Will Gore talks to David Suchet about his forthcoming West End role and his debt to the Belgian detective The first thing I notice about David Suchet is his facial hair. It isn’t a stick-on Poirot tash, unfortunately, but a grey beard that he has grown for his latest role, James Tyrone, in the West
Robert Gore-Langton talks to Professor Vanessa Toulmin about bringing the 27,000 Volt Girl and five-foot earwigs back into the public eye Vanessa Toulmin is that rare thing — an academic professor who grew up on a fair. From the age of ten she fried onions for the hotdogs, spun candyfloss, and took money for rides
William Cook believes that the British cannot really understand the artist until they’ve been to Antwerp In a quiet corner of Tate Britain there is a little exhibition that sheds fresh light on an artist whom the British have never really learned to love. Rubens & Britain (until 6 May) is a fascinating show, documenting
It’s not every J.D. Wetherspoon’s pub that has a preservation order slapped on it. In fact, I’m prepared to bet there’s only one: The Trafalgar in Portsmouth, Grade II-listed in 2002 for its mural by Eric Rimmington. Rimmington was 23 in 1949 when he won the commission to decorate the clubroom of the old Trafalgar
Andrew Lambirth meets the artist John Hubbard, whose work is concerned with atmosphere and the spirit of place John Hubbard makes paintings about landscape which draw upon his early training in America and the influence of the Abstract Expressionists. But his pictures are far from abstract images: they are about the play of light through
Peter Hoskin says that thanks to the DVD and advances in film restoration there has never been a better time for movie fans Whatever happened to silent cinema? Oh, yes, that’s right, it was supplanted by the talkies in the late Twenties and early Thirties, until it suddenly came back to life in time for
In his centenary year, the status of Jackson Pollock (1912–56) looks assured: a self-created American hero who is now accorded all the reverence due an Old Master. The most famous of the Abstract Expressionists, nicknamed Jack the Dripper because of his trademark style, his emphasis was on paint and process: the surface of the canvas
As the 70th anniversary of Desert Island Discs approaches, Kate Chisholm charts its enduring success Ed Miliband should be worried. He’s not as yet been invited to choose eight ‘favourite’ pieces of music for that staple of the Radio 4 diet, Desert Island Discs (or DID to those in the know). Nick Clegg, David Cameron
For as long as I’ve been interested in Modern British art, I’ve been fascinated and intrigued by the work of Graham Sutherland (1903–80). One of the first Cork Street exhibitions I went to as a schoolboy was of paintings, gouaches, watercolours and graphics by Sutherland from the collection of Douglas Cooper, held at the Redfern
Tony Hall tells Michael Prodger about how he transformed the Cultural Olympiad into the London 2012 Festival The most obvious gift possessed by Tony Hall, or Baron Hall of Birkenhead to give him his proper title, is for cleaning up an almighty mess. When he joined the Royal Opera House in 2001, after a long
For those seeking refuge from the Olympics, Andrew Lambirth picks out the exhibition highlights of 2012: Freud, Hockney, Turner, Zoffany, Lely, Picasso… In the coming year, when the country will be besieged by all things Olympic, and many people of taste and discernment will (I am assured) be fleeing to spots less barbarous and sports-obsessed,
Andrew Lambirth on John Leech, artist friend and travelling companion of Dickens, whose pictures help illuminate the novelist’s work Christmas approaches, and my thoughts turn, with reassuring inevitability, to Dickens. As the nights draw in and the winter winds blast across the fields of East Anglia, the counter-urge is for the comfort of a good
If you don’t like Simon Callow, you probably don’t like the theatre either. He is as theatrical as a box of wigs. Who else would bark ‘come!’ when someone knocks on his dressing-room door? There he is with a glass of wine, a boom of good cheer, having peeled off his side whiskers after his
Michael Henderson talks to John Wilson, whose obsession with songs from the golden age of musicals led him to form his own band ‘People think I am an expert on musicals,’ says John Wilson, in his pleasing Geordie voice, ‘but that is something I am certainly not. I am obsessed with songs, written by professional
Andrew Lambirth finds paintings at the National Gallery’s Leonardo exhibition of such a singular and pure beauty as to take the breath away The great world is humming with an event of international importance at the National Gallery: the largest number of Leonardo da Vinci’s surviving paintings ever gathered together. To see anything by this
Besides being one of the most exquisitely melodious, sensitive singer-songwriters you’re ever likely to hear, John Grant is also one of the most beautiful men you could ever hope to meet. I’m not the only married man to feel this way about the tortured gay pop star. As he tells me over lunch on London’s
I’m standing alongside Angela Rosengart, in a room full of portraits Picasso drew of her, when something spooky happens. Out of the corner of my eye, the old woman beside me becomes the young woman on the wall. It’s over in an instant, but it’s still strange and rather wonderful. For a moment, Frau Rosengart
It sounds like mission impossible. To celebrate this year’s 400th anniversary of the King James Bible, the RSC set itself the task of mounting a play about the controversies surrounding the translation. A drama, therefore, entirely lacking in drama. No action or spectacle, no romance or comedy, no surprise twists or last-minute poisonings. Just people
Postmodernism is a term with a surprisingly long history. It was first used in the 1870s and was subsequently employed by dazed or disaffected commentators with some regularity throughout the first two thirds of the 20th century, until it became de rigueur in the ghastly decade of the 1970s. The architect Charles Jencks pronounced the
Too often art is subjugated to curators’ theories or interpretations. Let the work speak for itself, says Andrew Lambirth The casual observer of London’s art scene, or even the devoted reader of exhibition listings, might be forgiven for thinking that the range of shows available throughout the conspectus of the nation’s museums was of a
