The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Die Zauberflöte Royal Opera House A Midsummer Night’s Dream Linbury There is a hard core of central works which any major opera house needs to have, in a production that can survive many changes of cast and conductor, even of obtrusive revival director. Die Zauberflöte is unquestionably among them, a work that we constantly need
Why would anyone want to listen to a programme about the Oscars? Surely the whole point is to see those ghastly frocks and gimcrack smiles, effortfully put on for-the-camera-only? And yet Paul Gambaccini was sent over to Hollywood to recreate the ‘magic’ of the Oscars for a new Radio Four series (Saturday), And the Academy
Things that make you despair: young journalists who have never read Scoop. In a better world that would be a sacking offence. Clive publishes a reminder of the novel’s glories as part of his excellent Notebook feature: “Come to think of it,” he added moodily, “there’s no point in answering anyway. Look at mine.” CABLE
Aside from news programmes, I rarely stay in specifically to watch something on television (as Hugo has written, boxed DVD sets are a very civilised invention). But last night was an exception: as a Life on Mars fanatic, I wanted to see its much-hyped sequel, Ashes to Ashes. No more John Simm as DI Sam
…here’s one for all you art-lovers out there: A thief in Paris planned to steal some paintings from the Louvre. After careful planning, he got past security, stole the paintings and made it safely to his van. However, he was captured only two blocks away when his van ran out of gas. When asked how
Purgatorio Arcola Happy Now? Cottesloe The Lover/The Collection Comedy Purgatorio. Hardly a seductive title and I confess it was curiosity rather than enthusiasm that dragged me to the Arcola in Hackney to see how Ariel Dorfman (best known for his 1992 play Death and the Maiden) had handled the Medea myth. His update transplants the
There Will Be Blood 15, nationwide Juno 12A, nationwide There Will Be Blood (oh, yes) stars Daniel Day-Lewis as Daniel Plainview, a late-19th-century American oilman whose own view could not be plainer: find oil, beat off the competition, buy the land, drill it, get rich. And that’s about it, not that it matters. It’s the
James MacMillan explains why he hates the assumption that he is a liberal left-winger In my travels I see myself frequently described in foreign media as a ‘left-wing and Scottish nationalist’ composer. The latter label is ludicrous, and I just put it down to a foreigner’s ignorance and justifiable disinterest in the parish-pump tedium of
Where do you find your music? Yes, I know, you go to the CD rack and there it is. Or, if you are as obsessed as some of us, you go into almost any room in the house and there is a pile of the stuff, because you can’t get rid of any of it,
“Too soon!” went the outcry when the films United 93 and World Trade Center were released, some 5 years after the events they depicted. Now – as Peter Bradshaw points out in today’s Guardian – filmmakers aren’t even waiting for the “dust to settle” on a news-story before moving-in with their cameras. A production deal
A Decade of Discovery Esoterick Collection, 39a Canonbury Square, London, N1, until 6 April This year, as the Estorick Collection of Modern Italian Art celebrates its tenth anniversary, garlanded with plaudits for the loan exhibitions it has mounted, it is time to focus once again on its greatest asset: its permanent collection. This new display,
Cloverfield 15, Nationwide Cloverfield is tiresome, dumb and horrid, and just in case you didn’t get that I’ll say it again: this film is tiresome, dumb and horrid. Don’t go. Do anything but go. Don’t be swayed, as I was, by the fact that on its opening day in America it grossed $16 million, grossed
The President’s Holiday Hampstead The Sea Haymarket The Vertical Hour Royal Court There’s no such thing as a great script idea. Ideas are equally good or bad, what counts is how they’re treated. Take the 1991 coup against Gorbachev. Pretty dramatic, momentous and gripping, I’d say. And here’s Penny Gold to dramatise it. She may
Peter Grimes Opera North Of all Britten’s operas Peter Grimes is the one I have seen most often, and it remains not only the one that I find it hardest to make up my mind about, but also the one which I still don’t feel I know especially well. There are the famous passages, not
‘Pakistan is a dysfunctional state,’ said the writer Martin Amis in a debate about ideologies and ideologues in our post-9/11 world on Start the Week (Monday, Radio Four). He seemed curiously unaware that he was in conversation with a woman lawyer from Pakistan, Asma Jahangir, who has just been released from house arrest after defying
