Arts Reviews

The good, bad and ugly in arts and exhbitions

A fiery examination of the damage wrought by internet culture

Historically, when a woman was giving birth, she was attended by the women she trusted most, including her child’s prospective godmother. The word ‘gossip’ derives from the Old English ‘god-sibb’, meaning godparent, but came to refer to what went on around the childbed. As Erica Jong later put it: ‘Gossip is the opiate of the oppressed.’ Gossip has since moved online – see Mumsnet and the network of Facebook pages called ‘Are we dating the same guy?’. Women use the latter to post warnings to alert others to serial cheaters – and worse. Perhaps inevitably, it has become the focus of several lawsuits brought by men who have been publicly

James Delingpole

About as edgy as Banksy: Joe Rogan’s Netflix special reviewed

My resolution this summer was to see how far into the Olympics I could get without watching an event. It’s harder than you think. Especially when you’ve got kids calling constantly from the sitting room: ‘Dad, Dad, it’s Romania vs Burkina Faso in the finals of the women’s beach volleyball and there’s been a tremendous upset…’ Rogan is marketed as an edgy alternative to the mainstream media. He is about as edgy as Banksy I jest. I actually do know what happened in the finals of the women’s beach volleyball. It was the first thing I watched because that was what was on when I walked into the room and

Isabel Hardman

Immersive and spectacular: Piet Oudolf’s new borders at RHS Wisley reviewed

Piet Oudolf’s long borders at Wisley were worn out. The famous designer had in fact become a bit embarrassed by them: they’d done well for 20 years but in that time his own style had evolved – and so had people’s tastes. Oudolf is now such a household name that his pointillist landscaping is considered fine art on paper, let alone when actually planted up. (There are weighty coffee-table books exploring his art.) But the long borders had become, well, just borders, on either side of a long grassy walk up the hill from the Wisley glasshouses. Many of the people who visit Wisley for a walk – rather than

A demented must-watch: Caligula – The Ultimate Cut reviewed

Caligula: The Ultimate Cut is a new version of the 1979 Caligula that is still banned in some countries (Belarus). The most expensive independent production of its time, it was intended to prove an adult film could be a Hollywood hit – but not everyone received it in that spirit. ‘Sickening, utterly worthless, shameful trash,’ wrote the late, great critic Roger Ebert, who walked out before it finished. Although this version is still violent and sexually explicit, it’s been reworked to show that, handled right, it had all the makings of a masterpiece. There are whippings and sex swings and I think I saw someone doing it with a swan

Welcome back to London City Ballet – but can they please change their name?

There’s sound thinking behind this summer’s resuscitation of London City Ballet – a medium-scale touring company popular in the 1980s that went bust in 1996. Given that larger institutions operating outside London such as Northern Ballet and Birmingham Royal Ballet are hamstrung by ever-tightening budgets that leave them increasingly risk-averse, there’s a crying need for something lighter on its feet and more adventurous in its repertory. This is what the new-form LCB under the direction of Christopher Marney sets out to provide, presenting new work alongside forays into the back catalogue. If you aren’t thrilled by the finale of A Chorus Line, then there’s no hope for you For LCB’s

Children have the Proms. Grown-ups head to Salzburg. Snob summer

Salzburg Festival doesn’t mess about. The offerings this year include an adaptation of Thomas Mann’s Magic Mountain in Lithuanian, a Soviet-era operatic treatment of Dostoevsky’s The Idiot, and Igor Levit tackling one of the Himalayan peaks of the piano rep. Kiddies, meanwhile, could enjoy the children’s opera Die Kluge (brilliantly done), a Nazi-era allegory on the rise of Hitler by Carl Orff, a composer they love here but whose politics are shall we say, um, complicated. (Pleasingly, I’m not sure the festival understands the concept of cancellation.) People always think Salzburg is pretty and fun. It’s not. It’s dark and primal, with a festival that is far more uncompromising and

Sam Leith

Can video games be funny?

