Arts Reviews

The good, bad and ugly in arts and exhbitions

Wednesday

James Walton

Watch some liars claim that youth and beauty don’t go together

Back in 1990, Grandpa from The Simpsons wrote a letter of protest to TV-makers. ‘I am disgusted with the way old people are depicted on television,’ he told them. ‘We are not all vibrant, fun-loving sex maniacs. Many of us are bitter, resentful individuals who remember the good old days.’ Thirty-three years on, it’s a protest that continues to fall on deaf ears, as we saw once again in the first part of Kathy Burke: Growing Up (Wednesday). The starting point was Kathy’s own 58th birthday, which had clearly come as rather a shock to her – and, given her take-no-nonsense (polite version) spikiness, you might have thought that the

Lloyd Evans

Cumbersome muddle: Women, Beware the Devil, at the Almeida Theatre, reviewed

Rupert Goold’s new show, Women, Beware the Devil, has great costumes, sumptuous sets and an intriguing chessboard stage like a Vermeer painting. Impressive to look at but that’s where the good news ends. Dramatist Lulu Raczka should have thought twice before writing a script about witchcraft, which was bound to invite comparisons with The Crucible, one of the greatest plays in the theatrical canon. Raczka is no Arthur Miller. She seems to take a dim view of human beings and her writing feels like a vehicle for her vengeful sense of revulsion. Her female characters are mostly skittish, cackling ninnies and her males are lusty, arrogant, predatory monsters. No figure

Cosmo Landesman

The day I sold my destroyed piano to the Tate

One day in October 1966 I came home from school and found a large man stripped to the waist, attacking the family piano with a woodman’s axe. Seeing the anxious look on my face, my father assured me there was nothing to be afraid of. The axe-wielding man was, he explained, an ‘artist’ who was ‘creating a work of art’. My 11-year-old brain was puzzled: how could this axe-wielding lunatic be an artist? Can you destroy a piano and call it art? These same basic questions came to my mind last week when I went to Tate Britain and found that very piano hanging on a wall after 11 years

Deborah Ross

So formulaic I could have written it: Champions reviewed

Champions is an underdog sports movie starring Woody Harrelson as a baseball coach forced to take on a team with intellectual disabilities. But the main thing you need to know is it is so formulaic I could have written it, you could have written it, it could have written itself. Heck, it’s so predictable it could have also directed itself –  though, hopefully, it would never have been able to trash itself or I’d be out of a job. This is so formulaic I could have written it, you could have written it, it could have written itself Billed as a ‘hilarious and heart-warming comedy’, this is a remake of

Yevheniia Moliar

Ukraine must stop destroying its cultural heritage

Russia is not the only country erasing Ukraine’s cultural heritage. Ukraine itself has been demolishing its own public statues and murals for years. Before the war, in 2015, our parliament passed legislation that criminalised communist propaganda. ‘Decommunisation’ was a deceptively simple idea: it started with the removal of our 1,300 Lenins and a few other revolutionary figures. Since the invasion, even monuments with complex histories have been removed. In Odessa, a statue of the city’s founder Catherine the Great was toppled. In Dnipro, seven monuments were torn down, including those to writer Maxim Gorky, 18th-century scientist Mikhail Lomonosov and poet Pushkin. Two months ago, a Soviet monument to the soldier

Laura Gascoigne

How two Dutchmen introduced marine art to Britain

In March 1675 the Keeper of His Majesty’s Lodgings at Greenwich received an order for ‘Three pairs of shutters for the three windows in a lower room, at the Queen’s building next to the park (where the Dutch painters work’). Willem van de Velde and his son, also called Willem, would have preferred a studio with north light, but they weren’t complaining. They had been put on a retainer of £100 a year by Charles II – with an additional £50 from James, Duke of York – for the father to draw ‘Draughts of Sea Battles’ and the son to turn ‘said Draughts into Colours’. Turner claimed that an image

