The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Like every red-blooded male, I do like a gadget, and the latest pointless item of electrical flummery to adorn our absurdly small flat is a digital radio. What a wonderful machine it is. The excellence of the sound quality, the ease of use, and the fact that Radio Two is no longer blotted out by
C. R. Cockerell RA (1788–1863) The Professor’s Dream is the title of a small exhibition (until 25 September) in the Tennant Room at the Royal Academy, a relatively new space that links with the John Madejski Fine Rooms, formerly the piano nobile of old Burlington House. Who was this professor, and what was his dream?
Well, it wasn’t quite the theatrical event of the year I was expecting. Theatre of Blood is an adaptation of the 1973 cult film in which a disgruntled actor murders a group of drama critics and I was hoping that members of the current crop, like the Standard’s Nicholas de Jongh, would be instantly recognisable.
Glyndebourne began in what is now the traditional manner: high winds and driving rain. This year there was the further discouragement of being kept out of the theatre until 15 minutes after the performance should have begun, which seemed wantonly unprofessional. Then the overture to Rossini’s La Cenerentola began, and we were in whatever kind
To be honest, I haven’t been watching an awful lot of TV lately. It gets in the way of bedtime reading and an early night. You think you’re safe watching a programme at 9 p.m., which is when all the best ones are on, but that means you can’t start your pre-bed countdown (lights; cat;
Vengeance is mine, saith the Sith, whith thoundth like Violet Elizabeth Bott. No such luck. Instead, it’s George Lucas, with what he insists is the final film in the Star Wars sextet. My guess is the first film in the new Star Wars septet will be opening circa 2008. Anyway, Revenge of the Sith is,
It seems a strange way to celebrate the centenary of Michael Tippett’s birth, as many people have remarked, to have multiple productions of his third opera The Knot Garden, while neglecting the more approachable first two, though the Royal Opera will be mounting The Midsummer Marriage next season. Yet for those who have been to
Visiting this large (172 works) retrospective for Max Ernst (1891–1976) at the Metropolitan was in a way a sign of the times. Here was revealed, in all its witty and eccentric glory, the art of the most influential German Dadaist, born in Br
George Rowlett’s new paintings have wonderfully tousled, wind-rucked surfaces, the paint stirred and whipped up in moving emulation of the effects of the elements on water and landscape — his principal subjects. He paints the Thames and the seashore of east Kent; he also records the passage of the seasons on the landscape around Deal
The most affecting programme of the week was Lost in La Mancha, a film shown as part of the Storyville series on BBC 2 (Sunday). It was about Terry Gilliam, who used to do the cartoons for Monty Python and who now has a reputation for being a ‘maverick’ director. This means that sometimes he
Throughout a newly affluent Western Europe in the 1960s and 1970s, and under the spur of a technological revolution, people — country people, in particular — began to throw out their artefacts of wood and metal and natural fabric in favour of the exciting new plastic that never wore out and rarely needed cleaning. Newly-weds
The distinction between operas and oratorios in Handel’s output is to a large degree an academic affair, depending on such contingencies as whether a work could be staged at a certain point in the ecclesiastical calendar. Glyndebourne showed that Theodora, an oratorio, could be staged with spectacular success, thanks to Peter Sellars’s intermittent genius. A
I walked into The Philadelphia Story with a real spring in my step. Admittedly, I’d never seen this play before, but how bad could it be given that the film — surely one of the two or three greatest romantic comedies ever to come out of Hollywood — was so closely based on Philip Barry’s
If you took a national poll on our greatest watercolourist, Turner would win hands down, Girtin would come second and Cotman might get honourable mention behind TV artists Alwyn Crawshaw and Charles Evans. Cotman’s name means nothing to the general public, and carried so little clout in his own day that his death in 1842
‘Everything looks menacing,’ Edward Burra once told the Tate’s director Sir John Rothenstein. ‘I’m always expecting something calamitous to happen.’ This was late in Burra’s career, when his by then well-known and characteristic figure paintings had mostly given way to landscapes and still lifes, though without any diminution in their imaginative power or their peculiar
