Reviews
Jonathan Geddes
Cyndi Lauper was preceded onstage by a brief video that zipped through her career, which she drily declared was just in case someone was at the gig by mistake. It’s tempting to wonder what an unexpected visitor might have made of this farewell tour, given it shifted from Rabbie Burns mentions to gestures of support for the LGBT+ community, wig changes and, at one point, Lauper climbing up from a trap door wrapped in what looked like percussive body armour.It was certainly never a dull evening, right from the familiar bounce of “She Bop” to kick things off. It offered an early chance for the Read more ...
Kieron Tyler
On its own, the second session The Lurkers recorded for the BBC’s John Peel show on 18 April 1978 is arguably a curio, a footnote. Four tracks of bracingly straight-ahead Brit-punk with a headstrong freshness undiminished by time. But whatever the impact, The Lurkers were never a main-agenda band, and the Peel session was an adjunct to their discography.The Peel session has resurfaced on a 12-inch, clear-vinyl EP as part of the Beggars Arkive series of releases: an archive exercise digging into Beggars Banquet, the label The Lurkers were on. Available as a stand-alone release, the record is Read more ...
Robert Beale
When a piece of music is heard for the first time ever, there’s always the delicious hope that, just by being there, an audience might witness something special, to be remembered fondly. It doesn’t happen always, but I think it did for Héloïse Werner’s Hidden Mechanisms, which received its first performance in Manchester last night.It's strange this should be so, when the ostensible logic behind the piece and its title seems somewhat abstruse. Werner describes the 10-minute, five-section piece for piano quintet as a metaphor for the small, hidden things that underlie an ecosystem – she Read more ...
stephen.walsh
Drained as they are at present of crucial funds, WNO are managing to put on only two operas this spring, and spaced out to the point where it could hardly be called a season. For their new Peter Grimes we must wait till April. Meanwhile we can relish Tobias Richter’s sparkling nine-year-old Figaro, skilfully revived, with a few tweaks, by Max Hoehn.Whatever the pressures, there is not the slightest diminution of standards. I missed the pre-pandemic revival. But Hoehn has now cut out the overture stage business (no great loss), and the opera is sung in its original Italian, which for my money Read more ...
India Lewis
Taking on some of the contingent, nebulous quality of its subject, Jacqueline Feldman’s Precarious Lease examines the beginning and the end – in 2013 – of the famous Parisian squat, Le Bloc, thinking through the triumphs and consequences of the unique leniency that Paris had shown towards the preservation of such indeterminate spaces.Le Bloc was one of the last bastions of a loophole that allowed temporary occupancy in exchange for cultural, artistic capital: here iterated in an abandoned, seven-floor ex-governmental building. Its lease was short but chaotic, resulting in the occupants’ Read more ...
Matt Wolf
We live in tragic times given over to cataclysmic events that require outsized emotions in return. That may be one reason to account for the uptick, therefore, in Greek drama, which includes not one but two Oedipi, various adaptations of Antigone, and the arrival on the commercial West End of the obvious companion piece to Oedipus, namely Elektra – the K in the title perhaps nodding to a landscape in which people exist to kill. The star attraction is Oscar winner Brie Larson, who certainly deserves credit for taking on this part in the harsh glare of the commercial theatre, not least in Read more ...
David Nice
Perhaps all great music counterpoints and comments on the times, but Antonio Pappano and the London Symphony Orchestra have been searingly congruent. Before he took up his post as Chief Conductor, there were the extinction whispers of Vaughan Williams’ Sixth Symphony the night before lockdown and the fury of VW’s Fourth on the eve of Boris Johnson’s election. Now the aggressive dynamism of Walton’s First raised us out of that sinking feeling as the USA worsens by the day.George Walker’s Sinfonia No. 5. “Visions” (the composer pictured below by Frank Schramm), could have been charged, too, Read more ...
Markie Robson-Scott
“You know what they say: where there’s livestock, there’s dead stock,” says Jack (a brilliant Barry Keoghan). Never a truer word. There’s an awful lot of dead and maimed stock – sheep, to be precise – in Christopher Andrews’ gory, gloom-ridden directorial debut. Animal lovers will want to avert their eyes. The film is undeniably powerful, with fine performances, but the unremitting violence ends up feeling cartoonish and empty.Set in the west of Ireland, the mountainous landscape is magnificent. Its sheep-farming inhabitants, not so much. In the first scene, a flashback, Michael ( Read more ...
Kieron Tyler
Deep Below’s first track is titled “Hibernation.” “A winter breeze blows through my mind,” intones a colourless, dispirited male voice. The ensuing lyrics are similarly bleak. “Trying to warm myself with the memories you’ve left behind, Deep inside this hole bitterness consumes my soul, One day I might wake up but I know it won’t be today.”Musically, the setting for this despair unambiguously evokes The Cure – themselves recently reanimated with last year’s Songs Of A Lost World album – around the time of their 1980 to 1982 Seventeen Seconds, Faith and Pornography albums. Consequently, the Read more ...
alexandra.coghlan
Who’s in and who’s not – on the secret, the joke, the relationship, the family, the club? That’s the fulcrum of Joe Hill-Gibbins’ ingeniously simple Figaro for English National Opera. A white box and a row of doors supply the only set to speak of for a production less interested in the entrenched tensions of upstairs-downstairs than the shifting alliances and fragile coalitions of a household in flux. Gender, money, status – even survival – all take their turn as the axis dividing a more than usually eccentric cast of characters in a contemporary staging whose interest – and wit – is all in Read more ...
Demetrios Matheou
There’s a common understanding about journalists, especially ones at the top of their game, that they’re flying by the seat of their pants – propelled by adrenalin, deadlines, ambition and, just occasionally, righteousness.September 5 encapsulates all of that, bar the virtue perhaps, and with the concrete deadline replaced by another practical pressure – of live broadcast – and the ethical decisions that arise when the story in front of the camera is literally one of life or death. Tim Fehlbaum’s film is based on the terrorist attack on the 1972 Summer Olympics in Munich, in which Read more ...
Helen Hawkins
The opening scene of the Old Vic’s Oedipus is dominated by a giant backdrop of a skull-like face, eyes shut and rock-like. It belongs to the actor playing Oedipus, presumably, Rami Malek. This is as near to a close-up of the title character as we get.Co-directing, Matthew Warchus and choreographer Hofesh Shechter have created a claustrophobic Thebes, dazzled by the sun and water-less. Its only features are a microphone stand and a lit dais, both of which rise from the floor as needed. To begin with, the backdrop lighting turns a flaming tangerine, fading to a pallid lilac by the end. For long Read more ...