Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Lloyd Evans Lloyd Evans

Upstairs, downstairs

Never a dull moment at the Jermyn Street Theatre. It’s a titchy venue, the size of a gents’ loo, nestling beneath a cavernous flight of stairs in the nameless hinterland between druggy Soho and tarty Mayfair. The current proprietors, aiming for an air of scholastic amateurism, are on the hunt for ‘unknown and forgotten classics’. The theatre boasts a Resident Academic and an eccentric register of patrons including ‘Victoria Biggs, Euan Borland and the Duchess of Cambridge (pub)’. Currently it’s sifting the 1920s for treasure. Others have prospected here before. Ben Travers’s bourgeois farces no longer entertain us because middle-class morality has changed too much in the past 90 years.

Thursday

James Walton

Why David Bowie is still underrated

Is it just me, or is there quite a lot being written about David Bowie at the moment? Of course, there’s the fact that the V&A’s blockbuster exhibition has coincided with the totally unexpected appearance of his first album for ten years. (While putting the exhibition together, the curators could never have dreamed that on the day it opened, a new Bowie album would be number one in 40 countries.) Yet for some cynics on the internet — never hard to find — the recent outbreak of Bowie mania is a simple question of demographics: the media is now run by people who grew up with him, and apparently never

Andrew Lambirth

Life and Death in Pompeii and Herculaneum

The Reading Room is currently packed with Roman remains and with visitors attempting (or pretending) to look at them. The latest blockbuster at the BM (sponsored by Goldman Sachs) looks set to exceed all other oversubscribed sensationalist exhibitions, with more than 250 objects in a mazy but airy layout. When I first heard about this show, my main concern was how it could possibly compare or compete with the experience of visiting what’s actually left of the cities of Pompeii and Herculaneum in Italy. The principal attraction of this subject for those with some interest in the fine arts must be the famous wall-paintings, and how could these be transported

Liz Anderson

Nicholas Hytner quits as head of National Theatre…in the wake of a Spectator profile

So, Nicholas Hytner is to step down as director of the National Theatre at the end of March 2015. How canny of Lloyd Evans to review his ten-year reign on the South Bank in The Spectator arts pages on 6 April, the week before his official announcement. Lloyd wrote: ‘Artistic freedom has been the hallmark of his ten-year stewardship….No one guessed how bold Hytner would be. He took the presiding spirit of the theatre, as embodied in its ponderous title, and chucked it in the Thames. Instead of running a museum of official art he created a showcase for his personal inclinations. The National Theatre of Hytner. An astonishing risk.

Michael Henderson

The Hagen Quartet: Bracing Beethoven

Established 32 years ago in Salzburg, the Hagen Quartet can fairly be described as venerable. It may be said equally fairly that brothers Lukas and Clemens Hagen, their sister Veronika, and Rainer Schmidt, are playing better than ever. The opening pair of concerts in their Beethoven cycle at Wigmore Hall in January were remarkable for the freshness as well as the beauty of their playing, and their return next week (19 and 20 April) to the world’s greatest hall for chamber music should not be missed. Now that the Alban Berg Quartet is no more, the Hagen, along with the Takács, are the supreme performers of Beethoven. There is a

Clarissa Tan

TV review: The Secrets of Britain’s Sharia Courts; The Sex Clinic

Sometimes a television programme raises far bigger questions than it actually gives a platform for, which is the case with Panorama’s The Secrets of Britain’s Sharia Courts (BBC1, Monday). Wedged in this half-hour slot are explosive issues such as the sovereignty of British law, the role of religion in arbitrating on marital disputes, and the place of women in Islam. The show adopts a feisty, no-holds-barred approach in this piece of investigative journalism presented by Jane Corbin, yet has strange ellipses at certain points that leave huge questions dangling. At one juncture, Corbin says, ‘The previous government gave up on its attempt to investigate sharia councils. They couldn’t get proper

Kate Chisholm

Radio review: Sunflowers Behind a Dirty Fence; The Fisherman

No one writes for radio for the money. Or for the notoriety. You’ll never make mega-bucks or see your name in lights. Yet still they write — because it’s challenging and yet also so much fun. There are no restrictions on the air, no boundaries of time or space, no limits on what a character can do or where they can go, in the space of 30, 45, 60 minutes. The only rules are to speak clearly as the writer, taking your listeners with you, and for the cast to have distinct voices, with immediately identifiable differences in tone and personality. If you have to struggle at any point with

