Arts
Magnificent: The Deep Blue Sea, at the Theatre Royal Haymarket, reviewed
Richard Bean appears to be Hampstead Theatre’s in-house dramatist, and his new effort, House of Games, is based on a…
The forgotten story of British opera
British opera was born with Purcell’s Dido and Aeneas, and then vanished for two-and-a-half centuries, apparently. Between the first performance…
Cinema has reached a nadir in the new Mission: Impossible
You have to time your arrival at cinemas carefully if you want to avoid the high-volume, rapid-fire edits of trailers…
Dark lowering road
Bill Henson, the greatest Australian photographer, has a show at the Roslyn Oxley9 Gallery at 6pm Friday 16 May. It’s…
Better than Hollywood: Netflix’s The Eternaut reviewed
‘Next time you do a review, you’ve got to find something you like. You’ve been far too negative,’ said the…
Our half-time scorecard on the Royal Opera’s Ring cycle
With Die Walküre, the central themes of Barrie Kosky’s Ring cycle for the Royal Opera are starting to emerge, and…
Decent redesign, ravishing rehang: the new-look National Gallery reviewed
A little under a year ago, it emerged that builders working on the redevelopment of the National Gallery’s Sainsbury Wing…
Tantalisingly ambiguous – or just plain baffling: Hallow Road reviewed
An 80-minute film which for almost all of the time features two people in a car mightn’t sound particularly ambitious.…
Budget Ballets Russes: BRB2’s Diaghilev and the Birth of Modern Ballet reviewed
Although I doff my hat to Carlos Acosta’s BRB2, Birmingham Royal Ballet’s junior troupe, for a reminder of what is…
Two hours of yakking about Israel: Giant, at the Harold Pinter Theatre, reviewed
Two hours of yakking about Israel. That’s all you get from Giant at the Harold Pinter Theatre. Endless wittering laced…
The odd couple: Austen and Turner at 250
History is full of odd couples: famous but unrelated people who happen to have been born in the same year.…
I think I’ve found the new Van Morrison
Young male singers won the right to be sensitive in 1963, when The Freewheelin’ Bob Dylan was released. And in…
A need for abasement
We sometimes forget how much opera provides a captivating alternative to classic drama but this was written all over Opera…
Delightful nostalgia for political wonks: The Gang of Three, at the King’s Head Theatre, reviewed
The Gang of Three gets into the nitty-gritty of Labour politics in the 1970s. It opens with the resignation of…
How tech ruined theatre
Poor John Dennis. In 1709, the playwright devised a novel technology to simulate thunder to accompany his drama Appius and…
The repetitiveness made me cry with boredom: Mark Pritchard and Thom Yorke’s Tall Tales reviewed
Grade: B+ You are in the wrong hands here for what is a homage to this duo’s favourite electronic music.…
Poise and gentleness: Hiroshige, at the British Museum, reviewed
Why is Hiroshige’s work so delightful? While his close predecessor Hokusai has more drama in his draughtsmanship, Hiroshige’s pastoral visions…
Art deco gave veneer and frivolity a bad name
The jazz style was the blowsy filling between the noxious crusts of two world wars. More than 30 years passed…
What did Leni Riefenstahl know?
Leni Riefenstahl: what are we to make of her? What did she know? Often described as ‘Hitler’s favourite filmmaker’, she…
Inspired: Scottish Opera’s Merry Widow reviewed
The Merry Widow was born in Vienna but she made her fortune in the West End and on Broadway. The…
Confection of sex, bad history and nonsense: Apple TV+’s Carême reviewed
Antonin Carême was known as the ‘chef of kings and the king of chefs’. His patrons and employers included Talleyrand,…
The powerfully disorienting world of Mark Eitzel
There’s a lot to be said for an artist making an audience feel uncomfortable. Richard Thompson used to say that…
A wonder to behold
The National Gallery has been gifted Edvard Munch’s Man with Horse and its acquisition brings to mind James Mollison, the…
Confusing but highly watchable: Slade in Flame reviewed
Slade in Flame was glam-rock band Slade’s first foray into film – and also their last. It was a flop…
How come the only Palestinians Louis Theroux met were non-violent sweeties?
Louis Theroux: The Settlers was never likely to be a programme with much of a narrative arc – and so…
