Arts Reviews

The good, bad and ugly in arts and exhbitions

Tuesday

Daisy Dunn

The fixation on sport at boarding schools is the reason the country is failing

As a teenager, I very nearly went to boarding school after falling in love with the architecture, the greenery and the sense of freedom. What ultimately put me off was the school’s obscene fixation with sport and my discovery that I would be expected to run around those fields not just once or twice a week, but every single day.  Listening to How Boarding Schools Shaped Britain, a three-part series on Radio 4, I am not convinced that all this sport isn’t the reason our country is failing. Over two-thirds of our Prime Ministers and half of all holders of offices of state went to boarding schools – and a

Friday

Paul Wood

Paul Wood, Matthew Parris, Ian Buruma, Hermione Eyre and Francis Young

34 min listen

On this week’s Spectator Out Loud: Paul Wood reads his letter from the Vatican (1:17); Matthew Parris warns Conservatives from embracing causes that could lose them as much support as they would gain (7:31); reviewing Richard Overy’s Rain of Ruin: Tokyo, Hiroshima and the Surrender of Japan, Ian Buruma argues that the atomic bombs were not only immoral, but ineffective (15:35); Hermione Eyre examines the life and work of the surrealist artist Ithell Colquhoun (23:03); and, Francis Young provides his notes on Shrove Tuesday (29:12).  Produced and presented by Patrick Gibbons.

Thursday

Alexander Raubo

Real artists have nothing to fear from AI

Christie’s is making digital-art history again – or at least trying to. Between 20 February and 5 March, it is hosting Augmented Intelligence, the first major auction dedicated solely to AI-generated art. This follows a series of headline-grabbing stunts, including the first major sale of an AI-generated artwork in 2018 – ‘Portrait of Edmond de Belamy’ ($432,500) by the Paris-based collective Obvious – and the first NFT sale by a major auction house,  Beeple’s ‘Everydays: The First 5,000 Days’, which shattered expectations (and good taste) by selling for $69 million in 2021. With the NFT bubble – which Christie’s played a significant role inflating – having burst in 2022, its

Graeme Thomson

Shades of Berlin Bowie and Ian Curtis: Hamish Hawk, at Usher Hall, reviewed

I am a regular attendee at the Usher Hall, Edinburgh’s most ornate and venerable concert venue. On more than one occasion recently I have seen Hamish Hawk here – albeit each time he was showing the audience to our seats. Hawk has graduated from Grand Circle stair duty to centre-stage spotlight, the kind of local-boy-made-good dramatic arc that positively begs for the Richard Curtis treatment. Making his debut headlining the 2,200-capacity venue, Hawk had the good grace to allude to his change in circumstances halfway through his set: ‘Please, be kind to the ushers…’ Everyone loves a hometown hero, but the pressure to deliver as a returning prodigal must be

Hermione Eyre

An exhilarating, uneven survey of an outstandingly eccentric British surrealist

Ithell Colquhoun was always a bit of a mystery surrealist. Her greatest hit is the unsettling, dream-like ‘Scylla’ (1938), a painting of two towering cliffs, which could equally be thighs in the bath. The prow of Odysseus’s Argo peeps through them. The pubic hair is seaweed, and there are shells, but, as far as discernible, no crabs. The point of view of the painting is that of the titular monster Scylla, lying in wait. It’s witty and disturbing; mythic and domestic. A British surrealist high point, frequently anthologised. This aside, her name was relegated to lists. She was at Dali’s lecture in London in 1936 when he got his head

James Delingpole James Delingpole

I think I’ve found the perfect TV series

Drops of God is one of those gems of purest ray serene that cable TV prefers to keep hidden in its deep unfathomed caves because it thinks you want something more lowbrow. Try finding it by accident: you won’t. When I looked for it on Apple – which doesn’t have all that many shows – I had laboriously to type in its name. It wasn’t offered to me in the recommendations. If I hadn’t been tipped off by my friends Candy and Diarmuid, I would never have seen it. I had been lamenting, as I often do, the dearth of stuff to watch on TV that doesn’t put you through