Lloyd Evans Lloyd Evans

Theatre review: The Low Road and Quasimodo

A lap of honour at the Royal Court. Bruce Norris has been one of the big discoveries of artistic director Dominic Cooke, who takes his bow by directing The Low Road. Norris’s greatest hit, Clybourne Park, was a savage and illuminating satire about racism. His next trick is to examine the burning issue of the day, unfettered greed. A great start. But he can’t decide whether he’s for or against the profit motive. And he has no idea where to mount his attack. He time-travels to 18th-century America and imagines an unscrupulous spiv, a bit like Barry Lyndon, who climbs from destitution to wealth and whose life touches American history

Deborah Ross

The Place Beyond the Pines – don’t read this review!

The Place Beyond the Pines stars both Ryan Gosling and Bradley Cooper — you spoil us, ambassador! — and is a generational feud film about fathers and sons and legacy. Can anyone be born clean? How do past events reverberate? How might one act of violence play out, years later? It is written and directed by Derek Cianfrance who made Blue Valentine, a remarkably raw and claustrophobic film about a marriage going down the tubes, also starring Ryan Gosling, but with Michelle Williams, and although this is a more familiar genre, it is still blissfully gripping. Certainly, I was gripped, blissfully, which was nice, as I haven’t been held in

Will Gore

Lara Pulver interview: ‘People in LA were desperate to meet Irene Adler’

Not many actors have made a name for themselves with quite the same force as Lara Pulver. In January last year more than eight million people tuned in to BBC1 and watched her star as Irene Adler in ‘A Scandal in Belgravia’, the opening episode in the second series of Sherlock. I’m not saying that Pulver’s appearance in one of the early scenes wearing nothing more than a pair of high heels (albeit with some clever camera angles preserving her modesty) was the only reason for the vast amount of attention the episode received. It’s surely no coincidence, however, that her name was almost immediately trending on Twitter and that

John Mole

Scan

I shall be radioactive For eight hours afterwards And must be careful To avoid intimate contact. The prospect of this Alarms me, but what now Suddenly comes to mind Is just how alone I felt Standing in Hereford Cathedral October 1962 Beside the Mappa Mundi With Krushchev banging on As nuclear war seemed Unavoidable, that the world Could soon be dust, this sacred Storehouse of humanity And faith be flattened In an instant. Eight hours Or not much more Was all I’d have to hurry home Before our precious intimacy Would vanish in the void And love, left echoing, Become an empty word.

Friday

Steerpike Steerpike

Newt Gingrich’s Downton downtime

Newt Gingrich has a new love. ‘It’s a great study of plot,’ the failed Presidential runner and former Speaker of the House told Slate magazine. He was not referring to a ’90s sleaze inquiry, or the reasons why he lost to Mitt Romney. The object of his obsession is our very own Downton Abbey. In what could be mistaken for an interview about his once colorful private life, Gingrich went on: ‘It has about 15 subplots plus four or five that come and go. At any given moment you could list these different developments going on with these different personalities. See, you’re never bored.’ Apparently, ITV’s most successful export is

Thursday

Lloyd Evans Lloyd Evans

Nicholas Hytner’s National Theatre: Ten years and a million cheap tickets

‘The house that Ho Chi Minh built.’ That’s how Nicholas Hytner refers to his ample north London home. In 1989, at the age of 34, he was hired by Cameron Mackintosh to direct the musical Miss Saigon. ‘It just felt like a huge lark,’ he said at the time. The show ran for ten years in the West End and on Broadway and the royalties enabled him ‘to do what I wanted to do thereafter. It was a massive stroke of good fortune.’ Artistic freedom has been the hallmark of his ten-year stewardship of the National Theatre. Hytner grew up in a prosperous south Manchester family and his fascination with

