Arts Reviews

Maybe it was too soon for Saturday night’s Archive on 4 to reflect on George W.’s reign as President of the US of A. After all, there are still three days left of his administration. But Bremner on Bush: A Final Farewell was a missed opportunity. Rory Bremner was presumably hauled in as presenter because of his sharp-witted impersonations of Dubya, a man so easy to lampoon Bremner must sometimes have wondered whether there was any point in making fun of him. But, surprisingly, he gave us very few of those infamous stutters and stammers, and instead we heard from members of Bush’s White House team and a mixed bunch

Well Apollo Hit Me! The Life and Rhymes of Ian Dury Leicester Square In Blood: The Bacchae Arcola So what does the theatre critic make of the recession? No one’s asked me, actually, so here goes. Leaving aside the obsessive 24-hour media coverage, there’s little trace of it in the real world. Immunise your bonce against the gloom-rites of the newspapers and you’ll see that the impending ‘slump’ (dimple, actually) will prove to be the briefest and shallowest downturn in economic history. By next Christmas the factories will be pumping out skiploads of new consumer junk, the FTSE will be performing dizzying feats of alpinism at the 6,000 mark and

I suppose it must have seemed a neat idea at the time, but Dan Drezner is absolutely correct: Bono’s debut column for the New York Times is simply gibberish*. I guess one of the perks of celebrity is being able to find a publisher for nonsense that would, quite correctly, be rejected out of hand were it submitted by an average hack. Like Dan, I’ve no idea what point Bono is trying to make beyond a) he knew Frank Sinatra and b) people like Sinatra’s songs. *And that’s after it was edited. Did no-one at the NYT pause to ask “Hang on, why are we printing this tripe?” Or did

Circus Cirque du Soleil has taken a surreal turn with its latest show, Quidam, at the Albert Hall: a headless man with an open umbrella, a crowd of people wearing white protective overalls doing, well, nothing much … but it’s the acts what count. Most are thrilling: a couple lift, stretch and contort themselves in slow motion into anatomically-unbelievable positions; four Chinese girls looking about 12 years old spin their diabolos; and other members of the company skip, somersault, tumble and chuck one another high into the air. Lots more good stuff and, thank heavens, no tedious clowns — there’s only one, and he’s actually quite funny. Film Critics have

William Cook talks to the creators of some of TV’s funniest and best-loved comedy programmes As our economy disappears down the plughole, along with the reputations of most of our bankers and politicians, the one consolation is that entertainers like Russell Brand and Jonathan Ross suddenly seem terribly passé. When you’re broke, there’s nothing entertaining about other people’s affluence — or decadence — and, even if you can make ends meet, failure is always far funnier than success. The two men who understand this better than anyone are sitting side by side on the same sofa, in the august but comfy drawing room of a grand old house near Hampton

Andrew Lambirth looks forward to some great exhibitions in the year ahead There’s a very full year’s viewing ahead to cheer the eye and gladden the heart however bleak the financial prospects. For a start, the National Gallery is mounting a major exhibition focusing on the fascinating relationship that Picasso had with the art of the past. His reworkings of Goya, Velázquez, Rembrandt, Chardin and Delacroix, together with responses to more contemporary masters such as van Gogh and Gauguin, provide a riveting dialogue of minds. Picasso: Challenging the Past (25 February to 7 June) will offer new ways to look at the Old Masters as well as a different take