England
Philip Hoare
A dark star explodes. I cannot remember the future. A figure appears on the beach. We're always reaching out. It's always just over there. We're always dreaming. The grey rocks, the red sand, the blue sea. Everywhere, the sea. Everything you ever wanted to be. Torbay arches around the south Devon coast like a proscenium arch, a natural arena echoing with the past, present and future. From Torquay's white villas to Paignton's promenade and Brixham's fishing village, these holiday destinations, known as the English Riviera, conceal countless stories behind the resort's veneer: the real lives of Read more ...
Marina Vaizey
James Scott’s filmography is wide-ranging, including the 1982 short film A Shocking Accident, based on the Graham Greene story, which won an Academy Award the following year, and other works on social questions. But these documentaries, several supported or commissioned by the Arts Council, concentrate on the visual arts.The longest, Every Picture Tells a Story, is a 1983 biopic based on the early life of his northern Irish father, William Scott (1913-1989) who moved from Scotland to Enniskillen as a teenager, studied art in Belfast, then went on to London and a vastly successful career. The Read more ...
Tom Birchenough
There are many outstanding things in writer-director Francis Lee’s remarkable first feature, and prime among them is the sense that nature herself has a distinct presence in the story. It brings home how rarely we see life on the land depicted in British cinema with any credibility. God's Own Country is a gloriously naturalistic depiction of the harsh life of farming, of an existence based on close connection to animals and to the earth, set in the Yorkshire countryside in which the director grew up. For a comparable sense of connection to the rural environment, and of the sheer back-breaking Read more ...
Nick Hasted
Hope Dickson Leach’s debut dissects lives in a wintry English landscape. The catastrophic 2014 floods in the Somerset Levels are the background to the return of Clover (Game of Thrones’ Ellie Kendrick) to a farmyard home which simmers with unspoken secrets. The death of her brother, soon revealed to be a mysterious shotgun suicide, and the oppressive repression of dad Aubrey (David Troughton) are the barriers which need breaching before anyone can start to get healed.The bruised, low West Country sky looks dirty grey, staining the ground below. Country life, too often marginalised in British Read more ...
Matt Wolf
Who'd have guessed that the London theatre scene at present would be so devoted to the numinous? Hard on the heels of Girl from the North Country, which locates moments of transcendence in hard-scrabble Depression-era lives, along comes John Tiffany's deeply tender revival of Jim Cartwright's vaunted 1986 play Road, which tempers its landscape of pain with an abundance of poetry.As it happens, one has to wait till after the interval to feel the gathering force of Harry Potter and the Cursed Child director Tiffany's approach here. But come the climactic scene in which a mismatched Lancashire Read more ...
Jasper Rees
What is the Dunkirk spirit? It has been so thoroughly internalised by the national psyche that, 77 years on, it’s as much a brand, a meme or a slogan as the product of a historical fact: that at the start of World War Two 330,000 soldiers of the British Expeditionary Force, cornered on a French beach, strafed and bombed by the Luftwaffe, were ferried to safety by a plucky flotilla of pleasure barques and rickety fishing boats. Triumph snatched from the jaws of unimaginable catastrophe.How do you capture that spirit on film? People keep trying. ITV made a three-part docudrama in 2004. It is Read more ...
Mark Sanderson
Detective Inspector Helen Weeks (MyAnna Buring), having finally cornered a skanky drug-dealer/benefit cheat in a blind alley – and stopped an eager PC from Tasering the woman – is punched in the stomach for her pains. How’s that for a hard-hitting start? Weeks is pregnant – she should be called Eleven Weeks – and it later transpires she’s not sure who’s the daddy.In the Dark, based on the novel by Mark Billingham, may seem like a run-of-the-mill crime drama but soon modulates into something deeper. The pre-title sequence shows someone digging a grave on a dark and stormy night. The identity Read more ...
Richard Bratby
“The subject is neither political nor religious; it is fantastical” wrote Verdi to the librettist Piave about his opera Macbeth. “The opera is not about the rise of a modern fascist: nor is it about political tyranny. It is a study in character” adds director Elijah Moshinsky in the programme for this opening production of the 2017 Buxton International Festival. To which (at least if your last encounter with Macbeth was Welsh National Opera’s production last year, seemingly set in a Travelodge somewhere near Edinburgh Airport) it’s tempting to respond, for this relief much thanks.Moshinsky Read more ...
David Benedict
An enormous amount rides on a musical's opening number. Without explicitly expressing it, a good opener sets tone, mood and style. Take The Lion King, where "Circle of Life" so thrillingly unites music, design and direction that nothing that follows equals it. "Spring", the opener of The Wind in the Willows, repeatedly announces the warmth of the season, and precious little else. Animals dance perkily, but with nothing to dance about, the flatly staged song goes nowhere. Sadder still, the second song, "Messing About in a Boat", compounds the felony, stating the happiness of the title and the Read more ...
David Nice
Perfect comedies for the country-house opera scene? Mozart's Figaro and Così, Strauss's Ariadne - and Britten's Albert Herring, now 70 years and a few days old, but as ageless as the rest. With the passing of time it's ever more obvious that this satire of provincial East Anglian tricks and manners also has universal appeal and stands with the best. Eric Crozier was surely Britten's finest librettist once Auden stepped aside after Paul Bunyan, his Da Ponte or Hofmannsthal. The sharp wit of text and music needs absolute focus and playing it as straight as possible. It got both from a splendid Read more ...
David Nice
Tears were likely to flow freely on this most beautiful and terrible of June evenings, especially given a programme – dedicated by Vladimir Ashkenazy to the victims of the Grenfell Tower fire – already prone to the elegiac. It could hardly be otherwise with the music of Elgar and Sibelius, two Europeans with a penchant for introspection whose works Ashkenazy knows well. What ended up nearly breaking us, though, was an encore – none I've heard has ever been more astonishing – by that ever unpredictable violinist Pekka Kuusisto.He told us he'd planned to play a "jolly Read more ...
Adam Sweeting
Welcome to Ackley Bridge Academy, home of a new Channel 4 drama and a new amalgam of two segregated schools in a Yorkshire mill town setting out to prove itself “a new school with a new attitude”. This, at least, is the vision of new headteacher Mandy Carter (Jo Joyner, pictured below), as she sets about creating a workable blend of her white and Asian clientele.Apparently the town is known as one of the region’s most divided communities, so can the new academy become “a great big melting pot, big enough to take the world and all it's got” (to quote the mercifully forgotten Blue Mink)? Read more ...