Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

James Delingpole James Delingpole

First-rate TV: Clarkson’s Farm on Amazon Prime reviewed

I was at a party the other day when who should accost me but Jeremy Clarkson. There were lots more famous and interesting people in the room, including the surviving half of Wham!. But Clarkson was itching to talk to me about, of all things, a review I’d written of a BBC reality series called This Is My House. He was genuinely mystified as to why I’d given such tosh a favourable critique. Having just watched his new series, Clarkson’s Farm, I now understand his puzzlement. Since late 2019, Clarkson has been playing at being a farmer on his 1,000-acre Oxfordshire estate. And when you’re a farmer — even a

Thursday

James Walton

One of the best Covid dramas so far: BBC2’s Together reviewed

Let me start with a spot of admin: if you’re wondering what The Speccie makes of GB News, it’ll be reviewed next week once the channel’s had a fair chance to establish itself. In the meantime BBC2’s Together took an impeccably up-to-date subject and gave it surprisingly old-fashioned treatment — by returning us to the far-off days when TV drama had its roots in theatre rather than cinema. Not only was it a 90-minute two-hander, but the characters spoke to both each other and the audience on a single set. Sharon Horgan and James McAvoy played an unnamed couple (always a bit annoying for a reviewer but I won’t let

Richard Bratby

The promoter the critics love to hate: an interview with Raymond Gubbay

When Raymond Gubbay left school, he was articled to an accountant’s firm. Fascinated by opera and depressed at the prospect of life as a Golders Green beancounter, he wriggled out of it in a matter of months, and into an assistant’s job at Pathé Newsreels. Sensing that newsreels had a looming expiry date, he asked Arnold Wesker (a family friend) to wangle him an interview with Victor Hochhauser, Britain’s leading promoter of mass-market classical concerts. Hochhauser sat behind a desk in his office above a fridge shop in Kensington and asked the 17-year-old Raymond three questions. Where did you go to school? Are you a Jewish boy? And can you

Laura Gascoigne

Covid has been great for drawing

Amid the greatly exaggerated reports of the death of painting issued and reissued over the course of the past century, nobody thought to check on the health of drawing, perhaps because what artists did in the privacy of their own studios was considered to be no one else’s business. Drawing wasn’t a saleable commodity. Yes, Hockney’s portrait drawings attracted admiration, but most artists kept their scribbles to themselves. Then about 20 years ago, just after Saatchi’s 1997 Sensation exhibition seemed to have consigned all traditional art forms to the bin of history, it was noticed that drawing was alive and, if not kicking, showing unmistakable signs of continued health. It

Lloyd Evans Lloyd Evans

Godot Is a Woman will have you laughing all evening and arguing all night

Godot Is a Woman opens with three tramps standing on a bare stage beneath a solitary upright. This isn’t Samuel Beckett’s famous drama about a pair of vagrants, Vladimir and Estragon, who wait in vain for a mysterious visitor. This is a spoof in which a trio of actors (two female, one non-binary) seek a licence to perform the script that Beckett insisted must be played by male actors only. The upright prop is a telephone box and the thesps are trying to get through to the Beckett estate. They’re answered by a robotic female voice. ‘You are 9,124th in the call queue.’ A burst of inane lift music fills

Jessa Crispin

The best podcasts to be enjoyed at 4 a.m.

Now that all of the billionaires are going into space, the night sky holds a special new kind of allure. We see a little twinkle in the distance and we can think to ourselves, there they are, out there, far away, away from us. It’s not clear whether Jeff Bezos and Elon Musk spent their childhoods looking up at the stars, fantasising fervently about joining them at some future date, or if they are now just bored. But perhaps their sense of identification and belonging in the vast night sky can be understood in another way. Humans have always told stories about the stars, and many of these myths could

Deborah Ross

Blissfully colourful, fun and basic: In The Heights reviewed

In The Heights is an adaptation of Lin-Manuel Miranda’s smash-hit stage musical — the one he wrote before Hamilton — and it is all-singing, all-dancing, and a ‘feelgood summer movie’, as they say. True, the storytelling is quite basic — anyone frowning over a calculator is sure to have money worries — and by the end of two and a half hours you may well be praying for less singing, and less dancing, I beg you. But what the hell. It’s colourful, it’s fun. It has an unstoppable energy. It has some tremendous set-pieces. And it’s blissfully straightforward. It’s not one of those films that comes at you like a

Friday

Katy Balls Katy Balls

The Polly Morgan Edition

34 min listen

Polly Morgan is an artist whose trade is taxidermy. She recently won the First Plinth Award, and in her time has sold to celebrity clients including Kate Moss and Courtney Love. On the podcast, she tells Katy about her unusual childhood growing up on a farm with ostriches, goats and llamas; why she got fired by Prue Leith; and the ins and outs of taxidermy.