Grade: B+ Games can be exciting, puzzling, scary, competitive and – occasionally – moving. Can they be funny? Not often. But this lovingly crafted indie cartoon adventure has a creditable bash at it. The protagonist is an oval-headed yellow homunculus in a shirt and tie, as if Family Guy’s Stewie Griffin, Dilbert and a minor Simpsons character had been squished in a particle collider. He is dispatched to the fictional Yorkshire town of Barnsworth by his boss to do… something. But the mayor won’t meet him so he finds himself wandering around the town. ‘Thank goodness you’re here!’ say various townspeople in ee-bah-gum accents, before inviting you to help them

This British surrealist is a revelation

When the 15-year-old Maggi Hambling arrived at Benton End in Hadleigh, Suffolk – home of the East Anglian School of Painting and Drawing – with two paintings to show the school’s founders, Cedric Morris and Arthur Lett-Haines, she was ushered into the dining room where Morris was having dinner. He made some criticisms but was very encouraging, then Lett-Haines came in and made the opposite criticisms but was encouraging too. As teachers, both believed in bringing out a student’s native talent – but as artists and characters, says Hambling: ‘They were polar opposites.’ ‘Every time I paint a portrait, I lose a friend,’ Morris regretted One aim of this new

Ambitious, bold and confusing: BBC4’s Corridors of Power – Should America Police the World? reviewed

Narrated by Meryl Streep, Corridors of Power: Should America Police the World? announced the scale of its ambition straight away. Before the opening titles, we’d already heard from Hillary Clinton, Colin Powell, Madeleine Albright and the late Henry Kissinger. We’d also seen the lines drawn up as to how its bold subtitle might be answered. It is an authentically confusing programme, where any firm moral position doesn’t stay firm for long As Clinton put it, in 1945 a question emerged whose implications would dominate post-war US foreign policy: ‘Why didn’t we do more to try to prevent the transport of the Jews?’ The immediate response was the heartfelt yet potentially

Lloyd Evans

Edinburgh has turned into a therapy session

Therapy seems to be the defining theme of this year’s Edinburgh festival. Many performers are saddled with personal demons or anxieties which they want to alleviate by yelling about them in front of a paying audience. Professor Tanya Byron puts it like this in the Pleasance brochure: ‘Therapy is where art and story-telling combine.’ This show crashes and burns like the stock market on a bad day. A cheerier ending might help. At the Pleasance, Joe Sellman-Leava is seeking catharsis through his show It’s The Economy, Stupid! (Jack Dome, until 26 August). He begins by delivering a friendly lecture about credit, interest rates, retail banks, Adam Smith and so on.

Lara Prendergast

James Heale, Lara Prendergast, Patrick Marnham, Laura Gascoigne and Michael Simmons

32 min listen

On this week’s Spectator Out Loud: James Heale interviews Woody Johnson, the former American Ambassador to the UK, about a possible second Trump term (1:19); Lara Prendergast reflects on the issue of smartphones for children and what lessons we could learn from Keir Starmer’s approach to privacy (6:35); reviewing Patrick Bishop’s book ‘Paris ’44: The Shame and the Glory’, Patrick Marnham argues the liberation of Paris was hard won (12:37); Laura Gascoigne examines Ukraine’s avant garde movement in light of the Russian invasion (20:34); and, Michael Simmons provides his notes on venn diagrams (28:33).  Presented by Patrick Gibbons.  