Andrew Lambirth

George Bellows; Sydney Lee RA

The American artist George Bellows (1882–1925) is best known for his boxing paintings, but as this surprising exhibition reveals, that was only the half of it. We don’t really know his work in this country, apart from the odd picture in a mixed show, but here is indisputable evidence that we have been missing out. Bellows died from appendicitis aged only 42, so this exhibition inevitably offers us work which varies wildly in style and competence, as he tried his hand at different approaches and different subjects. Nevertheless there are at least half-a-dozen paintings of real worth and presence, in addition to the boxing pictures, which I personally find of

Radhika Kapila

Weeknd’s world

There was something vaguely disappointing about seeing Abel Tesfaye appear on stage at London’s Electric Ballroom. A wide-eyed, puffa-jacket-clad figure isn’t what you expect from his enigmatic alter-ego ‘The Weeknd’ — it seemed incongruous that we should watch this self-styled introvert performing to an audience. At 23 years old, Tesfaye (aka The Weeknd) has released three mixtapes, achieved eight million downloads and, this year, completely sold out his British shows. His reputation is growing as people are drawn in by his distinctive, falsetto tones. The Weeknd’s first online mixtape ‘House of Balloons’ and subsequent albums took the internet by storm. Now, with increasing popularity, his enigmatic internet presence is also

Kate Chisholm

Noise – A Human History

You could say that Neil MacGregor revolutionised radio with his mega-series A History of the World in 100 Objects. In each of those 100 programmes he took us on an extraordinary journey of the mind, to show us what we’ve been up to since the first ‘primitive’ reindeer carvings of the Ice Age. He did this not by the usual route for such grandiose series of going on a whirlwind trip through history, but by looking at the small, often tiny details and drawing from them as much meaning as possible. He also transformed the 15-minute radio slot into a brilliant teaching tool, focusing on the minuscule while at the

James Delingpole James Delingpole

The Village

Everyone’s loving BBC1’s new, Sunday-night period mega-drama The Village (32 episodes long if writer Peter Moffat has his way). It’s taut, spare, grown-up, accomplished, dark, strange and poetic, according to the critics, which I think are all euphemisms for ‘not like Downton Abbey’. And it definitely isn’t like Downton Abbey. There’s a lot more brooding, the dialogue’s more Pinteresque (which is to say it’s more often there to evoke mood or the banality of existence than to carry the plot, amuse you or illuminate character), its view of the past (a Derbyshire village on the eve of the first world war) is much less rosy. But is this necessarily a

Clarissa Tan

Composition and catharsis: Review of ‘A Late Quartet’.

Why the sudden spate of movies about classical music quartets and impending death? Early this year, we had Quartet, about four senior singers in a retirement home. Now we have A Late Quartet, about a string ensemble facing the loss of one of its members. The film industry couldn’t possibly be subliminally associating classical music with ageing and fuddy-duddyness, could they? Shame on them. Perhaps before the year is out we’ll have The Latest Quartet, then we’ll know that classical music has carked it altogether. Anyway, of the two movies (so far), Late is by far the more masterly. It is for all intents and purposes a chamber film —

Michael Tanner

Kafka Fragments at the Linbury Studio; Nabucco at the Royal Opera House

Yes, well…aphorisms are never easy to deal with, they are a naturally intimidating form of utterance. If you admit that you don’t understand them, you may well be thought thick. If you reject a request for an explanation of one, on the grounds that what it says can’t be put any other way, you may well get away with it. Many aphorisms are intended to shut down a line of thought, La Rochefoucauld’s for instance, while the best of Nietzsche’s say, in his words, ‘what other people would take a book to say, and would still leave unsaid’. Setting them to music sounds a bright idea for certain composers, but

Patrick Carnegy

Jonathan Slinger’s Hamlet

In his ‘Love Song’, T.S. Eliot’s ageing bank-clerk J. Alfred Prufrock protests he isn’t ‘Prince Hamlet, nor was meant to be…’. David Farr’s new production sets out to put this to rights. The result is indeed a very strange affair. It is built around Jonathan Slinger, who last season starred memorably as Prospero in The Tempest and as Lenny in Pinter’s The Homecoming. A little further back he’s been Macbeth in a curiously Popish staging by Michael Boyd and Richards II and III in Boyd’s great Histories sequence. A less Eliotian conceit is the director’s notion that Hamlet is about sword fighting or, in this modern-dress interpretation, specifically fencing. The