Deborah Ross

Pamela Anderson is a thing of wonder: The Last Showgirl reviewed

The Last Showgirl stars Pamela Anderson as a Las Vegas dancer who has reached the end of her career (too old). And she is wonderful, a revelation. I’d like to say I saw it coming but I did not. Did you? When she was doing all that bouncing in slo-mo along the beach in Baywatch did you ever think: Pammy’s going to make a fine dramatic actress one day? But she’s better than the film itself. It would be flimsy without her – plus her own backstory adds a whole other layer. ‘What you sold was young and sexy,’ her character is told at one point, ‘you aren’t either any

Richard Bratby

Spreads emotions like jam: Festen, at the Royal Opera House, reviewed

Mark-Anthony Turnage’s new opera Festen opened at Covent Garden earlier this month, and reader, I messed up. I broke my own golden rule with new operas: don’t do any homework, don’t try to memorise the plot, and whatever you do, don’t revisit the source material. The aim is to experience the new work on its own terms. That’s hard enough, given the PR onslaught that precedes any Royal Opera première – the way the classical establishment circles the wagons, and the unspoken consensus that certain living composers (including Adès, Benjamin and Turnage, though not Judith Weir, curiously) are simply too big to fail. But no: I rewatched Thomas Vinterberg’s 1998

Lloyd Evans Lloyd Evans

Shakespeare as cruise-ship entertainment: Jamie Lloyd’s Much Ado About Nothing reviewed

Nicholas Hytner’s Richard II is a high-calibre version of a fascinating story. A king reluctantly yields his crown to a usurper who wants his violent revolt to seem like a peaceful transfer of authority. This delicate, complex narrative is presented as a boardroom power struggle in corporate Britain. Snappy suits for the dukes and princes. Commando uniforms when they take to the battlefield. Jonathan Bailey (Richard) starts as a swaggering, coke-snorting yuppie who dreams of extending his realm overseas with someone’s else money. Disaster strikes, the crown slips. Calamity sharpens his awareness and he becomes a lyrical philosopher who laments the bewitchments and pitfalls of power. Bailey’s charming, easy-going Richard

Thursday

Julian Spalding

In defence of deaccessioning

There’s more than a grain of truth in the popular caricature of a curator as a mother hen clucking frantically if anyone gets too near her nest – not that her eggs are about to hatch, let alone run. The recent threat of the British Council to ‘deaccession’ – to put it more bluntly, sell – its 9,000-strong collection of British art has caused a predictable flurry in the curatorial world. Doesn’t the British Council know that public art collections are sacrosanct and must be preserved for all time? When I was director of Glasgow’s museums and art galleries, I remember talking to my committee about my long-term plans for

Sam Kriss

Proudly dumb – and all the better for it: The Monkey reviewed

The monkey is an organ-grinder’s monkey toy. Wind up the key jutting out of its back, and its lips will part to reveal two rows of yellow grimacing teeth. Then its clockwork arms will wheel up and down, banging a little drum as fairground music plays. And then someone nearby dies in an extremely gory freak accident. Maybe their head will be sliced off in a knife-twirling incident at a teppanyaki restaurant and slide gently on to the grill. Maybe they’ll fall through the stairs and into a box of fishhooks and then set their head on fire over a gas hob, and then run outside and impale themselves on

Lloyd Evans Lloyd Evans

Tedious and threadbare: Unicorn, at the Garrick Theatre, reviewed

Unicorn, Mike Bartlett’s new play, involves some characters in chairs discussing a sexual threesome. That’s the entire show. Polly (Nicola Walker) is a drunken crosspatch who wants to spice up her loveless marriage to Dr Nick (Stephen Mangan) by bringing a blonde lesbian into the bedroom. Nick, a dithering twerp, doesn’t care if it happens or not and he lets his gobby wife talk him into it. She’s desperate for a bit of girl-on-girl action because she detests straight men (apart from Nick) and she dated women before she got married. It’s not clear why Nick puts up with this charmless windbag who treats him like a naughty spaniel and

Stephen Hough

How to write a piano concerto

My Piano Concerto, The World of Yesterday, began with an email during one of the darker days of the pandemic: would I like to write a score for a movie about a concert pianist writing a piano concerto. As I looked at my concert diary, blank but for Zoom calls, it seemed like a wonderful way to keep me busy. I’d never wanted to write a piano concerto (how to begin?) but the characters and outline of this film gave me a handle: an ageing Austrian baroness and a young American composer in the early 1930s; she commissions him to write a piece and invites him to compose it at

