London
Postwar Modern: New Art in Britain 1945-65, Barbican review - revelations galoreFriday, 04 March 2022
The Barbican’s Postwar Modern covers the period after World War Two when artists were struggling to respond to the horrors that had engulfed Europe and find ways of recovering from the collective trauma.Perhaps inevitably, a considerable amount of... Read more... |
Red Pitch, Bush Theatre review - effortlessly and energetically entertainingWednesday, 02 March 2022
Football stories are never just about a game — they are also about life and how to live it. In Tyrell Williams’s Red Pitch, his debut play now getting an enthusiastically staging at the Bush Theatre after a shorter version wowed audiences at the... Read more... |
Two Billion Beats, Orange Tree Theatre review - bursting with heartThursday, 24 February 2022
“You could read at home,” says Bettina (Anoushka Chadha), Year 10, her school uniform perfectly pressed, hair neatly styled. “You could be an annoying little shit at home,” retorts her sister Asha (Safiyya Ingar), Year 13, all fire and fury in Doc... Read more... |
Kopatchinskaja, Namoradze, Budapest Festival Orchestra, Fischer, RFH review – a Stravinsky feastSaturday, 19 February 2022
It might seem odd to start with the encore, but I’ve never seen one like it. At the end of its two-night residency at the Festival Hall, having just romped through the rigours of The Rite of Spring, the players of the Budapest Festival Orchestra put... Read more... |
Album: Metronomy - Small WorldWednesday, 16 February 2022
Metronomy have gone all out to knock off their quirky corners here, and goodness, it’s worked. It’s quite a move from a band whose eccentricity has always been part and parcel of their image – and they really haven’t done it by halves, in fact they’... Read more... |
This Is Going To Hurt, BBC One review - hospital drama with a realistic differenceTuesday, 15 February 2022
Painful more often than funny, this is not This Is Going To Hurt, the laugh-one-moment-rage-the-next book by obstetrician turned comedian Adam Kay. He’s written the script so essential truths remain. But the on-screen Adam Kay, national treasure Ben... Read more... |
Queens of Sheba, Soho Theatre review – energy, entertainment and rageMonday, 14 February 2022
Black women often find themselves subject to a double dose of prejudice. Pressure. They face everyday racism as well as sexism. It’s called misogynoir, and Queens of Sheba is a short show dedicated to calling it out. In as joyous and energetic way... Read more... |
Path of Miracles, Elysian Singers, St Pancras Church review – an ambitious musical pilgrimageMonday, 07 February 2022
Path of Miracles is a serious, hefty 65-minute choral work about the traditional Catholic pilgrimage to Santiago de Compostela by – and there is a slight cognitive dissonance here – Joby Talbot, the composer of, among other things, The Hitchhiker’s... Read more... |
10 Questions for filmmaker Romola GaraiWednesday, 02 February 2022
The prolific actor Romola Garai first demonstrated her ability as a filmmaker with Scrubber, a gripping 20-minute feminist drama about a young middle-class mum and homemaker (Amanda Hale) who escapes her deadly routine through bouts of anonymous... Read more... |
Conundrum, Young Vic review - inscrutable and ungraspableTuesday, 01 February 2022
Conundrum is a tricky play. Written and directed by Paul Anthony Morris, founder of Crying in the Wilderness Productions, it’s an extended meditation on Blackness and what it means to live in a racist society. Anthony Ofoegbu is the star of the show... Read more... |
Album: Maverick Sabre - Don't Forget to Look UpThursday, 27 January 2022
Michael Stafford aka Maverick Sabre is the definition of a modern journeyman vocalist. Since 2008 he’s released three albums and appeared on a huge range of British and Irish rap, dubstep and drum’n’bass artists’ records. He’s had several top 40... Read more... |
Tessa Hadley: Free Love review - the Sixties, the suburbs and the hippie dreamTuesday, 25 January 2022
Free Love opens in 1967 and remains within that heady era throughout; no flashbacks, no spanning of generations as in Hadley's wonderful novels The Past or Late in the Day. Phyllis, aged 40, is a suburban housewife, C of E, deeply apolitical and a... Read more... |