On the evening of 4 May at Christie’s in New York, a previously unknown, seminal sculpture by Constantin Brancusi, probably the first of his admired ‘Bird in Space’ series produced around 1922–23, was expected to fetch a mighty $8 million– $12 million. In the event, there were at least six serious contenders for the piece,
Could Caravaggio draw? That might seem a startling, even a ridiculous, question, but it expresses a doubt with which I was left by the admittedly magnificent exhibition that is about to close at the National Gallery. It is a concern that has led on to another, even more perplexing. That is, what is good drawing
Tragically, I missed the recent reality TV show in which celebrity love rat (and, weirdly enough, brother of my old riding teacher) James Hewitt was filmed receiving hand relief from a young woman desperate (very, clearly) to win £10,000. Instead I’m going to talk about something if possible even more depressing: Armando Iannucci’s new sitcom
I had intended to devote this article to the subject of artists on film and in particular to a newish archive, the Artists on Film Trust, which was founded seven years ago by Hannah Rothschild and Robert McNab, and affiliated this February to the newly created University of the Arts, London. Under this inelegant umbrella
There has been a lot of tut-tutting about the Royal Opera being ‘bought’ by Lorin Maazel for him to put on his first opera, 1984. I don’t really see why, considering the number of foolish or fairly disgraceful things that it gets up to there anyway. Admittedly, it would be nice for someone visiting London
Leonard McComb (born Glasgow 1930, of Irish parents) is a figurative painter of rare particularity and achievement. He is also a sculptor and his work spans a broad range of utterance: polished bronze, oil on canvas, pastel, pencil and gold leaf on paper (in his affectionate portrait of fellow painter and friend, the late Carel
As a former winner of Britain’s most prestigious award for painters, the John Moores prize (other winners include Hamilton, Hilton, Hockney, Hoyland), a new show by Andrzej Jackowski should not be missed, especially not these notably small but powerful paintings in his latest exhibition at Purdy Hicks. The phrase ‘depth charge’ is used in the
The British have developed a number of garden styles over the centuries but none more unexpected than the ‘woodland garden’. No one in 1800, when the first rhododendrons were arriving in this country, could possibly have predicted that a sizeable number of large country gardens, situated on acid soil in rolling wooded countryside or in
It’s always useful to be reminded of the remarkable stoicism and bravery of the generation of people that lived through the second world war. It’s hard to imagine it being repeated today. I felt it this week listening to Coming Home, a five-part series celebrating the 60th anniversary of VE Day. Charles Wheeler, who in
‘Art for art’s sake,’ sang 10cc in 1976, ‘Money for God’s sake.’ And promptly split in half shortly afterwards. It’s a conundrum every new young band has to grapple with sooner or later. You want creative freedom, of course you do. You want trillions of dollars, of course you do. You want to have your
In painting, as in music and literature, artists whose work in old age is comparable to that of their youth are rare beasts: Titian, who traditionally if implausibly lived to be 99, was one; Goya, who died aged 82, was another. But of neither can it be claimed that they saved their greatest work for
How should opera, and particular operas, be made ‘relevant’? And what kind of relevance, anyway, should they try to achieve? The questions are too big to answer in a brief review, but Birmingham Opera Company’s largely magnificent production of Monteverdi’s Il Ritorno d’Ulisse in Patria heroically attempts to cope with them. Using the highly individual
It is difficult to place oneself in the position of the pioneers of graphic art shown at the Estorick Collection: their extraordinary leaps of the imagination have become the standard vocabulary; the shift from old to new they represent now distant history. Born in the 19th century when 90 per cent of human understanding came
Conwy in north Wales is among the most enchanting of our small towns. It’s like a toy fort, its encircling walls surviving intact until Thomas Telford had to breach them for his bridge. He did it elegantly, even delicately, creating a suspension bridge that actually enhanced the little town. It was for our brutal, automanic