Thursday

James Delingpole James Delingpole

Why I love Israeli TV

Tragically it wasn’t my turn to review when Channel 5’s groundbreaking Anne Boleyn came out so you’ll never find out what my totally unpredictable critique might have said. As you know, I have previously been mad for all things Israeli and one of my plans had been to go there with my brother Dick and make a fun documentary where we train with the IDF, practise in one of those urban-warfare shooting ranges, learn krav maga, eat lots of Ottolenghi-type food, wallow in the Dead Sea, etc. But I’m afraid I’ve rather gone off Netanyahu’s vax tyranny and just can’t root for Israel in the way I once did. Still,

Jasper Rees

Remembering David Storey, giant of postwar English culture

There is a famous story about David Storey. It is set in 1976 at the Royal Court where, for ten years, his plays had first been seen before heading away to the West End and Broadway. That same week he had won the Booker Prize with his novel Saville. With unrivalled success across fiction, theatre and cinema, Storey was a giant of postwar English culture. He was also, compared with most writers, an actual giant. This Sporting Life, his novel made into a groundbreaking film, grew out of his experience of playing rugby league for Leeds. Unlike Saville, his new play Mother’s Day was greeted by a raspberry fanfare after

Deborah Ross

Anthony Hopkins’s portrayal of dementia will undo you: The Father reviewed

The Father is an immensely powerful film about dementia starring Sir Anthony Hopkins, who was asleep in his bed in Wales when his Best Actor Oscar was announced, so we’ll never know if his outfit would have been a hit or a miss. Shall we give him the benefit of the doubt and say ‘hit’? Either way, he is absolutely remarkable here. I read the screenplay, available online, out of curiosity, and what he brings to the words on the page is beyond and beyond and beyond. Hopkins has played King Lear (twice) but this is his real King Lear. What Hopkins brings to the words on the page is

Lloyd Evans Lloyd Evans

Two hours of kitsch tomfoolery: Amélie at the Criterion reviewed

The latest movie to turn into a musical is Amélie, from 2001, about a Parisian do-gooder or ‘godmother of the unloved’. Some rate Amélie as the worst film ever made in France. Some consider it the worst film ever made. Our heroine is a 20-year-old waitress, a sort of proto-Greta, who plays truant from her restaurant job and wanders around Paris doing nice things to random strangers. Her inspiration is a box hidden by a child in her apartment 40 years earlier which she wants to restore to its original owner. Or, as the clunky narrator puts it, ‘Why is she holding that box like her future is inside it?’

Louise Levene

At last some genuine gala material: Royal Ballet’s Balanchine and Robbins reviewed

The OED defines ‘gala’ as ‘a festive occasion’. In the ballet world this usually translates as a handful of stars, a mile of tulle and more triple fouettés than you can shake a stick at. Most balletgoers could put a half-decent programme together in their sleep: a firecracker duet (Swan, black), the odd solo party piece (Swan, dying), a dash of romance (Romeo, Manon) and the dear old Don Q. pas de deux. After a year being drip-fed small-screen ballet, the prospect of a little bling and bravura generated a buzz of excitement around Dame Darcey Bussell’s charity gala. The Hall (Albert) was hired, sponsors were found, eight major companies

Thursday

Martin Gayford

An immensely rich show – though it consists of only two paintings: Rubens at the Wallace Collection reviewed

‘When pictures painted as companions are separated,’ John Constable wisely observed, ‘the purchaser of one, without being aware of it, is sometimes buying only half a picture.’ When he said those words at a lecture in Hampstead delivered on 9 June 1833, he had two great paintings by Rubens in mind: ‘A View of Het Steen in the Early Morning’ and ‘The Rainbow Landscape’. At that date they had already been split up, the first going to the National Gallery, the second eventually to be bought by the Marquis of Hertford. Because of the will of Lady Wallace, the eventual heir of the Marquis, or rather the way it was

