1940s
David Nice
Southwark's golden triangle – the Menier, the Playhouse and the Union – has given us so many "lost" musicals which only a decade or so ago would have been lucky to get in-concert airings. Chief gap-fillers in the Rodgers & Hammerstein oeuvre have been the Union Theatre's charming shot at Pipe Dream, which had quirky subject matter – Steinbeck's Cannery Row and Sweet Thursday – and a few good songs, and now the Southwark Playhouse's "European professional premiere" of Allegro, which has a half-interesting, home-grown plot and not a single vintage R&H number. No amount of heart Read more ...
Hanna Weibye
Does Alexei Ratmansky, former Bolshoi director and current world-leading classical choreographer, really love Prokofiev's Cinderella, or did he choose to create a new one for Australian Ballet in 2013 principally because he wasn't happy with his first (for the Mariinsky) in 2002? My bet is a bit of both: the second production, like the first, shines with an unfeigned affection for both score and story, but it also reads as a candy-coloured riposte to the usual adjectives applied to the 2002 production: ugly, spiky, uneven. If Ratmansky's first Cinderella was a tongue-scorching Wasabi pea, Read more ...
Richard Bratby
Can it be true? Was this really the CBSO’s first performance of Bax’s The Garden of Fand? OK, Bax is hardly mainstream repertoire, and if Oramo or Rattle had conducted it, someone would have remembered. Further back in the orchestra’s 96-year history, though, surely Adrian Boult or George Weldon must have been tempted? The records are vague. The enterprising Michael Seal conducted it in a pre-concert slot with a student orchestra a couple of years back, but the performance with which John Wilson opened this concert was the first time the City of Birmingham Symphony Orchestra has indulged in Read more ...
Florence Hallett
You wouldn't judge a painting on how it would look in your own home, but textiles are different: in fact it is exactly this assessment that counts. A length of fabric laid flat is a half-formed thing: it needs to be cut, stitched and draped before we can appreciate it, and even then it must take its place within an interior, domestic or public, before we can really understand it. Fabrics need – to coin a terrible, but useful expression – to be activated.There are examples of John Piper’s textile designs, like Arundel (1959, issued 1960), that look rather wonderful framed and treated like Read more ...
Kieron Tyler
Although the Ealing Studios’ melodrama Pink String and Sealing Wax was set in the 1880s and based on a play first performed in 1943, the film hit cinemas in late 1945 when World War II was barely over. The war saw a fundamental shift in the role of women in British society and the film’s scenario reflected this in how it revealed a devastating female reaction to an abusive relationship. After the empowered Pearl Bond takes matters into her own hands, it was clear that her husband Joe will not come out of it well.Pink String and Sealing Wax is also a drama of class as well as gender. Pearl is Read more ...
Graham Fuller
Trumbo depicts the 13-year struggle by the screenwriter Dalton Trumbo (Bryan Cranston) to break the blacklist imposed on him and the other members of the Hollywood Ten in 1947. By continuing to get his scripts produced throughout the Fifties, Trumbo made a heroic, if morally complex stand against rabid Red Scare-mongers like the gossip columnist Hedda Hopper (Helen Mirren) and John Wayne (David James Elliott). It’s disappointing that his courage and brinkmanship should grace a movie with no attitude of its own – that has the narrow sensibility of a 1980s or 1990s telefilm.Cranston nails the Read more ...
Hanna Weibye
When producing Cinderella, the main question is: sweet or sour? That Prokofiev score is splendid, but it's no walk in a candy shop; in Act I the stepsisters have passages so scraping, spiky and dissonant that sugar-coating would seem to be out of the question. On the other hand, there's a Nutcracker-like family audience at the ready for pretty productions which skim lightly over the whole neglect and cruelty thing – but that leaves you with a story so bland that even Disney had to invent singing mice to perk it up.Big international choreographers tend to go for more acidity, but with Read more ...
Marina Vaizey
Dan Cruickshank, that enthusiastic architectural historian, who likes nothing better than some scaffolding he can clamber up to get a better look, revealed that as a child of seven he moved some 60 years ago to Warsaw with his family. His father, then a member of the Communist Party, was posted to the Polish capital by the Daily Worker as their correspondent.The young Cruickshank took to his adventure with alacrity. He precociously drew the view over Old Warsaw visible from his family’s apartment. Visiting his old home 60 years later, there was the view again to compare to his preserved Read more ...
fisun.guner
Sculpture that moves with the gentlest current of air! Sculpture that makes you want to do a little tap dance of joy! Or maybe the Charleston – swing a leg to those sizzling Jazz Age colours and shapes and rhythms. Look, that’s the queen of the Charleston right there – the “Black Pearl” of the Revue Nègre, Josephine Baker. She’s a freestyle 3D doodle in space, fashioned out of wire: spiral cones for pert breasts, that sinuous waist described by a single serpentine line. What a callipygous shimmy. And who’s that with the Chaplin moustache? Why, it’s the head of Fernand Léger (pictured below Read more ...
Florence Hallett
Any number of puzzling and fantastical stories were told by Alberto Giacometti in the construction of a personal mythology that helped secure his reputation as an archetypal artist of the avant-garde. Less heroic than the oft-quoted accounts of his transformative, visionary experiences, the story of his return to Paris after the Second World War is no less poignant, nor significant for all that. Having stowed his most recent works under the floorboards, Giacometti left his studio in 1941 returning four years later to find it – miraculously – just as he had left it. Due less to some Read more ...
Marianka Swain
Can you peg a whole play on a decent twist? When We Were Women’s narrative tease pays off interestingly, but takes a hell of a long time getting there. It leaves little space to explore the ramifications of an intriguing revelation, a frustration amplified by the constant chronological cross-cutting in this revived Sharman Macdonald work, first seen at the National in 1988.In 1944, some terrible event has driven pregnant Isla (Abigail Lawrie) from the arms of sailor Mackenzie (Mark Edel-Hunt, pictured below), back to her aspirant working-class parents’ (Lorraine Pilkington and Steve Nicolson Read more ...
Bernard Hughes
Pairing Messiaen’s Turangalîla Symphony with John Foulds’ Three Mantras was a smart piece of programming: established modern classic and obscure novelty sharing an inspiration from Indian music and philosophy, and both perfectly designed for showing off a very fine orchestra to its best advantage.Before this concert I knew little of John Foulds (1880-1939) other than as a composer of light music in a blandly appealing style. The Three Mantras proved him to be a far more interesting and arresting composer. Originally preludes to the acts of a Sanskrit opera Avatara, which the composer later Read more ...