Jonestown (BBC 2); Moving Wallpaper & Echo Beach (ITV); Harry Hill’s TV Burp (ITV) ‘Shut up and drink the Kool-Aid’ is an American slang phrase — tart, cynical and funny — used for telling people to get on with something they must do but would prefer to avoid. It refers back to the mass suicide of 909 members
Switch off your radios: I shall be on BBC Radio 4’s PM programme at around 5.45pm talking about, of all things, state-sponsored Gaelic TV. It may not surprise readers that I consider this a perfectly senseless boondoggle. by the standards of government waste it is, for sure, trivial and harmless stuff. To the extent that
‘Mr Hallé’s Band’ began giving concerts 150 years ago. Michael Kennedy on the great orchestra On the wet evening of 30 January 1858 in the Free Trade Hall, Manchester, which had been opened only two years previously, the 38-year-old Charles Hallé launched his privately funded series of orchestral concerts. On the same date next week,
THEATRE I can strongly recommend God of Carnage, the new play by Yasmina Reza, which tracks the descent into madness of a meeting between two couples to discuss an altercation between their respective sons. All starts with impeccable manners, stilted conversation and discussion of recipes. And then, in a sort of Moulinex blend of Abigail’s
FILM One of the most remarkable things about Africa is how rare it is to see Africans cry. You meet so many human beings there who are forced to endure the most unthinkable, unconscionable poverty, disease and neglect; and yet invariably they do so with a smile so big and true it breaks your heart.
BOOK I’m just coming to the end of The Last Titan: A Life of Theodore Dreiser – Jerome Loving’s critical biography of my favourite writer. Loving weaves together three narratives – Dreiser’s personal life; his literary development; and the history of early-Twentieth Century America – to create the definitive account of the genius behind Sister
I have three books on the go at the moment: Charles Leadbeater’s brilliant analysis of web-world, We-Think, The Craftsman, by the Spectator’s own in-house magus, Richard Sennett (another masterpiece), and Marcus Du Sautoy’s intriguing exploration of symmetry, Finding Moonshine. I have known Marcus since we are at All Souls together and as well as being
You were probably expecting me to review Ross Kemp in Afghanistan (Sky One, Monday) this week but I’m a bit off Afghanistan programmes at the moment. Not to the point where I won’t watch them all the time to the exclusion of almost all else. Just to the point where, at the end, I feel
Tara Arts, a troupe devoted to ‘cross-cultural theatre’, are hauling their Tempest around the country. In a minivan by the look of things. The whole production — cast, cossies and props — could easily squeeze into a Bedford Rascal but, as Mark Rylance has already demonstrated, thrift and The Tempest don’t mix well. Rylance bored
It’s been commonplace ever since the widespread dissemination of sound recording, followed by the rapid growth of broadcasting, to deplore ‘the appalling popularity of music’: its inevitable debasement, when available so easily, into something ordinary rather than special, repeatable rather than unique, cursory rather than concentrated, disposable rather than sacral. A background: ‘music while you
At the risk of trivialising a tragic death, I have been musing over Heath Ledger’s now-posthumous performance as the Joker (see my earlier post as well as this article detailing the potential fate of Ledger’s incomplete film projects) and the impact that death can have upon the reception of art, literature and entertainment. Here is my thumbnail
As this is the last week of my thirties, I feel entitled to indulge in a spot of pop culture nostalgia (or more than usual, at any rate). In tomorrow’s Spectator, I review Paul Morley’s masterly book on Joy Division, which I recommend to anyone who is interested in the music, ideas and social currents
“Why so serious?” say the teaser posters for the forthcoming Batman movie, The Dark Knight. This slogan acquired a bleak subtext last night when 28-year-old Heath Ledger – who plays the Joker in the new film – was found dead in his New York apartment, apparently as the result of a drug overdose (the autopsy is
After the cheerlessness and brutality of No Country for Old Men, I’m not sure a film about a serial killer is just what you want. Sweeney Todd: The Demon Barber of Fleet Street 18, nationwide After the cheerlessness and brutality of No Country for Old Men, I’m not sure a film about a serial killer