Arts Reviews

The good, bad and ugly in arts and exhbitions

Saturday

James Delingpole

Religious conversion

The other week Simon Hoggart had a go at Rev — the new comedy about an inner city vicar played by Tom Hollander (BBC2, Monday) — and I don’t blame him. The other week Simon Hoggart had a go at Rev — the new comedy about an inner city vicar played by Tom Hollander (BBC2, Monday) — and I don’t blame him. We had a similar reaction in our household when we watched about ten minutes of the first episode before deciding it wasn’t for us and switching off. And now it’s our favourite must-watch comedy of the week. What happened? Did James Woods’s scripts suddenly sharpen up? Did the

Saturday

Mary Wakefield

Silencing the voices

The ‘seriously handsome’ Toby Stephens talks to Mary Wakefield about the magic of acting With some people, their prep school selves seem barely submerged beneath the adult surface. They talk away like grown-ups but one shrug, a grin, and you can see their inner schoolchild. Toby Stephens, sitting opposite me in a boxy room high up on the top deck of the National Theatre, is a good example. He’s 41, seriously handsome with dark red hair and a fine-boned 1940s face; he’s a dab hand at playing cads and attempted world domination as the evil Gustav Graves in Die Another Day (quite outshining that drip Pierce Brosnan). But there’s something

Rod Liddle

A bit odd, this

This link was sent to me by my friend Belette. I am not sure if it makes it more or even less appropriate that one of the dancers is a survivor of Auschwitz. More, I suppose. Though I’ll bet it wasn’t his idea. Anyway, apologies if it causes offence; my own view is that it exists in a place sort of beyond the reach of offence, although not in a Nietzschean sense. There’s a burger bar n grill at Auschwitz now, by the way, just on the left as you leave. O tempora o mores, etc.

Andrew Lambirth

Game for a laugh | 17 July 2010

Rude Britannia: British Comic Art Tate Britain, until 5 September If each age gets the art it deserves, it might also be said that each age gets the exhibitions it deserves. The robust tradition of British Comic Art has never looked so unfunny and anaemic as it does in this current overworked examination at Tate Millbank. My visit coincided with some voluble OAPs up from the country, a know-it-all guide manqué and a couple of solemn Americans who were evidently seeking enlightenment as to the strange habits of this island race. There were sighs aplenty but I’d reached Room 3 before I heard a single laugh, and this response was

Marcus Berkmann

End of the road | 17 July 2010

The centuries will pass, civilisations will fall, continents will collide, and still bands will be breaking up because of ‘musical differences’. The centuries will pass, civilisations will fall, continents will collide, and still bands will be breaking up because of ‘musical differences’. The latest to go is Supergrass, cheeky mop-topped perpetrators of ‘Alright’ all those years ago, who leave us after six albums of increasing maturity and range but gradually decreasing sales. I’m not quite sure why, but I always had the impression that Supergrass were one of those very short bands, brought together not just by musical compatibility but also by the fact that you could fit them all

Lloyd Evans

Pick-and-mix fantasy

Welcome to Thebes Olivier, in rep until 18 August La Bête Comedy, booking to 4 September My mind didn’t just boggle. My whole body did. Every sensory organ joined in the process — ears, eyes, nose, teeth, tongue. All boggled. Even my left shoulder started boggling at one point, although this turned out to be the oscillating snuffles of my neighbour as he dozed serenely against my arm. The source of these disturbances was Moira Buffini’s reconfiguration of Sophocles’ Antigone, which is currently chasing its tail around the Olivier. The setting is a hyper-muddle. We’re in Thebes, a failed third-world state, where kids armed with machine guns strut about the