Nicola Christie

Crystal Pite tore the house down: Royal Ballet’s 21st-Century Choreographers reviewed

The choreographers called on to get the nation’s dancers back on to the stage have as much to say about the state of our times as they do about art. Many of the works were created during the pandemic. English National Ballet’s Reunion started life as a series of dance films that were streamed last winter; with the opening of theatres, ENB’s artistic director Tamara Rojo asked the choreographers to adapt them for live staging. Sidi Larbi Cherkaoui’s Laid in Earth was the most moving; a portrait of man coming to terms with impending death, whether his own or his lover’s. To a live performance of ‘Dido’s Lament’, four dancers

James Walton

Camp am-dram, plus stuff about the patriarchy: Channel 5’s Anne Boleyn reviewed

Fifty-one years ago, in the BBC’s much-acclaimed The Six Wives of Henry VIII, Anne Boleyn was portrayed as a brave and innocent woman brought low by the men around her, notably Henry VIII and Thomas Cromwell. Even then, of course, this was by no means an unconventional view. Only the previous year, the film Anne of the Thousand Days — nominated for ten Oscars — had taken a similar line, as indeed had Foxe’s Book of Martyrs (1563), which objected to all ‘sinister judgments and opinions… against the virtuous queen’. It has also been the prevalent view on more recent television, with historians from Lucy Worsley to David Starkey queuing

Daisy Dunn

The joy of Radio 4 Extra

The best thing on the radio last week was, without question, Kind Hearts and Coronets. You may have missed it because it was on Radio 4 Extra, the poor, forgotten relation of the BBC’s main channels, which many regard as merely a Radio 4+1 for yesterday’s replays, when it is in fact home to the drama and comedy archive. Like the BBC4 TV channel, which is sadly ceasing commissioning, it hosts the sort of intelligent programmes people really enjoy, to the consternation of those who dismiss them as ‘old’. Fittingly, for Radio 4 Extra, Kind Hearts is all about a poor, forgotten relation who strives to reclaim his place within

Lloyd Evans Lloyd Evans

A Shakespeare play at the Globe whose best features have nothing to do with Shakespeare

Back to the Globe after more than a year. The theatre has zealously maintained its pre–Covid staffing levels. On press night, there were eight sentries patrolling the forecourt where just 42 masked spectators watched a revival of Sean Holmes’s A Midsummer Night’s Dream. The Globe describes his show as ‘raucous’. The action is set in a forest near Athens during the classical era but the text uses 16th-century English. So it seems crazy to add a third time zone but most directors do so unquestioningly. This modernised production features an array of multicoloured stylings inspired by funfairs and Caribbean carnivals. The palette is a mad rainbow of acid pinks, savage

Saturday

Lisa Bjurwald

Lisa Bjurwald, Douglas Murray and Stuart Jeffries

29 min listen

On this week’s episode, Lisa Bjurwald reports on the Swedish monarchy going woke (01:20); Douglas Murray argues that the culture wars fit the UK even less well than the US (07:00); and Stuart Jeffries interviews the world’s first AI artist. Also on the podcast: a complaints letter to the Times after their March 2020 story that Carrie Symonds and Boris Johnson were considering giving their dog up for adoption. The letter, though never sent, was revealed on Friday.

Thursday

Martin Gayford

Rodin was as modern as Magritte and Dali, but more touching and troubling than either

Rodin’s studio at Meudon in the suburbs of Paris is huge and filled with light — a sort of combined warehouse, factory and conservatory. It’s crammed with white plaster figures: battered, writhing and fragmentary. This strange, almost surreal effect has been recreated in The Making of Rodin at Tate Modern. The result is more interesting than beautiful. Few exhibits would normally be classified as finished pieces. Most are plaster casts of clay studies, ranging in scale from miniature to gigantic. Quite a lot aren’t even works in progress, more ingredients for art, bits and pieces he could play around with. Rodin called these ‘giblets’ (‘abats’). Their effect can be macabre: