The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Tyrannosaur is very much in the British working-class miserablist tradition in the sense that it is full of masculine fury and the women who take the brunt of it, and if this does not sound an attractive proposition, it’s because it isn’t, and never is, but, as far as these unattractive propositions go, this is
Britain needs more houses, and the government’s highly unpopular draft National Planning Policy Framework (NPPF) at least asks how to get them — the right question even if it gives the wrong answer. Anyone who deals with the planning system knows how overblown it has become, and that the cost and effort can exhaust a
Back in the Fifties, it was possible for a single TV sitcom to capture 92 per cent of the small-screen audience; 92 per cent? It sounds astonishing to us now. The idea of so many people watching the very same comic gags at the very same time. Those fabled water-cooler, coffee-machine chats about what was
Whenever I find myself dreaming about how awful things would be under a red/green dictatorship — increasingly often, these days — the one person who gives me a glimmer of hope that I might get out of the hell alive is Stephen Fry. He’s a leftie, of course — but, like Frank Field and Kate
The human voice has always been celebrated as one of the most direct forms of musical and personal expression. This is especially true in jazz, where improvisation is such a key element. We so often listen to singers ‘baring their soul’, revealing something ‘deep within’. The human voice has always been celebrated as one of
In recent months, two new museums have opened to much acclaim: The Hepworth in Wakefield and Turner Contemporary in Margate. Now Colchester is receiving the dubious benison of a new building. What is this assertive new generation of museums in England supposed to be about? Leisure, business or art? There’s precious little of the last
Lloyd Evans talks to the warm, vibrant, vegetable-growing actor, teacher and director Caroline Quentin Terminal fear. Rising nausea. And possibly vomiting. That’s what Caroline Quentin expects to go through on the opening night of her new play, Terrible Advice, at the Menier Chocolate Factory. ‘I’m really pretending it’s not happening at the moment,’ she tells
Well, after the sodding rugby* I think it is time for some George Jones and Things Have Gone to Pieces: *Well done England.
Is it possible to write a great opera, or a great work of art of any kind, about Auschwitz? One thing is clear: it would have to be truly great. The very idea of a fairly good work, or for that matter a fairly bad one, with such a subject is absurd. And not only
It’s a record breaker. The Trafalgar Studio is staging a rare revival of Christopher Hampton’s breakthrough play, written when he was 18, which made him in 1966 the youngest writer ever to have his work staged in the West End. This record has now stood for so long that it could probably do with a
There is no better way to kick off a new ballet season than with a choreographic triple whammy. Which is what the Royal Ballet did last week, reopening with a sparkling performance of Jewels, Balanchine’s triptych. The last time I saw the company engage with the same three-part work, I lamented its far too poised
Talent, said Laurence Olivier, was plentiful; skill much rarer. Genius in a performing artist is rarer still, but Olivier had it, and so does Christian Gerhaher, the Bavarian baritone, who presented Schubert’s three song-cycles last week in a series of concerts that brought splendour to Wigmore Hall. This was singing of exceptional quality and, just
Ho-hum. Another week, another batch of secret agents, and while I have nothing against secret agents personally — they are generally willing to die for their country, which is nice, although probably quite tiring — The Debt never equals the sum of its parts. It has a blinding cast (Helen Mirren, Tom Wilkinson, Ciarán Hinds)
Sad to say that none of the ex-pats who were interviewed in India for Home from Home (Radio 4, Friday) talked about missing the BBC. Their removal to the subcontinent from the UK might have left them with a longing for a pint of Guinness, but not a word about Jazzer and the Grundys, Nicky
I imagine there is software that helps you write biopics for television. First you pick the childhood from a drop-down menu, selecting [poor but respectable] [very poor] [so poor that all your belongings will fit into a single wheelbarrow which your mother pushes from a grim slum to the nearby hell-hole]. Father deserts family [yes]
Before Stephen Fry walked on to the stage at the Barbican on Monday to take part in a discussion on the place of classical music in today’s society, he asked his Twitter followers to suggest new names for what he sees as an off-putting label, ‘classical’. The replies that flowed in were typically informed and
As our television screens luxuriate again with images of Downton Abbey, one of its cast members is starring in an altogether grittier production in the heart of West London. Last time we saw Kevin Doyle, he was pleading a lung condition to escape being sent to the Battle of the Somme. Here he starts off
Teenage obsessions are a strange and terrible thing. How, exactly, does an album – which is, after all, nothing more than a recording of some music – seem to embed itself so completely into our identity? How does it become something so crucially important that we can’t imagine our world without it? With hindsight I
Rome contains many hidden treasures, but the most remarkable of the lot is concealed on the Caelian Hill, above the Colosseum, in the medieval monastery of Santi Quattro Coronati. It’s a cycle of frescoes dating from around 1250. It is extremely rare for painting from this period to survive anywhere, but it’s even rarer in
One of the greatest Renaissance paintings remaining in private hands, Hans Holbein the Younger’s ‘The Darmstadt Madonna’, was sold discreetly this summer. It was not offered at auction but sold by private treaty sale — auction-speak for a negotiated private sale rather than a public auction — in a deal brokered by the art consultant
In 1982 Sven Berlin placed a sealed wallet labelled ‘Testament’ on top of a rafter in his studio with instructions for it not to be opened before his 100th birthday on 14 September 2011. Inside was a key to the identities of the characters in his notorious roman à clef about post-war St Ives, The
I recently watched another one of those delightfully obscure BBC4 archive documentaries. This one was called Bristol on Film. I like archival film footage for what it reveals unintentionally: the incidental details which have nothing to do with the film-maker’s original intent, but which 60 years later reveal how profoundly the world has changed. Like
A new programme to revive Latin and Greek in our schools Some 15 years ago, at the behest of the then editor Charles Moore, I wrote a jovial 20-week QED: Learn Latin column for the Daily Telegraph. It attracted a huge following, and I still have four large box-files full of letters from users. The
The basic problem with I Don’t Know How She Does It is that we are meant to sympathise with a rich woman who has an absolutely amazing life and great hair and is nannied to the hilt and I Don’t Know How To Do That. How do you do that? Can you take classes? If
The Royal Opera’s season isn’t awash with new productions, in fact until Christmas only has two thirds of one, but that was what it got under way with: all three short operas of Puccini’s Il Trittico, with Gianni Schicchi revived, and Il Tabarro and Suor Angelica fresh; they are all produced, and mainly very well,
A world première at the Almeida. My City written and directed by Stephen Poliakoff. Is it any good? Well, let’s see. Plot, first. It’s not that Poliakoff can’t write a plot; he can’t even think one up. Instead he sets himself a high-minded riddle and examines its possibilities. Take an archetype, ‘the kid-fearful-of-the-dark’, turn it
Next month it will be five years since the death of my former boss, Peter Hepple, and I still miss the man who saved my career and very possibly my sanity. Peter was for 20 years, from 1972–92, the editor of the Stage newspaper, often affectionately known as the actors’ Bible. But he contributed to
What was it Sir Thomas Beecham said about Stockhausen? ‘I’ve never conducted any of his music, but I once trod in some.’ So far as I know, Beecham never commented on the work of Pierre Boulez, but I’m sure his verdict would have been the same. Both composers adopted a modernist language that is politely
It’s such a relief to come back from a trip to America, to switch on the first available radio and fall into Francine Stock talking about Nicholas Ray on The Film Programme. Americans have lost the radio habit. You won’t find sets in any, let alone every, room in the house. No one I know