Arts Reviews Archives

Wednesday

15 Nov 2023

Surprising flop from a top-class team: To Have and To Hold, at Hampstead Theatre, reviewed

To Have And To Hold boasts a starry cast and a top-class creative team. Richard Bean’s script is a meditation on ageing, directed by Richard Wilson and Terry Johnson, and it opens with a sight-gag about a wonky stairlift descending into a suburban lounge in Yorkshire. The stairlift is occupied by Flo, a tea-drinking fusspot (charmingly played by Marion Bailey), who looks after her crumbling husband, Jack. Both have endured 70 years of marital bliss and are slithering gently into the grave. Flo gets help from her middle-aged son Rob and his sister Tina, but they’re zestless, bland personalities. If a gag fails it returns again with the same result:

Richard Bratby

Cliché, cynicism and a car-crash finale: Royal Opera's Jephtha reviewed

London’s two opera houses have been busy staging non-operas. Handel’s English oratorio, Jephtha, is his final exercise in a form that only existed because it was, explicitly, not opera (Georgian theatres needed something to play during Lent). We know better today, and dramatised reboots of Handel oratorios are proliferating, possibly because – unlike his actual operas – they give the chorus something to do. Katie Mitchell directed Theodora at Covent Garden last year. Now Oliver Mears has had a bash at Jephtha and has encountered the same basic problem. Operas seduce; oratorios preach. These are explicitly Christian, implicitly patriotic works, and what self-respecting contemporary director could allow that? It was

Rosie Millard

The growing revolt against Arts Council England

The acronym for Arts Council England is rather unfortunate at the moment. The organisation is being accused of many things: being overly close to government, underfunded and blinkered – but nobody thinks it is ace. Even friendly culture critics are losing patience. As the august arts commentator Richard Morrison recently wrote in the Times: ‘The Arts Council… seems determined to shift public subsidy on to supporting amateurs and community projects.’ ‘We are tempted to refuse our ACE grant and not spend so much time box-ticking’ Simple purpose has been replaced by a giant strategy paper, Let’s Create, which seems concerned with how ACE can insist on a policy of social

Wednesday

8 Nov 2023

Calvin Po

Has all the charisma of Chernobyl: Manchester's Aviva Studios reviewed

There is a (possibly apocryphal) story about William Morris, where he spends most of his time in Paris inside the Eiffel Tower’s restaurant because ‘that is the only place where you can’t see the damned thing’. Aviva Studios risks a similar fate. Designed by architects OMA as the permanent performance venue for the Manchester International Festival and headquarters for its organisers, Factory International, it’s been savaged by critics and citizens alike for its ugliness. But not unlike the Eiffel Tower, it is from within that one can really witness the spectacles it has in store. ‘We designed the building from the inside out,’ John McGrath, Factory International’s artistic director and

Rod Liddle

A rather beautiful farewell to rock'n'roll: The Beatles' 'Now and Then' reviewed

Grade: A The last song the Beatles ever recorded was called, appropriately enough, ‘The End’, on the Abbey Road album. As a consequence of digital sorcery, however, ‘Now and Then’ is the last song we will ever hear from them – a demo passed from John to Paul, dubbed over in the early 1990s by the (then) three surviving members and, more recently, unearthed and remastered. It does not sound very much like the Beatles; it is more akin to a mid-1970s John Lennon solo album song (think ‘#9 Dream’) but overseen by Paul McCartney – which in effect is kind of what it is. It’s a fine, lachrymose ballad

Rupert Christiansen

Subtle, intriguing and inventive: Rambert's Death Trap reviewed

Ben Duke belongs to a class of younger choreographers who have decided to flout the convention that dancers should remain silent on stage. Liberating their voices is by no means a new phenomenon (in 1961 Frederick Ashton had Svetlana Beriosova speak verse by Gide in his sadly forgotten Persephone), but it’s one that particularly suits our culture’s dislike of rigid genres, and Duke makes playful use of it in the double bill entitled Death Trap that makes up Rambert’s current tour, which lands at Sadler’s Wells on 22 November. Rambert’s superb troupe of dancers let rip in bursts of gloriously exuberant jiving Goat is the less successful of his two

Lloyd Evans

Branagh can’t quite banish the spirit of Noel Edmonds: King Lear, at Wyndham's Theatre, reviewed

