Arts Reviews

The good, bad and ugly in arts and exhbitions

Saturday

James Rhodes

The accidental pianist

James Rhodes is being hailed as one of Britain’s most exciting new musicians, and has just signed a six-album deal. Here, he describes his journey from psychiatric hospital to concert hall So I’m sitting in what’s laughably called the Serenity Garden at a London psychiatric hospital that shall remain nameless, and one of the patients approaches me quietly and asks me what I do. Not what I’m locked up for (psych hospital etiquette forbids it), but what I do. She’s cute in an anorexic, self-harming kind of way, so I tell her that I play the piano. ‘What, like in a band?’ she asks, remarkably unslurred by meds. ‘No,’ I

Liz Anderson

All in the mind | 6 November 2010

‘All of us have had the experience of confusion or bafflement when we repetitively forget something, do something that (consciously) we absolutely did not want to do or lose something important to us.’ Indeed. ‘Freud took these episodes seriously and showed how these apparently innocent events provide windows into our unconscious minds.’ Ah. ‘All of us have had the experience of confusion or bafflement when we repetitively forget something, do something that (consciously) we absolutely did not want to do or lose something important to us.’ Indeed. ‘Freud took these episodes seriously and showed how these apparently innocent events provide windows into our unconscious minds.’ Ah. Those are the words

Freddy Gray

Interview: Rachael Stirling – happy with her lot

It’s noisy here in the bar at the Old Vic; the air is teeming with thespy gossip and laughter and clinking glasses. It’s noisy here in the bar at the Old Vic; the air is teeming with thespy gossip and laughter and clinking glasses. I’m sitting in a corner with the actress Rachael Stirling, who is drinking white wine and talking about her new play, An Ideal Husband. Luckily, Rachael has that actress’s knack for projecting her voice without shouting. I can hear her clearly above the din. She has a very fine voice, in fact, smooth and husky at the same time. She sounds like a public schoolgirl who

Michael Tanner

Static and staid

The Royal Opera last revived its production of Gounod’s Roméo et Juliette ten years ago, with what were then known as the lovebirds, Gheorghiu and Alagna, who imparted their own kind of glamour to the work. The Royal Opera last revived its production of Gounod’s Roméo et Juliette ten years ago, with what were then known as the lovebirds, Gheorghiu and Alagna, who imparted their own kind of glamour to the work. Nicolas Joël’s production badly needs some pepping up, since it is a desperately static and staid affair, as revived by Stephen Barlow, with some hyperactive running around on the part of the principals, while the chorus remain rooted

Lloyd Evans

Act of vision

A wretched, stinking, mouldy, crumbling slice of old Glasgae toon has dropped on to the Lyttelton stage. Ena Lamont Stewart’s play, Men Should Weep, is an enthralling act of homage to her slum childhood and it follows the travails of the Morrison family, all nine of them, wedged into two filthy rooms in Glasgow’s east end. A wretched, stinking, mouldy, crumbling slice of old Glasgae toon has dropped on to the Lyttelton stage. Ena Lamont Stewart’s play, Men Should Weep, is an enthralling act of homage to her slum childhood and it follows the travails of the Morrison family, all nine of them, wedged into two filthy rooms in Glasgow’s

Deborah Ross

Life’s losers

Mike Leigh’s latest film feels cruel and is uncomfortable to watch which isn’t necessarily a bad thing — you can’t expect cinema to offer only comfort and warmth, my dears; cinema is not like the lobby of a country-house hotel — but it does make it a rather horrible experience. Mike Leigh’s latest film feels cruel and is uncomfortable to watch which isn’t necessarily a bad thing — you can’t expect cinema to offer only comfort and warmth, my dears; cinema is not like the lobby of a country-house hotel — but it does make it a rather horrible experience. I did not enjoy Another Year although, as that may

