Reviews
Sebastian Scotney
One can only marvel at the versatility of Ruby Turner. As a vocalist, she spans the whole blues/soul/ R&B spectrum, and has been a major presence on the British scene since the late Seventies. Her unvarying capacity just to step forward and deliver a strong line, clear words, and powerful emotions are an unfailing and unique aspect of the musical life of this country. Perhaps the Halls of Fame and the honours system have a bit of catching-up to do.She has done everything from taking a major role in the British blues movement at the instigation of Alexis Korner, to performing Ray Charles Read more ...
Matt Wolf
Armageddon would appear to be at the gates in Sam Steiner’s intriguing if ramshackle play, a co-production between Paines Plough and Theatre Royal, Plymouth, that has reached London while still seeming a draft or so away from achieving its full potential. Inside a Samaritans-like call centre called Brightline, pregnant work supremo Frances (Jenni Maitland, chipper to a fault) is trying to keep the mood light.But beyond the doors of an office seen to be engaging in its own physical collapse lies a clearly toxic outside world: bridges are collapsing, mould is running rampant, and the Brightline Read more ...
Sue Gaisford
Just when you thought Christmas was well and truly over, along comes another box of delights. And there isn’t a disappointment in it. If it were nuts, there’d be nothing but cashews; if chocolates, there wouldn’t be a single disgusting lime-cream. It would be all Ferrero Rochers, gift-wrapped. English National Ballet’s 70th birthday party opened and closed with class, in every sense.The lights went down and “Good morning, class”, we heard, as the regular daily routine at the barre began. There followed a seamless programme of vignettes and titbits, memories and displays of virtuosity, more Read more ...
David Nice
Not long after noon on Sunday, strange bells began ringing. In just 11 bars, Bach summons pairs of flutes, oboes and violas da gamba against pizzicato strings and continuo to tintinnabulate against the alto's recitative lines about a "vibrating clang" to "pierce our marrows and our veins". These hallucinatory sounds and harmonies could have been composed yesterday. Instead they're at the service of a 1727 lamentation mourning the death of a princess.That you can find such moments of sheer astonishment in just about every Bach cantata - there is another towards the end of "Laß, Fürstin, laß Read more ...
Adam Sweeting
Stephen King’s novels have generated an impressive lineage of successful adaptations. This HBO treatment (on Sky Atlantic) of his 2018 novel The Outsider, developed by Richard Price and featuring screenwriting input from Dennis Lehane, is shaping up as one of the best TV incarnations. If the first two episodes established an atmosphere of pervasive horror and dread, this third one began to lure the realistically-drawn world of Cherokee City, Georgia further into King’s familiar supernatural territory.It’s a town metaphorically shot in black and white, where nothing cheerful ever looks likely Read more ...
Boyd Tonkin
Concert programmes that set out to tell us a story can prove a mixed blessing. Yes, it’s valuable and stimulating to find ideas, and narratives, embodied in the musical flow. But great pieces, well-performed, have a habit of cutting loose from the frame of concepts someone has devised for them. At the Royal Festival Hall, Esa-Pekka Salonen and the Philharmonia gathered three singular, idiosyncratic works under the rubric of “Voices of 1945”. No ordinary year, of course: immediately, the title primed us to listen for after-echoes – direct or oblique – of the conflict that had lately shattered Read more ...
Miranda Heggie
Celtic Connections, Scotland’s annual festival of folk, world and fusion music, has been brightening up dreich Glasgow Januaries since its inception in 1994. Originally proposed partly as a way to fill a scheduling gap in Glasgow Royal Concert Hall’s post-Christmas period, Celtic Connections is now a major event in Scotland’s cultural calendar. 2020’s festival incorporates over 300 events across multiple venues throughout the Glasgow. Programmed by Artistic Director Donald Shaw - a founding member of the folk supergroup Capercaillie - the festival sees artists from across the globe come Read more ...
Gavin Dixon
#Beethoven250 is in full swing at the Barbican. Like most venues, they are keen to show a different side to the composer in his jubilee year. And the oratorio Christ on the Mount of Olives ticks all sorts of anniversary boxes. The work is utterly obscure - not a single one of the musicians this evening had performed it before - but it’s large-scale and ambitious, with plenty of opportunities to shine, especially for the chorus and soloists. It was paired with Berg’s Violin Concerto, played by Lisa Batiashvili, an equally virtuosic performance, though of a more subdued work. An ideal balance. Read more ...
Nadine Meisner
It’s no surprise that audiences love John Cranko’s Onegin, with its vividly economical narrative (close to Tchaikovsky’s opera), attractive decors by Jürgen Rose, and intelligent drama. True, it feels a tad old-fashioned – although that, as my neighbour observed, is part of the charm. Performers love it too, for the meaty roles it gives to its principals and the emotional swoop of their dances. You just have to make sure that you are absolutely right for the task, as the otherwise irreproachable Vadim Muntagirov found out at the eleventh hour, causing him to be replaced in the title role by Read more ...
Marianka Swain
“Take our country back!” is the rallying cry of the self-identified “real” Americans gathered to protest the arrival of immigrants. It could be a contemporary Trump rally – or, indeed, the nastier side of current British political discourse – but in fact this scene is from a 1986 musical, set in 1910, from an all-star creative team: book by Joseph Stein (Fiddler on the Roof), score by Charles Strouse (Annie) and lyrics by Stephen Schwartz (Wicked). Despite that pedigree, it bombed on Broadway, but this opportune revival, transferred from Manchester’s Hope Mill Theatre, gains potency by Read more ...
Richard Bratby
“Try to imagine the whole universe beginning to ring and resound” wrote Gustav Mahler of his Eighth Symphony. “There are no longer human voices, but planets and suns revolving.” It’s an image that captures the impossible scale and mind-boggling ambition of this so called “Symphony of a Thousand”. But it doesn’t begin to do justice to the freshness, clarity and sheer headlong energy of this performance by the City of Birmingham Symphony Orchestra and no fewer than five choruses under the direction of Mirga Gražinytė-Tyla. Doesn’t the Earth alone move at 67,000 miles per hour? With around 600 Read more ...
Veronica Lee
Musical comedy siblings Nicola and Rosie Dempsey (Flo and Joan were their grandmother and great-aunt's names) get along very well – even being mistaken for lovers by one Paris hotel who gave them a double bed – and certainly their chat between songs, where they politely interrupt each other and finish each other's sentences, is testimony to that. So the inspiration for their new show, Before the Screaming Starts – in which they consider the possibility that their professional partnership might end in personal bitterness – was, they say, the now infamous Bros documentary After the Screaming Read more ...