ancient Greece
Laura Silverman
Not even a cameo by Tamsin Greig can redeem this painful adaptation of Euripides' The Trojan Women. For an hour and a half it screams with anguish, verging at times on the parodic. The production is a puzzle. Caroline Bird has updated the language, stripping the original of much of its poetry and adding expletives. Jason Southgate has designed a brilliantly claustrophobic modern hospital ward as the set, and Noelle Claude has chosen simple, if sometimes bland costumes that could pass for modern outfits (those worn by Helen of Troy are designed by Sonia Rykiel). Yet these are Read more ...
Ismene Brown
Pity the A-level English student: for them the “rarely seen masterpieces” that creep onto the curriculum and into the theatres. Judging from the frequently giggling reaction of the audience last night of around 100 17- and 18-year-olds, Eugene O’Neill’s tricky tragedy Desire Under the Elms isn’t going to be winning too many A*s among them next summer. Which is a pity, because this is a tough, gnarled play which strips human instincts to their bones. Hatred is its key emotion, loneliness its key condition.David Attenborough in his unputdownable book The Life of Birds tells of the female Read more ...
igor.toronyilalic
Les Troyens is one of music's mythical beasts. The greatest opera that few will have ever seen. Until recently the epic was considered so demanding that it was thought unstageable. David McVicar's new production for the Royal Opera House is only the second in its history. So for most of us last night will have been the first chance to witness the five-hour masterpiece in its original French. It is amid the murmuring woodwinds that the most memorable musical truth of Troyens is to be foundBeyond the fact that the cast is huge, however, (the opera house were fielding the largest Read more ...
Aleks Sierz
Although some contemporary plays — notably Posh and 13 — have accurately taken the temperature of the times, what about the timeless classics? Does Sophocles’s Antigone (dated about 441BC) have anything to say to us today? How can it be of our time too? As the National Theatre wheels out this play, with a cast led by Christopher Eccleston and Jodie Whittaker, onto its main stage, such questions hang in the air like the smoke from an ancient funeral pyre.The third of the Theban plays, Antigone is a perfect tragedy: everyone behaves in the right way, but with fatal results. It's a true tragedy Read more ...
igor.toronyilalic
Mozart's Idomeneo is subjected to a famous bit of abuse in Milos Forman's Amadeus. "A most tiresome piece," a courtier critic sniffs. "Too much spice. Too many notes." As it happens, not a wholly inaccurate statement. The work is quite an exotic curry of an early Classical opera. And in last night's concert performance at the Barbican, conductor Thomas Hengelbrock and the Balthasar Neumann Ensemble presented the dish in as richly fruited, densely scented, dramatically packed a rendition as you could imagine. One could fully see why Enlightenment ears might tire of its pungent demands - and Read more ...
james.woodall
Certain big dramas can work really well in small places. Sophocles’s revenge play Electra (end of the fifth century BC) is as consequential, and influential, as they come; the Gate Theatre one of the smallest spaces in London. It continually produces sparky, original productions of old and new work. It can only be hoped that an innovative future will be moulded by safe hands after the recently announced departure next January of its current co-directorate, Natalie Abrahami and Carrie Cracknell.Certain big dramas can work really well in small places. Sophocles’s revenge play Electra (end of Read more ...
igor.toronyilalic
Wars have no end. Soldiers may come home, battlefields may be vacated, peace treaties signed, but scars remain. The violence of combat has a way of revisiting itself on the victors and vanquished and ravaging soul and state. This was the message of Benedict Andrews's new production of Monteverdi's The Return of Ulysses for the English National Opera at the Young Vic, which sees Ithaca as a mutilated world, inhabited by a suicidal wife, a brutalised soldier and a society grotesquely drunk on its own supremacy.The curtain lifts on a grieving widow. Penelope circles her cage, a shiny modern Read more ...
Sarah Kent
A maypole greets you on entry to the Serpentine Gallery; don’t expect a cheery celebration of spring, though. Nancy Spero’s installation Maypole: Take No Prisoners II (2008) is a scream of rage against violence and its hapless victims. Dangling from coloured ribbons, dozens of decapitated heads hang in the air like an explosion of shrapnel. Mouths gape open in pain and terror - or is it hatred? One can’t be sure, since some seem to be spitting venom from bloody tongues as though, even in their death throws, they are intent on spreading a gospel of vengeance and destruction.The strength of the Read more ...
fisun.guner
I’m in an exhibition of ancient artefacts from Afghanistan, all from the National Museum at Kabul, but I may well have stumbled into the wrong room at the British Museum. I could be in the BM’s Hellenic section of Greek art, or, taking a few steps to my left, the Egyptian rooms. But then again… here are some sensual sculptures of curvaceous semi-clad women from India (main picture), while a little further on there’s a Chinese hand mirror and some boot buckles, the latter with Chinese dragons whose wings are of turquoise.Afghanistan, a country whose recent war-torn history is part of our Read more ...
theartsdesk
The Blitz wartime version of Ovid’s Metamorphoses that David Nice was raving about is New York-bound now, after winning one of the Edinburgh Fringe Festival’s most generous awards, the Carol Tambor Best of Edinburgh Award. This, set up in 2004 in perpetuity, gives the winning production an all-expenses paid trip to New York’s Off-Off-Broadway to stage the show for a run of up to a month (and to keep the net box office receipts).The run has the added bonus of being timed to coincide with New York’s Association of Performing Arts Presenters convention, which brings some 4,000 international Read more ...
igor.toronyilalic
David McVicar's revival production of Handel's oratorio-cum-opera Semele isn't terribly clever or beautiful or impressive, or fecund with ideas or detail or emotion. But it does work. It does tell the story. And what brings colour to its initially rather pasty, unappealing face, and fire and heft to its anaemic belly, is sex and - best of all for those of you who will only be able to catch it in concert at the Barbican next week - one of the most impressive Handel casts I've heard for years.Appropriately for a production as deliberately confused in concept as this one - where the characters Read more ...
fisun.guner
Here’s a question: what have the eminent Victorian statesman and four-times prime minister William Gladstone and the Nazi Reichsführer Heinrich Himmler have in common? Well, if you didn’t catch last night’s Timewatch Special, you'd probably never guess. They were both obsessed with discovering that great, drowned civilisation of antique myth, Atlantis. Gladstone thought it was located somewhere on the South Atlantic, so he proposed a government sponsored expedition but was turned down by the treasury, and Himmler thought that the Ayrian master race was directly descended from Atlantians and Read more ...