Giannandrea Poesio

The mighty Bausch

Sadler’s Wells Contrary to some claims, the late Pina Bausch did not invent Tanztheater. Contrary to some claims, the late Pina Bausch did not invent Tanztheater. Nor did all her productions stick to the mind-boggling aesthetic she is universally known and remembered for. Just look at the Iphigenie auf Tauris she created in 1974, shortly after being appointed director of dance for the Wuppertal theatres. Although the germ of what eventually bloomed as Bausch’s own Tanztheater is detectable in this dance–opera, pure dance still reigns supreme; the choreography is not as rhapsodic as it is in her later creations, and the only words one hears are those delivered — more

Kate Chisholm

Moments of magic

The talk is that we’ve yet to experience the cuts that will have to be implemented to balance the nation’s books, but on the quiet, in suburban backstreets, behind closed doors, along cultural throughways and byways not often visited we know that they’re already happening, big time. The talk is that we’ve yet to experience the cuts that will have to be implemented to balance the nation’s books, but on the quiet, in suburban backstreets, behind closed doors, along cultural throughways and byways not often visited we know that they’re already happening, big time. Look no further than Sunday’s Classic Serial on Radio 4 for a signal of how they

Simon Hoggart

All over the shop

I’m writing this near Ludlow, a town which has miraculously kept its centre. I’m writing this near Ludlow, a town which has miraculously kept its centre. On Saturday last there was a bustling market, selling hundreds of things you might actually want to buy. Around it were the shops: independent butchers with pheasants hanging above the door, bakers you had to hurry past because you’d want to buy enough cakes to bring on a heart attack, independent clothiers selling long-forgotten styles, none made for 7p an hour by children in Bangladesh. It all looked marvellous. Shepton Mallet in Somerset has not been so lucky, and that was the theme of

Saturday

Matthew Dennison

UnEnglish triumph

Sometimes an exhibition does what it says on the tin. The Pre-Raphaelites and Italy, the Ashmolean’s first major show post-revamp, is such an exhibition. Sometimes an exhibition does what it says on the tin. The Pre-Raphaelites and Italy, the Ashmolean’s first major show post-revamp, is such an exhibition. This fidelity is simultaneously its strength and its weakness. In a dazzling and far-reaching show, the exhibition organisers ultimately leave us questioning the nature and meaning not only of Pre-Raphaelitism but also of 19th-century concepts of Italy. This may be part of the exhibition’s achievement. It does not make for the easy ride exhibition-goers have come to expect from the Pre-Raphaelites. In

William Cook

Picasso by Picasso

In an upstairs room in an unfrequented corner of Zurich’s Kunsthaus, there is a portrait of one of the unsung heroes of modern art. In an upstairs room in an unfrequented corner of Zurich’s Kunsthaus, there is a portrait of one of the unsung heroes of modern art. Wilhelm Wartmann was the first director of this splendid gallery, and in the autumn of 1932 he mounted the first major retrospective of the work of Pablo Picasso. This autumn, to celebrate its centenary, the Kunsthaus is mounting the same show. It’s a unique chance to see how the world saw Picasso at his peak — and how Picasso saw Picasso —

Laura Gascoigne

Ahead of their time

‘Museum decides against building new extension’ is not the stuff of newspaper headlines, so most of you will be unaware that the National Museum of Wales in Cardiff has been creating a distinct museum of art on the top floor of its existing Edwardian building. A few weeks ago, the Welsh museum relaunched its Impressionist and Modern galleries after an imaginative paint job and a rehang, and next year it will open a new suite of contemporary galleries in its former archaeology wing. For £6.5 million — £1 million from the Welsh Assembly government — it will have bought itself 40 per cent more space (comparing favourably with another national

Robert Lloyd-Parry

Illustration: The laws of shadows

In May 1904 a young artist called James McBryde wrote excitedly to his great friend M.R. James. ‘I don’t think I have ever done anything I liked better than illustrating your stories. To begin with I sat down and learned advanced perspective and the laws of shadows…’ In May 1904 a young artist called James McBryde wrote excitedly to his great friend M.R. James. ‘I don’t think I have ever done anything I liked better than illustrating your stories. To begin with I sat down and learned advanced perspective and the laws of shadows…’ The illustration (right) is one of four that McBryde made for James’s first collection, Ghost Stories

