Arts Reviews

It would be easy to be a little dismissive of George Ezra. A wholesome late twentysomething hailing from the rock and roll badlands of Hertfordshire, Ezra is the kind of pop star you could happily take home to meet your grandparents. A graduate of the British and Irish Modern Music Institute, good-looking in that long, toothy Prince William way, he seems to be laboratory designed not to offend or challenge even the most prickly sensibilities. His music is harder to pin down. With its repeated calls and refrains, it blends folk, pop, soul, blues and calypso styles into an uncomplicated feelgood mix that is both old-fashioned and summer-fresh. The melodies

Art is a fundamentally childish activity: painters dream up images and sculptors play with stuff. It was while playing with an inflatable ball with her young daughter in the early 1960s that Maria Bartuszova had the idea of filling balloons with liquid plaster instead of air. The inspiration fed her muse for 30 years, seeding the mixed crop of biomorphic forms currently filling five rooms at Tate Modern. Trained in ceramics at Prague Academy of Arts under communism, Bartuszova turned to plaster after moving with her sculptor husband Juraj Bartusz to the industrial city of Kosice, now in Slovakia, in 1963. Plaster was cheap and plentiful: a 1987 photo in

Eureka Day is a topical satire set in a woke school in America. An outbreak of mumps has led to calls for a vaccination programme that will prevent the school from being quarantined and shut down entirely. The script, written in 2018, has acquired new layers of meaning since the Covid terror. It opens with a playful sketch in which four white teachers and a black parent try to agree how many ethnic categories should be recognised by school officials. Their friendly conversation conceals a toxic seam of racial suspicion and hostility. The writer, Jonathan Spector, is probably a rock-sold liberal who wants the world to know that the woke

The first night of the new season at Covent Garden was cancelled when the solemn news came through. The second opened with a short, respectful speech from Oliver Mears, the director of opera, and a minute’s silence in which the houselights were lowered and we could gaze at the curtains, from which the huge gold-embroidered EIIR cypher had already been removed. For the first time in King Charles’s reign, we sang the national anthem to unfamiliar new words. There were shouts of ‘God Save the King!’And then the lights dimmed once more and we proceeded with the business of the evening, and the life of the Royal Opera. Britain has

Good, better, best was the satisfying trajectory of Northern Ballet’s terrific programme of three original short works, which moves south to the Linbury Studio at the Royal Opera House at the beginning of November. The company has a new director in the amiable Federico Bonelli, formerly a principal with the Royal Ballet, and he has several problems to address, not least the shortage of richly characterful dancers among the senior ranks. But this triple bill should boost everyone’s morale, and the audience at the Leeds Playhouse was enthralled. First up was Wailers, Mthuthuzeli November’s elegiac return to the world of his childhood in a parched South African township. Bourréeing on

‘It seems to me that I have to choose between 2 extremes of affection for nature… English, or Southern… The latter – olive – vine – flowers… warmth & light, better health – greater novelty – & less expense in life. On the other side are, in England, cold, damp & dullness, – constant hurry & hustle – cessation from all varied topographical interest, extreme expenses…’ That choice was effectively made for Edward Lear in 1837 when he gave up the natural history studies by which he had made his name in his teens and headed south to Rome on doctors’ advice, aged 24. Prone to asthma and epileptic seizures,