his anarchist son, Seb, who has sublet the family flat in Kensington to a suicidal Goth. The writers Dan Patterson and Colin Swash

Lloyd Evans Lloyd Evans

Martin Shaw’s flaws make him perfect for Twelve Angry Men

Strange actor, Martin Shaw. He’s got all the right equipment for major stardom: a handsome and complicated face, a languid sexiness, a decent physique and a magnificent throbbing voice. He sounds like a lion feeling peckish in mid-afternoon. At top volume, his growl could dislodge chimney pots. And yet he’s just a steady-eddy TV performer who does the odd stint in the West End. Why isn’t he Patrick Stewart or Anthony Hopkins? Perhaps his rhythm is too slow. Certainly, he lacks pep or sparkle, or a sense of mystery. You know what he’s going to do next because he’s just done it. And even then it wasn’t much. Warmth, innocence

Thursday

Andrew Lambirth

Ditchling Museum’s guiding dream

The charming East Sussex village of Ditchling lies at the foot of the South Downs, its narrow streets lined with ancient houses and pubs. For much of the 20th century it was home to a community of artists and craftsmen, the most famous of whom are Eric Gill and David Jones, master and pupil. In 1985, two sisters, Hilary and Joanna Bourne, founded a museum to preserve and celebrate the wealth of local creativity. It is this museum that reopened at the end of September after a major overhaul and redevelopment by Adam Richards Architects. The results are very fine indeed: this is one of the loveliest small museums I

Tanya Harrod

Where’s the fun, Barbican? 

Pop Art Design, curated by the Vitra Design Museum and currently at the Barbican, opens with Richard Hamilton’s 1956 ‘Just what makes today’s homes so different, so appealing?’. Made as a poster for the Whitechapel show This is Tomorrow, it’s a witty collage of consumer fantasies scissored out of magazines, reminding us that interest in popular culture among British artists operated as a humorous, semi-anthropological collegiate research project. In part, British Pop was a riposte to the lushness of American consumerism from a small island that had won the war but had lost the peace. Pop Art in the United States got under way later and many American Pop artists

Ariane Bankes

The Lisson show is so hermetic, sometimes we flounder for meaning

The title of the Lisson Gallery’s new show, Nostalgic for the Future, could sum up the gallery’s whole raison d’être. From its inception in 1967, the Lisson has championed the cutting edge, providing a British and European platform for the major conceptual and minimal artists from the States — Sol LeWitt, Carl Andre and Dan Flavin among them — and following that in the 1980s with its promotion of New British Sculptors such as Anish Kapoor and Tony Cragg. While this generation wittily subverted the material world to question our position within it, their heirs in turn seem more interested in querying the position of art in the world —