London’s City Hall stands empty. The bulbous, Foster + Partners-designed ‘glass testicle’ — in Ken Livingstone’s words — occupies one of the best sites in the capital: Thames-side, squaring off to the Tower of London, and overlooking Tower Bridge. But in December, its occupiers — the Mayor, the London Assembly and the Greater London Authority
The Forest is the latest thriller from the French dramatist Florian Zeller, translated by Oscar winner Christopher Hampton. It’s a well-worn yarn of adultery, betrayal and vengeance set among the yuppie classes. The action is located in France but the actors speak in Home Counties accents. (In theory, at least. Some are better at imitating
In the latest episode of Louis Theroux’s Forbidden America, Louis asked a rapper called Broke Baby if ‘it’s important to keep it real’. ‘You have to play your role,’ replied Broke by way of apparent agreement. Given how stoned he was, this neat paradox — that you keep it real by pretending to — mightn’t
Two markers: ‘Cottages at Auvers-sur-Oise’ (c.1873) is a sweet especial rural scene of faintly slovenly thatched cottages with, at its centre, an outside privy, its door modestly shut. A discreet little detail. Second, early in the exhibition, Corot’s ‘Duck-Pond’ (1855–60), an indicator of the tradition to which Pissarro belongs — a world of unconsidered trifles,
The Duke is an old-fashioned British comedy caper that is plainly lovely and a joy. Based on a true story, it’s an account of the 1961 theft of a Goya painting from the National Gallery, stars Jim Broadbent and Helen Mirren, and is directed by Roger Michell (of Notting Hill fame). Many films have all
The tagline of This is Dating, a new podcast from across the pond, is ‘Come for the cringe, stay for the connection.’ This sums up the listening experience pretty well. If the prospect of eavesdropping on a series of strangers’ first dates sends a shiver down your spine (some of us have endured enough disastrous
When you take in the richness of a Pina Bausch production — the redolent staging, the eloquent, eccentric twists of the choreography — it’s everything and it’s something. Kontakthof, created in 1978, sounds the bell of hopeful passes and freighted expectations, centuries of hearts on the line, desperate to elude solitude. A keystone of her
One of the curiosities of modern pop’s landscape is that no one knows any longer how to measure success. An artist can be a huge live draw, but make no impact on the charts; they can be consistent chart-toppers but minnows among the streamers; they can stream by the bazillion, but have no live following
Spoiler alert. The last words in Janacek’s The Cunning Little Vixen come from a child playing a frog. The story has come full circle — there was a frog near the start of Act One, and naturally you assume it’s the same one. But no: ‘That wasn’t me. That was my grandaddy. He used to