Michael Tanner

Elusive Mozart

Don Giovanni Glyndebourne, until 27 August Rigoletto Welsh National Opera, on tour Glyndebourne’s new production, by Jonathan Kent, of Don Giovanni is a wretched failure, not gross like its last one, in which the characters waded around in shit and Don Giovanni disembowelled a dead horse to eat its innards, but as irrelevant to the essence of what now seems to be Mozart’s most elusive dramatic work. In 15 years of reviewing I haven’t seen a production which was even approximately adequate, presumably because, while Mozart could perform a miraculous balancing act with his central figure, we no longer can. Gerald Finley, the extremely experienced performer of the title role,

Deborah Ross

Labour of love

Toy Story 3 U, Nationwide The third and final film in a franchise isn’t usually up to much, but not so with Toy Story 3. It may even be cinema’s first must-see sequel to a sequel. It is wondrous and a delight and because those deliriously talented people at Pixar obviously love these characters to death, then so too do we. In fact, it’s the only press screening I’ve ever attended where everyone stayed right to the very end of the final credits, presumably because the characters were still chatting away in a frame to the side, and no one wanted to leave them behind; no one wanted to say

Simon Hoggart

In deep water

What a strange organisation the BBC is! Imagine the meeting at which they discussed the cancellation of Hole in the Wall, the world’s most mindless game show. What a strange organisation the BBC is! Imagine the meeting at which they discussed the cancellation of Hole in the Wall, the world’s most mindless game show. It didn’t have terrible ratings, but was stoned to death by jeering critics and Harry Hill’s mockery. ‘Gentlemen, I am delighted to inform you,’ says HOCMIGS, (head of commissioning, mindless game shows), ‘that we have found a replacement even more mindless, more tooth-furringly, goose-bumpingly dreadful than Hole.’ A rather odd individual at the end of the

Kate Chisholm

Male fix

The hotly tipped new Men’s Hour programme on Radio 5 Live sounds so 21st century. The hotly tipped new Men’s Hour programme on Radio 5 Live sounds so 21st century. Its presenter Tim Samuels promises a potent mix of emotional candour (inspired by Tony Soprano’s sessions on the couch) combined with, and I quote, ‘the intelligence’ of Woman’s Hour. So are women at long last truly going to be credited with thinking power and talent while male idols such as Jamie Cullum and José Mourinho are to provide merely therapeutic gravitas? I wish. Read the prospective programme contents, produced by a team from BBC 6 Music, and the seven-part ‘pilot’

Saturday

Peter Phillips

Going for a song

It’s Proms time again. Peter Phillips is struck by the imbalance between singers and players What with all the talk of cuts, and the Proms being a showcase for the BBC house ensembles, I imagine this year’s season might be a time for each to put their best foot forward. I imagine, in fact, that there must be some talk in rooms that used to be smoke-filled of scrapping one or two of them. In total they are: the BBC Concert Orchestra, the BBC National Orchestra of Wales, the BBC Philharmonic, the BBC Scottish Symphony Orchestra, the BBC Singers, the BBC Symphony Chorus, and the BBC Symphony Orchestra. Between them

Alex Massie

Flash Brindisi

Four minutes of La Traviata at a Philadelphia market. Four minutes of spreading surprise and sweetness and just a little joy too. Splendid: Relatedly: The Sound of Music in Antwerp’s Central Station.

Hugo Rifkind

Mel Gibson may be a mad racist — but he’s a genius

You’ve got to hand it to Mel Gibson. When it comes to potentially career-ending outbursts of vile bigotry, there really is nobody better. As somebody posted on Twitter this week (there is increasingly little point in even trying to formulate this stuff yourself), ‘You’re a pretty hard-core ass when drunkenly yelling about Jews running banks and calling a lady cop “sugar tits” is your cute, lesser rant’. We’ll come to that one in a moment. This time around, the star of many of my favourite films was taped, allegedly, having a go at his then girlfriend Oksana Grigorieva. Go out dressed like that, he basically said, and you are liable

