The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Holocaust art must be approached with care. There’s a worry that by finding fault you’re somehow failing to take the world’s all-time Number one human rights violation seriously. Kindertransport follows the tale of Eva, a Jewish schoolgirl sent from Nazi Germany to Britain at the close of the 1930s. She’s adopted by a rough-diamond Manchester
I wish the term ‘ballet-theatre’ had not already been snatched and (mis)used by dance historians, for there is no better way to define Will Tuckett’s art: his creations are to ballet what dance-theatre is to modern and postmodern dance. Not unlike some of the most acclaimed performance makers who specialised in the latter genre, Tuckett
Britten’s penultimate opera, Owen Wingrave, has always been the Cinderella in that area of his work, and the production of it at the Linbury Studio in the Royal Opera House is unlikely to change that. Britten wrote it for presentation on BBC television, and took very seriously the possibilities and limitations which that medium possesses
Victoria’s Empire (BBC1, Sunday) is the BBC’s new Palinesque travelogue series in which comedienne Victoria Wood goes from exotic location to exotic location chatting to the locals, making wry observations and being mildly funny. But there’s at least one thing that’s very, very annoying about it. The annoying thing — and I don’t know whether
What is the peculiar magic of string quartets? Ian McEwan posed this question when I interviewed him recently. It came to mind again during an enchanting evening at the Spectator’s Westminster offices last night, as the Bridge Quartet gave a sublime performance of Elgar’s music, including the String Quartet in E minor. The event renewed
The newly available recording of the 1955 Bayreuth ‘Ring’ Unlike my fearless and indefatigable colleague, I visit the opera with reluctance, expecting the worst and usually finding it. The almost universal betrayal in recent decades of this most complex of genres by hideous design and perverted production is never so sheerly ghastly as with the
Since Sir Edward Poulton’s pioneering study The Colours of Animals was published in 1890, the importance of disguise in the natural world — and, by extension, in the human one — has been widely recognised and exploited. As technology changed the patterns and prospects of warfare, with aerial reconnaissance and long-range shelling becoming a nasty
I’d never really looked at landscapes with cows until a student experience brought them sharply into focus. I was standing in front of one at a tutor’s party when I noticed the boy next to me staring at it. As I wondered what had so captured his imagination, he suddenly gasped, ‘God, I’m hungry!’ There
Handel’s Giulio Cesare in a staged concert performance at the Barbican, given under the experienced baton of René Jacobs, was something to look forward to keenly, especially for that tiny minority of us who think the work a great one but the enormously popular Glyndebourne production a vulgar travesty. In the event, it was rather
‘Censorship,’ shrieked Hanif Kureishi after discovering that his short story, ‘Weddings and Beheadings’, was not going to be read on Radio Four as part of the National Short Story Competition (organised with various organisations including Prospect magazine, Booktrust and the Scottish Book Trust to promote the skill involved in writing short stories). The five shortlisted
The treasures of the Royal Collection are usually dispersed among the various royal palaces and residences throughout Britain. For the first time in more than 40 years, the earlier Italian paintings and drawings have been brought together in a substantial exhibition which is rich in visual and historical delights. In what is really a tribute
Before getting down to some hard iconoclasm, let me first declare that to me all tenors, no matter what music they sing, nor even how well or badly they sing it, are heroes. Not because they tend to get heroes’ parts, but simply because of what they do, physically. Never blessed with much of a
A feature of the gardening world, which probably strikes me rather more forcibly than it does you, is the number of amateur plant specialists there are. These are experts in one area of plantsmanship, usually, who aggregate in groups in order that they can exchange technical talk, test their skills in competition and learn from
Questions are easy, answers less so. That’s the conclusion of Joe Penhall’s new morality play and it won’t come as a surprise to anyone brighter than a hedgehog. A brilliant but unstable missile scientist has invented a gizmo that will give Britain military superiority for a generation. Professor Brainiac then suffers an attack of conscience
I caught up with Welsh National Opera’s production of Musorgsky’s Khovanshchina only in Birmingham, the last performance of its first run. I hope it’s revived soon, since an account of it as intense as the one I saw, without longueurs, is just what this work needs to lift it from the status of masterpiece-but-also-bore to
Show time at the V&A: the latest in its series of survey exhibitions brings us Surrealism in all its faded glory and sempiternal intrigue — a gallery of the visually fickle and macabre, the once-disturbing and the lastingly chic. The exhibition starts well with a de Chirico stage set for Le Bal (1929), a couple
I’ve spent the past couple of weeks sharing my life with some malignant bug that has left me feeling weak and pathetic on those relatively rare occasions when I’m not rushing to the loo. It’s not exactly been a barrel of laughs, apart from the long sleeps which have been accompanied by excitingly strange and
No question about it. If you had to name the 500 brightest periods in the history of human creativity, you wouldn’t include West Germany in the 1970s. What did they give us, those occidental Heinrichs and Helmuts? The Volkswagen Golf, the Baader-Meinhof gang, Boney M and a team of hyperefficient donkeys who fluked the World
Back in the 1920s someone complained there wasn’t a play on the London stage that didn’t have a telephone in it. While it’s the lifeblood of theatre to move with the times, a mania for modish contemporaneity can only get you so far. The danger is especially endemic in theatre troupes dedicated to outreach and
Lots of new comedy this week. Mitchell and Webb are a puzzle. They had a successful sketch slot, which followed the first runs of Peep Show. Then they turned up in the ads for Apple computers. One of them (I forget which) is supposed to use an Apple Mac and the other a boring old
It was not so extraordinary in September 1946 when the Third Programme began broadcasting that its schedule should include a weekly discussion of the ‘visual arts’, kicking off with the then director of the National Gallery in conversation with the painter William Coldstream. Radio was still the Queen Bee of the BBC and television a
Gershwin’s Porgy and Bess is a masterpiece, whatever other category one finds for it. It is bursting with vitality, it has a larger number of memorable, indeed unforgettable tunes than any work of comparable length in the 20th century, whether opera or musical. And what counts still more for its stature is that the great
What is it like for an actor, after the stimulating exploratory process of rehearsal, followed by the high-voltage excitement of opening night, to go on performing the same piece over and over again, night after night? A long run of a show makes it a banker for its producers and is therefore in many ways
Prunella Clough; Harry Thubron: Collages and Constructions 1972–1984 It was a privilege to be a member of the jury that gave Prunella Clough (1919–99) the Jerwood Prize for Painting in 1999. On the one hand, we wanted to draw attention to the fact that she was an immensely distinguished painter who had remained largely unknown
L’Heure espagnole; Gianni Schicchi; Ariodante The trouble with perfection, on the extremely rare occasions one encounters it, is that it leaves one discontented with anything less. Now that I have seen Ravel’s L’Heure espagnole in Richard Jones’s new production at the Royal Opera, I only want to see these singers under this conductor repeating it.
Too much artist and not enough art. That’s one problem with Total Eclipse, Christopher Hampton’s play about the titans of French 19th-century poetry. Another is presentation. The show is done ‘in the round’ on a raised slipway between two banks of seats irradiated by the glare reflected from the stage. This is bonkers. The reason
The thing I really don’t get at all about The Mark of Cain (Channel 4, Thursday) is how the people involved could bring themselves to do it. I mean, I’m quite skint at the moment and in need of attention and acclaim and a better career. But I promise — no matter how much they
‘Probably best to do the interview before lunch,’ says a spokesman for Gérard Depardieu, France’s best-known export and highest-paid actor. This made sense. The last time I was due to meet Depardieu, at the UK launch of his cookbook two years ago, he failed to make it to the lavish party thrown in his honour,