Andrew Lambirth

Silent witness

A new exhibition of paintings and drawings by Leon Kossoff (born 1926) is an event in the art world. Kossoff is an intensely private man and keeps such a low profile that many people react with surprise to the information that he is still very much alive and working. Not for him the carefully calculated public appearance or widely disseminated views; he is reluctant to give interviews and finds it increasingly difficult to say anything at all about his pictures. In fact, he is so reticent about his art, and so much wants it to speak for itself, that he has discouraged several people from writing books about him. To

Andrew Petrie

Friends indeed

Jarrow playwright Peter Flannery’s superb television serial Our Friends in the North started life as an RSC production in Stratford in 1982 and has finally been re-released on DVD. The £8 million, ten-hour adaptation that reached the small screen after 14 years used the overlapping lives of four Geordies to explore the country’s changing political climate between 1964 and 1995. It was delayed in part because of the BBC’s caution over subsidiary characters clearly based on real people, not least the late former home secretary Reginald Maudling. Our Friends in the North’s feel for how communities far outside the capital struggle with societal change earned it legitimate comparisons to German

Olivia Glazebrook

Stiff competition

So, a funny thing happened on the way home from the screening: I bumped into Paul Whitehouse, who has a cameo in Burke and Hare, and congratulated him on an extremely convincing tumble he takes down two flights of stairs (it hits just the right note, somewhere between the pantomime and The Exorcist). He told me that only one flight was given to the stuntman, which must have made his 90-second cameo a painful one. But the truth is, a cameo of any sort strikes an ominous note in a film: it’s nice that someone has been having fun, to be sure, but it doesn’t follow that fun for everyone

Lloyd Evans

Family at war

I couldn’t wait for this one. Nina Raine’s debut play Rabbit was a blast. With exquisite scalpel-work she dissected the romantic entanglements of a quartet of posh young professionals. Her new effort, Tribes, opens on similar terrain. A family of bourgeois Londoners are seated around the dinner table punishing each other with rhetorical flick-knives. Dad and Mum are writers. Ruth is a jobless soprano. Dan is wasting his youth smoking skunk and writing an impenetrable thesis on linguistics. I couldn’t wait for this one. Nina Raine’s debut play Rabbit was a blast. With exquisite scalpel-work she dissected the romantic entanglements of a quartet of posh young professionals. Her new effort,

Michael Tanner

Northern lights

It’s been too long since I saw The Merry Widow. I have been thinking that for some time, and the superb new production of it by Opera North only made me feel that we should be able to go to more performances of it than we get a chance to. It has been newly and wittily translated by Kit Hesketh-Harvey, and the production is in the safe hands of Giles Havergal, with set and costume designs by Leslie Travers. It’s been too long since I saw The Merry Widow. I have been thinking that for some time, and the superb new production of it by Opera North only made me

Giannandrea Poesio

Senses working overtime

Postmodernism must be the key motif of this year’s autumn dance season in London, because almost everything there is to see at the moment abides by the uncertain rules of that much-debated artistic movement. Postmodernism must be the key motif of this year’s autumn dance season in London, because almost everything there is to see at the moment abides by the uncertain rules of that much-debated artistic movement. There is no such thing as a standard aesthetic when it comes to the postmodern dance genre. While vintage American, early-1960s choreography is celebrated by both Dance Umbrella’s retrospective on Trisha Brown and the Hayward Gallery’s exhibition Move: Choreographing You at Sadler’s

James Delingpole

Education in horror

When my brother and I were teenagers growing up in the arse end of nowheresville — Bromsgrove to its friend — we were mainly looked after by Nanny VHS. When my brother and I were teenagers growing up in the arse end of nowheresville — Bromsgrove to its friend — we were mainly looked after by Nanny VHS. Every day, Mummy would take us to the rental store to hire a new video so as to keep us off her back. Sometimes it would be war porn, like The Deerhunter, which I think we must have watched about eight times — and the key Russian Roulette scene about 500 times.