The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
What else is there to write about in the week that John Humphrys, that titan of the BBC airwaves, retires from his duties on the Today programme? Love or hate his terrier-like style of interviewing — baiting and occasionally biting his victims metaphorically on air — there’s no denying his stature as a news broadcaster
Lynette Linton opens her stewardship of the Bush with a drama about racial and sexual bigotry. Four British women decide to start a girl band but only one of them, Yomi, happens to be straight. The script mixes confessional monologues with bitchy interactions over kitchen suppers. Beth, whose parents are West Indian, once dreamed of
Two flutes, a clarinet and a bassoon breathe a chord on the edge of silence. As they fade, the sound quietly intensifies, morphing into the metallic buzz of cor anglais and muted horn. The third of Arnold Schoenberg’s Five Orchestral Pieces of 1909 doesn’t have a conventional melody, and there’s even less in the way
‘Imagination is my world.’ So wrote William Blake. His was a world of ‘historical inventions’. Nelson and Lucifer, Pitt and the Great Red Dragon, chimney sweeps and cherubim, the Surrey Hills and Jerusalem in ruins, the alms houses of Mile End and the vast abyss of Satan’s bosom. He saw the fires of the Gordon
It’s entirely possible for a band to be quite the most brilliant thing in existence for the briefest of times, and for them to leave almost no trace on the world. The writer Jon Savage has been known to say that Vic Godard and the Subway Sect were the best band in the world for
Hansard is the debut play by actor Simon Woods, who enjoys a deep knowledge of his subject. The characters are a middle-aged couple, the Heskeths, who occupy ‘a country house in Oxfordshire. Georgian. Good bones. Not large’. The year is 1988 and Robin is a busy Tory MP whose wife Diana has realised that she
Hit them with your best shot? Or save the best till last? Almost 30 years after Alvin Ailey’s death in 1989, his dance company still ends every night with Revelations, an autobiography in ballet and gospel music. First danced in 1960, and presented at Olympic opening ceremonies and presidential inaugurations, Revelations remains an electrifying piece.
There were so many ear-catching moments in Peter Hennessy’s series for Radio 4, Winds of Change, adapted from his new book by Libby Spurrier and produced by Simon Elmes. Harold Wilson answering a journalist’s question after a sleepless night while awaiting the results of the 1964 election, quizzical, cheeky and so quick off the mark.
Because the rise of the Nazis is a topic so rarely mentioned these days, least of all in schools, the BBC has produced a helpful three-part explainer of that title (BBC2, Mondays) showing why the story of Hitler is even more relevant today than it was in the 1930s. Back in the day, the BBC
Conducting is one of those professions — being monarch is perhaps another — where the less you do, the more everyone loves you. Orchestral players, for example, tend not to complain about being let off early from rehearsals. I prefer my maestros to have their head under the bonnet: loosening, tightening, fixing, replacing. Much of
The much-anticipated film version of Downton Abbey has arrived and I suppose you could describe it as the Avengers Assemble of period drama, where everyone turns up and just does it all over again, but minus the throat kicks in this particular instance. Also, it’s critic-proof and the fans will race to see it even
At the Villa Pignatelli in Naples there is an exhibition by Elisa Sighicelli: photographs of bits and pieces of antiquity from, among other places, the city’s Archaeological Museum. Put like that it doesn’t sound so interesting but the results are stunning. Walking through the Archaeological Museum after seeing the exhibition it was difficult to discover
Romy Somerset is the sweetest, nicest young girl in London. She’s also my goddaughter and I remember, during her christening at Badminton years ago, the present duke’s mother staring at me rather intently while the minister was going on about love, trust and faithfulness. At lunch afterwards I asked Caroline Beaufort: ‘Why the looks?’ ‘I
The figure is back. Faces stare, bodies sprawl, fingers swipe, mums clutch, hands loll. The Venice Biennale was full of it. After decades of being pushed to the margins, figurative painting is once again dominating the art world. Peter Doig, Alex Katz, Chris Ofili and Jenny Saville head the sales at auction houses, but there
Scarborough is a small British film but it will give you a very big headache. Its subject is teachers who have relationships with pupils and it’s well directed and well performed — Jodhi May is always worth the price of a ticket whatever — but I’m still trying to work out what it has to
Grade: B+ Get the razor blades out, Ms Misery is back. Only the truly affluent can immerse themselves in such morose and earnest introspection. Listen to the music of Africa’s most benighted countries and, on the whole, you will hear very cheerful fellows. Not so with the USA. Lana, a middle-class New Yorker of some
Only four women pianists have recorded complete cycles of the Beethoven piano sonatas: Maria Grinberg, Annie Fischer, H. J. Lim and Mari Kodama. I’ve written before about the chain-smoking ‘Ashtray Annie’ Fischer: she was a true poet of the piano and her Beethoven sonatas are remarkably penetrating — as, alas, is the sound of her
The Secret River opens in a fertile corner of New South Wales in the early 1800s. William, a cockney pauper transported to Australia for theft, receives a pardon from the governor and decides to plant a crop on 100 acres of Aboriginal land. His doting wife, Sal, begs him to take her and their young
How did the police ever solve any crimes before CCTV? That was the question which sprang to mind watching the first episodes of two highly promising new crime dramas this week. It’s also the central question now facing the detective in one of them. Part police officer, part career women, Rachel Carey in The Capture
It’s such a relief to turn on the radio and hear the voice of Neil MacGregor. That reasoned authority, his deep knowledge of history and how things have come to be as they are, his measured common sense and ability to see round an argument or story. He’s like the voice of how things used
‘I often wonder what artists are for nowadays, what with photography and a thousand and one processes by which you can get representation,’ L.S. Lowry muses in Robert Tyrrell’s 1971 documentary. ‘They’re totally unuseful. Can’t see any use in one. Can you?’ I can: as fodder for biopics. Cinemato-graphers have always been inspired by painting,
Set down the secateurs, silence the strimmers. Let it grow, let it grow, let it grow. Ivon Hitchens was a painter of hedgerow and undergrowth, bracken and bramble. Whoosh! go his seedlings, sprouting, bolting, demanding repotting. The first Hitchens you see on the wall outside this exhibition at Pallant House is his lithograph ‘Still Life’
Grade: B+ I’m not sure about ‘Projects’. Aren’t those what ageing rockers produce, in a haze of sedatives, when their ego finally outgrows their talent? In classical music, there’s something unseemly about the idea of Maestro X condescending to bestow their attention upon music that is — or should be — bigger than they’ll ever
Brassic (Sky One) feels like the sort of TV comedy drama they last made about 15 years ago but would never get commissioned now, certainly not by the BBC. Almost all of the main characters — apart from love interest Michelle Keegan — are white, male and heterosexual. And it’s set in the kind of
Joanna Hogg’s films are the antithesis of popcorn entertainment so if it’s not the antithesis of popcorn entertainment that you seek, you may be better off going elsewhere. Her latest, The Souvenir, is about a young woman finding herself and her own voice, and is semi-improvised and I know someone who hates her films —
I first heard Lemn Sissay talking about his childhood experiences on Radio 4 in 2009. At that time he was still fighting Wigan social services for sight of the official dossier on his years as a child in care, fostered at first and then dumped back in the system and institutionalised in care homes and
Opera’s line of corpses — bloodied, battered, dumped in a bag — is a long one. Now it can add one more to the list: the broken, abused body of Bess McNeill. The heroine of Lars Von Trier’s uncompromising 1996 film is a curious creation. Striving against the restrictions of her austere, Presbyterian community on