James Walton

The White Lotus is off to a shaky start

The White Lotus, now back for a third series, could perhaps be best described as Death in Paradise for posh people. Most obviously, this is because its plots revolve around murders in an idyllic location – only with a far bigger budget, a much starrier cast and several episodes per story. But there’s also the fact that it follows the same pattern every time. So it was that season three began this week, rather like its predecessors, with some lovely scenery, a dead body and a caption reading ‘One week earlier’. After that, we duly watched a bunch of rich, good-looking Americans arriving at a luxury White Lotus resort where

Jenny McCartney Jenny McCartney

Soothing and glorious: Fashion Neurosis reviewed

Sometimes the mind needs to take a break. And I can’t think of a better stopping-off place than the soothing, gloriously bonkers discussions on the Fashion Neurosis podcast, hosted by the British fashion designer Bella Freud. Its premise is that Freud, daughter of Lucian and great-grand-daughter of Sigmund, encourages guests to recline on her couch and talk over any and every aspect of their relationship to fashion. Her mellifluous, affirming manner is much more soft soap than wire wool, but this is not territory that requires a Robin Day, and the concept proves a surprisingly fruitful route into family history, personal stories and high-grade gossip. The pool of guests is

Richard Bratby

Regents Opera’s Ring is a formidable achievement

I saw the world end in a Bethnal Green leisure centre. Regents Opera’s Ring cycle, which began in 2022 in Freemasons’ Hall in Covent Garden, has found its culmination and completion at York Hall, a rundown public bath better known for championship boxing. Tower Hamlets security staff scan you for concealed weapons on the way in, which is not exactly typical at the opera. Still, the Ring is not a typical opera – and isn’t art supposed to feel dangerous? But once you’re inside – and as long as you’re not seated within earshot of the bar staff, who clatter and chatter throughout – Caroline Staunton’s scaled down production transfers

Sam Leith Sam Leith

The new Civ is gorgeous and richly rewarding

Grade: A- It has been nearly ten years since addicts of the empire-building simulator Civilization – or Civ, as players call it – have had a fresh fix. Was it the original Civ that cost you a first in your finals? It’s back, and this time round it aims to cost you a promotion at work. You’ve both grown up. Prepare to lose very many hours to its attractive blend of diplomacy, resource management, city-building and strategic ultraviolence.  Your path through history comes in three linked chunks: you’ll play through the ancient world, then carry forward some of your progress into the age of exploration, and then do the same

Michael Hann

Lauren Mayberry is terrific – but it’s not music for middle-aged men

There are nights when one realises quite how much effort the business end of showbusiness must be. On a bitterly cold Monday night in Philadelphia, Lauren Mayberry – over from Glasgow, and halfway through a month of criss-crossing the USA – took to the stage to survey a crowd of maybe 500 people, in a venue that holds 1,200. A good proportion of those 500 people were just like me: middle-aged men. We have every right to be there, of course, and one suspects Mayberry was glad they bought tickets. But I bet she was disappointed some of the remaining 700 or so tickets had not been bought by young

Rupert Christiansen

I’ve had it with Pina Bausch

My patience with the cult of Pina Bausch is wearing paper thin. She was taken from us 16 years ago, and I had hoped that the aura of divinity around her memory might now be fading. But no, it only burgeons and having joined with Terrain Boris Charmatz to honour her creations, the official keepers of her flame Tanztheater Wuppertal are back in town to present one of her later works, Vollmond (‘Full Moon’), to ecstatic standing room-only congregations in her temple at Sadler’s Wells. What a bad, bad influence the Blessed Pina has had on dance, providing inspiration for hundreds of her imitators to pull the wool over our

Friday

James Heale James Heale

James Heale, Andrew Kenny, Lara Prendergast, Ysenda Maxtone Graham and Nina Power

41 min listen

On this week’s Spectator Out Loud: James Heale wonders what Margaret Thatcher would make of today’s Conservatives (1:28); Andrew Kenny analyses South Africa’s expropriation act (6:13); Lara Prendergast explores the mystery behind The Spectator’s man in the Middle East, John R Bradley (13:55); Ysenda Maxtone Graham looks at how radio invaded the home (30:13); and, Nina Power reviews two exhibitions looking at different kinds of rage (35:13).  Produced and presented by Patrick Gibbons.