Branagh vs Lear. The big fixture in theatreland ends in a win for Shakespeare’s knotty and intractable script which usually defeats any attempt to make it coherent or dramatically pleasing. This truncated version is a two-hour slug-fest set in the stone age – and it sort of works. The warriors fight with sharpened walking sticks and they stab each other using twigs whetted to a fine point. If you ignore the steel buckles and the writing paper, which were clearly invented earlier, you’ll find it just about believable. On stage, Branagh can’t quite banish the spirit of Noel Edmonds and he adds to the cheeky-chappie persona with a thick golden

Laura Gascoigne

Embarrassment of riches: South Asian Miniature Painting, at MK Gallery, reviewed

In 1633, British merchants travelling east were issued with a royal command from Charles I: ‘As the king has considered that there is a great deal of learning fit to be known written in Arabic, and great scarcity of Arabic and Persian books in this country… every ship… at every voyage shall bring home an Arabic or Persian manuscript book, to be delivered to… the Archbishop of Canterbury, who shall dispose of them as the King shall think fit.’ One suspects that a hunger for learning wasn’t the whole story, and that the sight of the exquisite illustrations adorning books sent from India as diplomatic gifts had whetted Charles I’s

James Delingpole

Incomprehensible and epically anti-climatic: Netflix's Bodies reviewed

Bodies is another of those ‘ingenious’ time-travel apocalypse mash-ups so tricksy and convoluted that by the time the ending comes you’re praying fervently that the nuclear bomb will go off and everyone will die as punishment for the hours of life you’ve wasted on this angsty, politically correct, humourless tosh. The premise is initially intriguing: four detectives in different time periods – 1890, 1941, the present and the near-future – have to solve the same murder mystery. But it soon becomes clear, as is the way with these things – see, for example, the mind-bending irksomeness of Christopher Nolan’s Inception – that the solution will be simultaneously incomprehensible and epically

Deborah Ross

Entertaining. Mostly: Dream Scenario reviewed

Dream Scenario is a high-concept dark comedy about celebrity and cancel culture. It stars our old pal Nicolas Cage who, blame it on what you will – tax bills, divorce bills, the price of butter – has appeared in some abominable dreck down the years but has never turned in a boring performance. Mad, yes. Reckless, yes. Maximalist, always. But boring? Never. And he is wonderfully not-boring here. It’s certainly the most Nicolas Cage film since the last Nicolas Cage film, whenever that was. Plus it is entertaining. Mostly. The film is directed by Kristoffer Borgli (Sick of Myself, also a satire on social-media fame) and stars Cage as Paul

Richard Bratby

Funny, faithful and inventive: Scottish Opera's Barber of Seville reviewed

A violinist friend in the City of Birmingham Symphony Orchestra used to talk about an orchestra’s ‘muscle memory’; a collective instinct that transmits itself, unspoken and unconscious, among the members of the ensemble. The occasion was a return visit from Sir Simon Rattle, a good decade and a half after he’d left Birmingham. At that point, perhaps only one third of the musicians had been present when Rattle last conducted this particular work. No matter. ‘You know how we play this,’ said Rattle, and sure enough they did, slipping as one into the exact articulation and dynamics that Rattle had instilled all those years ago. As with the human body,

Graeme Thomson

This recreation of Dylan's Free Trade Hall concert is supremely good

In May 1966, Bob Dylan toured the UK with The Band, minus drummer Levon Helm, and abrasively pulled the plug on any lingering notions of his being a mere folk singer. Playing two sets every night – the first acoustic, the second electric – even the solo numbers were wild, lysergic, unravelled. The electric ones whipped through the tweed and tradition like the howl of a strange new language. The crowds booed and one chap famously cried ‘Judas!’ (though presumably many of those present also enjoyed it). Dylan muttered and swore and was unbowed. The fast-moving currents of pop culture changed course almost perceptibly. Give Power the right lines and

Jenny McCartney

Joni Mitchell, in her own words

There’s always been something at once girlish and steely about Joni Mitchell, the stellar Canadian whom Rolling Stone called ‘one of the greatest songwriters ever’. As Radio 4’s Verbatim programme in honour of her 80th birthday reminds us, a stubborn hopefulness has carried her through turbulent times. Perhaps growing up in Saskatchewan, where winter temperatures drop to –30°C, put an early stiffener in her soul. When she contracted polio, aged nine, her mother braved the hospital ward in a mask to bring her bedridden daughter a small Christmas tree, but little Joni made a promise to the tree that she would walk sufficiently well again to be allowed back home