The tragic fate of Ukraine’s avant-garde

In a recent interview Oleksandr Syrskyi, the new commander-in-chief of the Ukrainian army, said that he spends his time off reading books on the country’s ‘difficult history’. If even he finds it difficult, where do us non-Ukrainians start? In the introduction to its new exhibition, the Royal Academy makes a brave attempt at explaining the political background to Ukrainian modernism, developed in a brief window of creative opportunity before it was slammed shut by Soviet repression. To western eyes, though, it’s not immediately clear what distinguishes the 70 works on show – the majority on loan from Ukraine’s National Art Museum and Museum of Theatre, Music and Cinema – from

James Delingpole

Netflix has massacred The Decameron

Unless you did English A-level and shoehorned a mention of it into your Chaucer paper to try to get extra marks, you probably haven’t even heard of Boccaccio’s The Decameron, let alone read it. Which no doubt partly explains Netflix’s decision to give it the Bridgerton treatment: no one, anywhere, is liable to complain about their most cherished classic being massacred. I had to look up who was responsible for this atrocity of a show, so I could check who to hate But massacred it has been. Just as Bridgerton drives a coach and horses – or bulldozer with flashing rave lights and klaxons, more like – through anything that

Funny, authentic and takes you right back to being 13: Didi reviewed

Didi is a coming-of-age drama by the Taiwanese-American writer-director Sean Wang. It’s set in the summer of 2008 and based on his own adolescence – and here’s the bottom line: it’s an absolute joy. It’s funny, moving, authentic and takes you right back to being 13. (Agh!) The main character here is Chris (Izaac Wang), who is called ‘Didi’ by his family as that’s the Chinese for ‘little brother’. He is 13, lives in Fremont, California, and is about to start high school. There’s no father in the picture as he’s working back in Taiwan. His flustered, put-upon mother, Chungsing (the magnificent Joan Chen), can’t comprehend her children’s American ways

Lloyd Evans

Reinforces the caricatures it sets out to diminish: Slave Play, at the Noël Coward Theatre, reviewed

Slave Play is a series of hoaxes. The producers announced that ‘Black Out’ performances would be reserved for ‘black-identifying’ playgoers but the ticketing system is colour-blind and these so-called ‘segregated’ shows were attended by audiences of all ethnicities. The PR gambit generated lots of free publicity, but these stunts don’t always translate into ticket sales. The second hour involves screeds of impenetrable psychobabble as the couples bicker and moan The show appears to be a drama set in the Deep South before the American civil war. It opens with a white farmer humiliating his black cleaner, who easily outsmarts him. When he forces her to eat fruit from the dirty

Jenny McCartney

We’ve been doing a monstrous disservice to goldfish

As everyone knows, Londoners don’t talk to strangers. And heaven forbid that anyone should make eye contact on the Tube. But despite having lived in the city for decades now, I’ve never really found this to be true. My average day out and about is punctuated by pleasant little conversations with strangers. Now and then, without too much effort, I’ve hit chat jackpot and got an entire life story out of a fellow bus passenger in seven stops. It seems that for many years we have been doing a monstrous disservice to goldfish Still, old myths die hard, and Radio 4 is promoting the new series of Alexei Sayle’s Strangers

Jack White’s new album will be of close interest to Led Zeppelin’s legal team

The ploy of releasing an album without any advance warning comes into play when an artist feels they are being paid either too much or too little attention. The stealth arrival of Jack White’s new solo album falls firmly into the second category. Putting out music in this way ensures additional media coverage and a certain level of intrigue I didn’t love White’s old band, the White Stripes, back when they were a garage-rock/blues revival phenomenon in the early 2000s. Since their demise in 2011, the world seems to be coming around to this way of thinking. Their most successful albums, Elephant and White Blood Cells, hold little cultural currency

Damian Thompson

The most exhilarating ‘authentic’ Mozart I’ve ever heard

Grade: A+ Yet another double bill of Mozart’s Piano Concertos 20 and 23! There’s an online database of 185 recordings of the first of these, the brooding K466 in D minor, and the classically perfect K488 in A major isn’t far behind. Can there really be anything new to say about either of them? The answer is yes, and in virtually every bar. Olga Pashchenko, a Russian-born pianist based in the Netherlands, here directs the top-flight period ensemble Il Gardellino in her second album of Mozart concertos. She’s playing a fortepiano, but don’t let that put you off: it’s a sweet-toned instrument whose soft action helps Pashchenko deliver cheeky ornaments