Deborah Ross

Pursuit of love

Leaving 15, Key Cities London River 12A, Key Cities Leaving is a French film while London River is kind of French and although I don’t really know what this has got to do with anything I do know the following: they’ll both put you through the wringer. One (London River) will put you through it rather more than the other but, make no mistake, both will do the job, and it’s best you are warned in advanced. No one likes being put through a wringer unexpectedly. It can ruin your day. And make you late for work. First, Leaving. This is the properly French film, set around Nîmes, written and

Kate Chisholm

Caving in

We should be worried. The announcement that BBC 6 Music is going to be saved from the cost-cutter’s axe may sound like a victory for Everyman, as opposed to the mindlessness of the Jobsworths in Finance. We should be worried. The announcement that BBC 6 Music is going to be saved from the cost-cutter’s axe may sound like a victory for Everyman, as opposed to the mindlessness of the Jobsworths in Finance. But the money to keep Lauren and her team going will have to come from somewhere, and the most likely target, as ever, will be those departments whose budgeting can’t be accounted for in noughts and crosses. Will

Wednesday

Laura Gascoigne

Mapping the land

Familiar Visions: Eric & James Ravilious, Father & Son Towner, Eastbourne, until 5 September Ravilious Woodcuts Charleston Farmhouse, until 30 August Everyone, but everyone, has heard of Charleston, the East Sussex farmhouse with the beautiful walled garden transformed by the decorative geniuses of Vanessa Bell and Duncan Grant into a bijou Bloomsbury-on-the-Downs. But few people know about Furlongs, a couple of miles across the fields, the decidedly unpicturesque flint-built cottage where from 1933 the designer Peggy Angus presided over a rather more basic bohemian establishment, visited regularly by Eric Ravilious.  That the two artistic camps had nothing in common is immediately obvious from a pair of Ravilious watercolours in the

Andrew Lambirth

Passion killers

Beauty & Power: Renaissance and Baroque Bronzes Wallace Collection, Manchester Square, W1, until 25 July Caravaggio’s Friends & Foes Whitfield Fine Art, 23 Dering Street, W1, until 23 July William Crozier: Early Work Pyms Gallery, 9 Mount Street, W1, until 20 July The temporary exhibition galleries of the Wallace Collection are in the basement, next to the lavatories, and while I was there more visitors came down for the purposes of relieving themselves than to acquire new knowledge and experience of Renaissance and Baroque bronzes. It’s a shame if this show is being overlooked, because there hasn’t been a display like it in England for more than 30 years, and

Lloyd Evans

Act of disturbance

The Tempest Old Vic, until 21 August Sucker Punch Royal Court, until 31 July Last week when I trotted over to the Old Vic to see The Tempest I had no idea I was about to experience one of the strangest performances of my life. About 20 minutes into the show a heavily built man arrived and installed himself with much effortful wheezing and groaning in the seat just behind me. His rasps and gasps continued for some time and when their tremors finally subsided I was able to return my attention to the play. But then he fell asleep. And then he started snoring. And snoring and snoring. These

James Delingpole

Twisted brilliance

What am I doing reviewing a documentary about the baroque? I hate the baroque — have done for as long as I can remember — and I expect it’s probably the same with you. What am I doing reviewing a documentary about the baroque? I hate the baroque — have done for as long as I can remember — and I expect it’s probably the same with you. Apart from being an essential sign of aesthetic superiority (we much prefer neoclassical in this country, don’t we, those of us who’ve spent time living in places like Peck quad, what, what, what?) hating the baroque is also the most wonderful time-saver.

Saturday

Henrietta Bredin

Guiding principles

What are the ingredients of a good audio guide? Henrietta Bredin investigates These days you’re more than likely, at any museum, gallery, exhibition or public building of interest, to be offered an audio (or even a multimedia) guide with which to ‘enhance your visitor experience’. There will probably be a small cost involved and you will then find yourself with a pair of headphones and an attached box to sling around your neck — or something known in the trade as a wand, which looks like a large telephone with a selection of buttons to choose from. Many people find these guides extremely useful but there will always be some