Arts Reviews

The good, bad and ugly in arts and exhbitions

Rod Liddle

Introducing DJ Naughtie and MC Filth. Represent.

Great news  – Radio Four is to employ a bunch of young black working class presenters, to replace all those old middle class white ones. Or at least I assume it is. The BBC Trust has decided that Radio Four is not adequately representing the population as a whole; it is too elderly, and too all that other stuff I mentioned. I think that the BBC Trust, like many middle class people, is guilty of synonymising “intelligence” and “middle class”. They hear someone using long words and immediately think they’re middle class. But John Humphrys isn’t from a middle class background, nor Roger McGough. But perhaps they are right, the

Why I love Westerns

We ran a version of this post by Samira Ahmed, the newsreader and reporter for Channel 4, on a previous incarnation of this blog. But with the Coen Brothers’ take on True Grit out next week, Samira has updated and extended it for us now. You can follow Samira on Twitter. here A long time ago, when all the grandfathers and grandmothers of today were little boys and little girls or very small babies, or perhaps not even born,” the Wild West was still – just about – in living memory. And a little British Asian girl growing up in 70s suburbia could read the opening lines to Laura Ingalls

Lloyd Evans

‘I want to be a vagabond’

Lloyd Evans talks to Sophie Thompson, whose lack of vanity defines her approach to acting Straight off, as soon as I meet Sophie Thompson, I can see the look she’s striving for. Elegant ragamuffin. Torn jeans, scruffy trainers and a charity-shop blouse all offset by some peachy designer accessory worth five grand. Then I realise there’s no peachy accessory. She’s just pulled on her gardening gear and left it at that. And not a trace of make-up either which, for a woman over 45 — even though she looks ten years younger — is either reckless or bold. Or perhaps just genuinely modest. Thompson is starring in the social satire

There is no alternative

Stand-up comedians: is there anything they can’t do? Not only do they make up a huge proportion of chat-show guests — and of chat-show hosts — they also present Horizon, give us guides to the night sky, utterly dominate panel shows and regularly pop up on Question Time. Recently, they even set up their own news discussion programme in the as yet formless shape of Ten O’Clock Live. And that’s just television. In the lead-up to Christmas, Dawn French saw off Stephen King, John Grisham and Maeve Binchy to have the country’s bestselling hardback novel, while the fastest selling DVD in British history is Michael McIntyre’s ‘Hello Wembley!’, whose title

Wedding belles

The pedants who say fly-on-the-wall documentaries are cheap, meaningless television could not be more wrong. They are the postmodernist answer to David Attenborough, the Life on Earth de nos jours. Anyone who doubts this should watch My Big Fat Gypsy Wedding on Channel 4 (Tuesdays, 9 p.m. and, if missed, on 4oD). Not since meerkats exploded on to our screens have television cameras transported us into such a rare and fascinating habitat. Those uptight commentators whingeing about the antics of the gypsies entirely miss the point. Does one watch Attenborough and afterwards complain that ‘this daft meerkat fell asleep on its feet and toppled over’? No. Personally, I felt utterly

Look and learn

Bridget Riley turns 80 this year, a fact easy to forget when looking at the surging energy and contemporaneity of her pictures. She is a remarkable artist who, although imposing severe formal restraints on her work, manages continually to surprise us with the richness of her invention. Perhaps it is because of the self-limitations she endures that her imagination is compelled to delve so deeply in the narrow field she has made her own. And its very modernity is an aspect of the way her vision is directly and inspirationally linked to the art of the past. The free display in the Sunley Room at the NG, sponsored by Bloomberg,

Lloyd Evans

Trouble at home

The Almeida relishes its specialist status. The boss, Michael Attenborough, isn’t keen on celebrity casting because he wants ‘the theatre to be the star’. It’s a niche operation for purists and connoisseurs, for seekers and searchers, and for those who can spell Verfremdungseffekt without having to check (as I just had to) what the penultimate letter is. We’re privileged to have a theatre in London that wants to raise the bar rather than the bar prices. The Almeida relishes its specialist status. The boss, Michael Attenborough, isn’t keen on celebrity casting because he wants ‘the theatre to be the star’. It’s a niche operation for purists and connoisseurs, for seekers

Animal magic

The annual collaboration between Scottish Opera and the Royal Scottish Academy of Music and Drama is, as the principal of the RSAMD writes, ‘a model…for partnership working between professionals and professionals-in-training’, and it is hard to think of any work more suitable for this partnership than Janácek’s The Cunning Little Vixen. The annual collaboration between Scottish Opera and the Royal Scottish Academy of Music and Drama is, as the principal of the RSAMD writes, ‘a model…for partnership working between professionals and professionals-in-training’, and it is hard to think of any work more suitable for this partnership than Janácek’s The Cunning Little Vixen. The 76 players in the orchestra include 21

Save the World Service

All this talk about cuts might not be such a bad thing, if it forces us to think about what really should not be left to rot and wither away for lack of funding. Take the BBC’s World Service. Do we really need it in these post-imperial times? After all, it was set up in 1932 so that the King could keep in touch with his subjects, day and night, around the globe, wherever they might be. Those first broadcasts rather touchingly suggested that the King and his representatives in Whitehall actually cared about what happened to the peoples of Togo, Tanganyika and Christchurch, NZ. But, as The King’s Speech

