Reviews
Thomas H. Green
Unless you were around when The Beatles toured America in the mid-1960s, it’s doubtful you've heard anything like this. In 40 years of extensive gig-going, I have not. Taylor Swift has just performed “Champagne Problems” at the piano (pictured below), a song from Evermore, the second of her indie-folk flavoured COVID-era albums. There’s a rising feminine roar, Wembley Stadium on its feet, the noise grows and grows, an earthquake cacophony of women and girls screaming, so many that, combined with tens of thousands of hands clapping, it fills the head like cosmic hum. It surely cannot grow Read more ...
Graham Fuller
Forty years later, they have haggard faces, grey hair if any, and sorrowful expressions tinged with incredulity at the outrages perpetrated against them. At one point, the burliest of them cries. One who struggled with drink and drugs says four of his colleagues committed suicide.To different degrees these British men, interviewees in the latest documentary by Hillsborough director Daniel Gordon, are suffering from PTSD. Most were born into the generation that fought in the Falklands War – one, in fact, served in Northern Ireland. It’s not as ex-servicemen that they tell their stories to the Read more ...
David Nice
Any programme featuring Gershwin’s top large-scale works might tend to the “pops” side. Bernstein’s West Side Story Overture and even the sweet dream of Florence Price’s Adoration fit that bill. But An American in Paris sounded completely different from usual, its radical side highlighted, following Ives’s Three Places in New England and Ruth Crawford Seeger’s Andante for Strings.Enterprising Tom Fetherstonhaugh and the (equally) young professionals of his Fantasia Orchestra have been regular visitors to Proms at St Jude's Music & Literary Festival – to give the full, unwieldy name of Read more ...
aleks.sierz
Following the huge success of Benedict Lombe’s Shifters, which transfers soon to the West End, the Bush Theatre is riding high. Now this venue’s latest exploration of the Black-British experience tells a really lively and emotionally deep story about Nigerians in London.Faith Omole, whose first and as yet unperformed play, Kaleidoscope, won the prestigious Alfred Fagon Award last year, arrives with bang with My Father’s Fable. Since Omole is also an actor, and has appeared in the Channel 4 comedy, We Are Lady Parts, it’s no surprise that her debut is both a comedy and an acute look at the Read more ...
David Nice
How much better can a classic get? Sebastian Scotney more or less asked the same question on theartsdesk the last time Giulio Cesare returned in triumph to Glyndebourne. I never saw David McVicar’s justly famous production of what has to be Handel’s most consistently inspired opera live before, but I wonder if every single number can ever have been applauded, as it was last night.Less than a month ago, Ireland’s Blackwater Valley Opera Festival also flourished a Cesare, a much more heavily cut version but strongly cast and just about as good as it could be on a limited budget and rehearsal Read more ...
Jon Turney
For a couple of decades, the free video game America’s Army was a powerful recruitment aid for the US military. More than a shoot-em-up, players might find themselves dressing virtual wounds, struggling to co-ordinate tactics with their squad, and facing other supposedly realistic aspects of active service. The realism, of course, had one strict limit. If you died, you could reset the game and play again.The game is one of innumerable examples in Kelly Clancy’s book of how the invented reality of play worlds has an appeal which is functional for some, potentially catastrophic for others. Read more ...
Kieron Tyler
Liverpool’s The Cryin’ Shames were responsible for two of mid-Sixties Britain’s most striking single’s tracks. The February 1966 top side “Please Stay” was so eerie, so wraithlike it came across as an attempt to channel the experience of making successful contact with a spirit presence. “Come on Back,” an unpolished September 1966 B-side, could pass for US garage punk at its most paint-peeling.The Cryin’ Shames only issued three singles, so that’s a pretty high batting average in terms of quality. Add in the crunching Bob Dylan re-write “What’s News Pussycat” (sic), “Please Stay’s” flip, and Read more ...
David Nice
What did they put in the water of Czechia’s central Bohemia/Moravia borderlands? From south to north there's Mahler’s birthplace in Kalište and the city of his youth, Jihlava; the Polička tower where Martinů was born; and finally the Litomyšl brewery which was Smetana’s first home (further east, Janáček and Freud were born six kilometres apart).Unquestionably Litomyšl is the loveliest of the four places, with an elongated square flanked by arcaded buildings – one day they’ll remove the parking spaces – below the UNESCO listed Renaissance castle (lavish restoration ongoing, so courtyard Read more ...
Adam Sweeting
Helpfully, this is a film that reviews itself. Like it says on the posters, “They were making a cursed movie. They were warned not to. They should have listened.”If ever a film was meant not to be, here it is. Apparently it was going to be called The Georgetown Project, and writer-director Joshua John Miller shot the bulk of it in South Carolina in 2019. Then it was shelved, not least because of Covid. It was belatedly resurrected and some extra scenes added, but the botched-together result is dead on arrival.Not the least perplexing thing about it is how Russell Crowe, who was once a copper- Read more ...
James Saynor
We’re used to dabs of colour splashing briefly across black-and-white movies – Spielberg’s Schindler’s List or Coppola’s Rumble Fish spring to mind – but director Agnieszka Holland has a new and uncompromising variant on the ruse.The colour opening shot of Green Border swoops across the treetops of an emerald forest in Middle Europe, but in less than a minute the verdant image bleaches into monochrome. It never seems likely that a multi-hued continent will be back on our screen for the rest of the movie – 152 minutes of brilliant, controlled filmmaker fury – and so it proves. This Read more ...
Kieron Tyler
It kicks off with “No Easy Way Down.” First released on 1984’s mini-LP Explosions in the Glass Palace, it was an instant benchmark by which to measure Rain Parade. Churning, dense and foggy, it made good on what this California outfit were portrayed as: integral to a Sixties-inspired wave of bands defiantly reconfiguring the past for the present. Not all Rain Parade songs were like this, but “No Easy Way Down” was a head-spinner. It still is.What was dubbed The Paisley Underground also scooped up The Bangles, The Dream Syndicate, The Long Ryders and The Three O’Clock. But “No Easy Way Down” Read more ...
aleks.sierz
Every day this week I’m watching a football match, and now – after April’s production of Lydia Higman, Julia Grogan and Rachel Lemon’s Gunter – comes another football stage drama to tear up the turf at the Royal Court’s Theatre Upstairs.This time it’s the turn of Stewart Pringle’s The Bounds, which opened at Live Theatre in Newcastle in May and has now arrived in London. Set in 1553 in Northumbria, during the Whitsun football game which can last for days and has a pitch that is many miles long, this is a play with a high metaphorical content which not only articulates a distinctly northern Read more ...