Robert Jackman

The rise of Christian cinema

Author Matthew Vaughan spent much of his life in the church – and even preached the gospel in Pakistan – but never considered himself a fan of Christian media. ‘To be honest, most of the films I saw were pretty corny,’ he tells me over the phone from his home in Birmingham. For Vaughan, that changed when he came across an American box-set drama about Jesus called The Chosen. ‘It kept getting recommended to me by American missionaries,’ he says. ‘They said it was like a Jesus movie for the Netflix generation – well written, well acted and with a good budget behind it.’ Christian viewers vote on which projects

Wednesday

1 Nov 2023

James Walton

Riveting and heart-wrenching: BBC1’s Time reviewed

‘Only with women’ is a phrase used by more cynical TV types for a show that takes something that’s been done before with men, but by changing the gender of the characters can pose as ground-breaking. It sprang to mind this week when both of BBC1’s big new dramas unblushingly took the only-with-women approach; the problem for the cynics being that the programmes themselves are rather good. Or, in the case of Time, overwhelmingly so. Jimmy McGovern’s original 2021 series – a heart-wrenchingly effective portrait of life in a male prison – deservedly won a Bafta. Now he’s back to give us a heart-wrenchingly effective portrait of life in a

Adrian Dannatt

‘You cannot begin by calling me France’s most famous living artist!’: Sophie Calle interviewed

‘You cannot begin by calling me France’s most famous living artist!’ Thus Sophie Calle objected to the first line of the obituary I wrote for her, commissioned for the enormous exhibition, À toi de faire, ma mignonne (‘Over to you, sweetie’), that currently occupies the whole Musée National Picasso-Paris. But modesty aside, it is a fact that no other French artist alive today is so celebrated, loved, debated, denounced and, indeed, imitated, around the world as Calle. Having long mined her own life for her work, Calle now happily mines her death This year is the 50th anniversary of Picasso’s death and that his most important museum should officially mark

Michael Hann

Spellbinding performance of a career-defining record: Corinne Rae Bailey, at Ladbroke Hall, reviewed

You won’t see two more contrasting shows this year than Corinne Bailey Rae performing her album Black Rainbows and Brian Eno presenting work with a symphony orchestra. One had music that did everything; one had music that did very little. But both were overwhelming and filled with joy of rather different kinds. When Bailey Rae last made an album, in 2016, it was gentle, tasteful, soulful R&B, the kind the young professional couple in a prestige Netflix drama listen to before their lives are overturned by a vengeful nanny. Black Rainbows,by contrast, from earlier this year, was an abrupt embrace of everything: from scuzzy garage punk to psychedelic soul to

Laura Gascoigne

The importance of lesbianism to British modernism: Double Weave, at Ditchling Museum, reviewed

The name of Ditchling used to be synonymous with Eric Gill, but since he was outed as an abuser of his own daughters the association has become an embarrassment. Obliged to quietly drop its most famous name, Ditchling Museum of Art + Craft has been exploring less controversial connections. Its latest show, about Bourne and Allen, is a tribute to a forgotten creative partnership that casts a fascinating sidelight on the contribution of women’s traditional crafts – and lesbianism – to British modernism. After the Festival Hall put them on the map, they were approached to weave the fabrics for Ben-Hur Hilary Bourne was a Ditchling girl. Sent from India

Deborah Ross

Outstanding and eye-opening doc about North Korea: Beyond Utopia review

The documentary Beyond Utopia follows various families as they attempt to flee North Korea. It is eye-opening and outstanding. In essence, it is a life-or-death thriller told in real time where the stakes could not be higher. I watched at home, via a screening link, with a twenty-something who did not look at her phone once. Could there be a higher recommendation? The film has been assembled by the American director Madeleine Gavin who employed a camera crew when it was safe to do so but otherwise made use of secret smuggled footage. Her way in is via Kim Seungeun, a South Korean minister who has bravely devoted himself –

Hannah Tomes

Comedy of the blackest kind: Boy Parts, at Soho Theatre, reviewed

There’s something mesmerising about watching a good mimic. And Aimée Kelly, who plays fetish photographer Irina Sturges in Soho Theatre’s Boy Parts, is a very good mimic. Across the 80 minutes of this one-woman performance, she inhabits the bodies of dozens of characters, each a carbon copy of the worst kind of person: oleaginous city bankers; shrill, hysterical twenty-something women; ‘Andrew Tate-core’ men. An unnamed boy ends up as nothing more than a severed head Her sneering representations of these characters instruct us to see them (whether we want to or not) as Irina does: pathetic and deeply undesirable. It’s uncomfortable. Irina is a narcissist which is enforced, immediately, by