Grown-up viewing

Sky’s new channel, Atlantic, kicked off this week with two big shows: Boardwalk Empire, which is set in 1920 and is about gangsters, and Blue Bloods, which is set in the modern day and is about a family of New York law enforcers. Sky’s new channel, Atlantic, kicked off this week with two big shows: Boardwalk Empire, which is set in 1920 and is about gangsters, and Blue Bloods, which is set in the modern day and is about a family of New York law enforcers. As in all American cop shows, there is a lot of badge-flashing, though for some reason none of the people they flash their badges

Rod Liddle

Keep your distance in the Middle East

There was a fabulously daft and self regarding woman called Marina something or other talking about Egypt on Question Time last night. In a prize for the Most Useless Woman Ever to Appear On Question Time she would certainly be in the top five, although probably below Katie Hopkins. I was supposed to be on this week but couldn’t face the journey back from Workington: I assume Melanie Phillips was my replacement. The Egypt business continues to baffle the west. Truth is, foul although the despotic leaders of most middle eastern countries undoubtedly are, they are more liberal and more pleasant than almost anything the people of that region yearn

Kate Maltby

Fake Shakes(peare)

    Plaster the name ‘William Shakespeare’ on your theatre posters, and you’re sure to get bums on seats – even if Shakespeare didn’t quite write the play in question. That’s the rationale behind the slew of productions of the mysterious Cardenio, or Double Falsehood, the latest of which has opened at the Union Theatre.  This latest production is fresh and pacy – and buoyed by energetic performances by Emily Plumtree, Emily Plumtree and Adam Redmore – but it’s hard to watch without a gnawing sense of astonishment at the chutzpah of the company’s claim to place this flimsy curio alongside masterpieces like Macbeth or Measure for Measure. There are

Nick Cohen

1981 and all that

LP Hartley could not have been more wrong. The past is not a foreign country to which we can never return. It fills the minds of the living and stops us seeing the present clearly. My Observer colleague Andrew Rawnsley tells our nervous readers this morning that David Cameron and George Osborne have no Plan B for the economy. They believe they are right and will not change course, in part because the myths of the past possess them, specifically the myth of 1981. “The final reason why they do not have a Plan B flows from the way they interpret history. The prime minister and the chancellor are keen

Hand of destruction

Mark Greaves talks to the artist Peter Howson about his latest commission and his demons Peter Howson started hallucinating last summer. Lying awake at night, he saw what he describes as ‘devils, demons and goblins’. They told him there was no point in living; that he might as well do away with himself. It was, he says, probably the worst year of his life. He felt as if he had been abandoned by God. At times he says he couldn’t really walk or see. He made himself feel better by reading the Book of Job — in which Job’s children die, his possessions are destroyed and his skin covered in

New look

There has already been a certain amount of controversy over this exhibition: not just the predictably ruffled feathers of Royal Academicians omitted from the selection, but also the kind of ill feeling among the Academy’s organisational staff which gives a museum a bad name. There has already been a certain amount of controversy over this exhibition: not just the predictably ruffled feathers of Royal Academicians omitted from the selection, but also the kind of ill feeling among the Academy’s organisational staff which gives a museum a bad name. This is a great pity, as the exhibition is a remarkable one — out of 12 rooms, eight contain some of the

Leaden mess

Hereafter is directed by Clint Eastwood, produced by Clint Eastwood and Steven Spielberg, and written by Peter Morgan, although what would attract one of these big names to such a project, let alone three, is anyone’s guess. Hereafter is directed by Clint Eastwood, produced by Clint Eastwood and Steven Spielberg, and written by Peter Morgan, although what would attract one of these big names to such a project, let alone three, is anyone’s guess. Honestly, I had more fun this week doing my tax return which, every year, nicely reminds me what a pitiful amount of money I earn and what a total loser I am. Did Peter (Frost/Nixon; The

No-hoper

As I sat fuming through the latest absurd production of Carmen, this one directed by the controversial Daniel Kramer for Opera North, it struck me that this opera, like one other of the trio of popular masterpieces set in or around Seville, Mozart’s Don Giovanni, suffers because its central figure leads a separate life of her or his own; though they are most famous in the context of these works. As I sat fuming through the latest absurd production of Carmen, this one directed by the controversial Daniel Kramer for Opera North, it struck me that this opera, like one other of the trio of popular masterpieces set in or

Lloyd Evans

Losing the plot

An all-Hall haul this week. Sir Peter directs his daughter Rebecca in Twelfth Night at the National. This traditional and very fetching production opens in a sort of Elizabethan rock-star mansion where Orsino (Marton Csokas) lounges on a carved throne, in Lemmy locks and Ozzy cape, intoning the play’s gorgeous opening lyrics. Then the plot begins. There’s a she who dresses as a he and falls in love with another he who sends her to another she who loves the she who’s dressed as a he. Did you follow that? Don’t worry. Later, up pops another he who’s identical to the first she and they all get married. The audience