mon 17/06/2019

cabaret

Philharmonia, Salonen, RFH review – bittersweet Berlin

Esa-Pekka Salonen and the Philharmonia kicked off their series of concerts devoted to the edgy culture of the Weimar Republic with a programme that featured three works (out of four) derived in some way from the musical stage. That included, as a...

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Dead Dog in a Suitcase (and other love songs), Brighton Festival 2019 review - a feverishly foul-mouthed musical comedy

Five years ago this Kneehigh Theatre production caused a stir with its vibrant modern retelling of John Gay’s 18th century satirical classic, The Beggar’s Opera. It’s currently on tour again and it’s easy to see why a revival was greenlit. It’s a...

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CD: Billie Eilish - When We All Go To Sleep Where Do We Go?

Billie Eilish is a vaudevillian. Crack that and everything else falls into place. Her impossible precociousness (at 17, she's a superstar and has been in the public eye for four years) and voraciousness (her and her brother Finneas's writing swerves...

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L'heure espagnole, Mid Wales Opera review - Ravel goes like clockwork

Mid Wales Opera makes small-scale touring look fun – even when you suspect that, behind the scenes, it really isn’t. Barely 24 hours before this performance of their current production of Ravel’s L’heure espagnole, and 11 dates into their current 16...

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Dietrich: Natural Duty, Wilton's Music Hall review - elegy for one

Getting the look right is half the battle: in that, Peter Groom's one-time-Captain Marlene Dietrich is a winner from the start. The looks at the audience nail it too, heavy-lidded and lashed but transfixing, charismatic, winning instant complicity....

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Jake Shears, Concorde 2, Brighton review - a blitz of glitz

One of the biggest crowd roars of the night comes right at the start when Jake Shears runs onstage. He is wearing a grey top hat, a white tail-jacket with glittered lapel-edging, silver glittery trousers, a tight black sequinned vest top, and a bow...

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CD: Jake Shears - Jake Shears

There are two schools of thought on the Scissor Sisters. One was that they were vapid, over-cheery retro-pop of the worst order. The other is that they were an extension of New York’s ever-mischievous underground in all its underground LGBT+ disco...

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Aftermath: Art in the Wake of World War One, Tate Britain review - all in the mind

Not far into Aftermath, Tate Britain’s new exhibition looking at how the experience of World War One shaped artists working in its wake, hangs a group of photographs by Pierre Anthony-Thouret depicting the damage inflicted on Reims. Heavy censorship...

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Effigies of Wickedness, Gate Theatre review - this sleek cabaret conceals desolation behind a smile

The show’s subtitle – “Songs banned by the Nazis” – is a catchy one, and somewhere under the confetti, the stilettos, the extravagant nudity, the sequins and even shinier repartee that are wrapped around Effigies of Wickedness like a mink coat on...

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Hailey Tuck, Rich Mix review - delightful but wobbly

At the age of 18, Texan jazz singer Hailey Tuck cashed in her college fund for a one-way plane ticket. leaving a military boarding school in Texas for the Voltaire district of Paris, to immerse herself in jazz clubs and vintage markets. Nearly a...

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Picks of Brighton Festival 2018 by writer-director Neil Bartlett

Director, playwright and novelist Neil Bartlett has been making theatre and causing trouble since the 1980s. He made his name with a series of controversial stark naked performances staged in clubs and warehouses, then went on to...

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Mum, BBC Two, series 2 review - Lesley Manville is a discreet delight

This week brings a tale of two comedies. Both half-hour sitcoms are about widowed mothers with grown-up sons still at home. Each woman has an unattached admirer. Both shows star fine comic actresses who learned much of their craft in the films of...

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