Michael Hann

Full of love: Butler, Blake and Grant, at the Union Chapel, reviewed

Years ago, I asked Robert Plant what he felt about the world’s love of ‘Stairway to Heaven’. He said he no longer really knew what the song was about, and it didn’t mean an awful lot to him. But, he added, that didn’t really matter because the people who loved the song had given it their own meaning. Songs don’t have to be as ubiquitous as ‘Stairway to Heaven’, however, to work their way into your soul. It’s perhaps even easier to develop a personal connection with a song that one doesn’t have to share with the entire world. Lots of people just wanted to feel 21 all over again

Wednesday

Richard Bratby

Dated and wasteful: Rusalka, at the Royal Opera House, reviewed

Careful what you wish for. There can be no definitive way to stage an opera, and it’s the critic’s duty to keep an open mind. Still, we’ve all occasionally gazed at a white cube that represents an Alpine meadow, or watched a chivalric hero slouch across the stage in tracksuit bottoms, and felt our hearts slump. Then you pitch up at the Royal Opera House’s new production of Dvorak’s Rusalka and it’s as if some mischievous sprite has magicked you straight back to 1960. The directors are also credited as ‘creators’ (back in your box, composer and librettist!) At first, you don’t suspect much. It’s actually rather enchanting: deep forest

Lloyd Evans

Approaches perfection: Medea, @sohoplace, reviewed

Winner’s Curse is a hybrid drama by Dan Patterson and Daniel Taub which opens as a lecture by a fictional diplomat, Hugo Leitski (a dinner-jacketed Clive Anderson). Leitski offers to teach us the subtle art of negotiation. An expert diplomat, he explains, must convince each side that they’re the winners in the negotiation and that their opponents have lost. In his youth he helped to broker peace between two Slavic nations, Karvistan and Moldonia, and the action switches from Leitksi’s lecture room to a seedy hotel, the Black Lagoon Lodge, where the peace deal was agreed. Clive Anderson’s skilfully improvised performance is the beating heart of this enjoyable comedy-lecture The

Jenny McCartney

What’s the difference between Shamima Begum and Unity Mitford?

The debate sparked by Josh Baker’s BBC podcast on Shamima Begum, and her teenage flight to join Isis, has divided opinion sharply into two camps. According to one, she was a naive 15-year-old cynically groomed by hardened operatives in the most feared terror organisation in the world. No, says the other, she was a capable girl who – knowing of Isis atrocities – made a highly determined decision to join them. But can’t both things be true at once, as they are for so many young recruits to extremism?  From another era, class and race, we might remember Unity Mitford, who flaunted her admiration of Hitler Listening, one is immersed

Graeme Thomson

His nasal American-Yorkshire voice struggles to convince: Yungblud, at OVO Hydro, reviewed

Even before albums became bloated, thanks to the largesse offered by CDs and streaming, most contained filler: those so-so songs merely passing needle time, weak aural bridges between the big hits and superior deep cuts. Bubblegum-punk and Auto-Tuned pop, sung in a distinctly nasal American-Yorkshire hybrid Increasingly, live concerts have filler, too. With the collapse of record sales, young pop performers feel compelled to jump into huge arenas more quickly than might be wise. It’s not always as easy as it looks. A massive social media profile doesn’t always translate into having sufficient willing bodies to fill these vast spaces, and while you can ship in pyrotechnic back-up, fancy sets

Deborah Ross

Devastating: Close reviewed

The Belgian film Close, written and directed by Lukas Dhont, which won the Grand Prix at Cannes and is up for an Oscar, is a coming-of-age-story that’s exquisite and heart-breaking. Take tissues, and probably not just the one box. I was deeply touched by their little white vests, purchased no doubt from the Belgian equivalent of M&S Dhont’s starting point was psychologist Niobe Way’s book Deep Secrets: Boys’ Friendships and the Crisis of Connection, which is based on hundreds of interviews and showed that boys have deeply intimate, confiding friendships until adolescence when they are socialised to withdraw from one another. (Just to be on the safe side I asked

James Delingpole

In defence of the fabrications of reality TV

My new favourite tennis player, just ahead of Novak Djokovic, is Nick Kyrgios. Up until recently I’d barely heard of him and what little I knew – his massive, sweary, on-court tantrums – did not inspire much enthusiasm. But then I watched Break Point and realised that here was exactly the kind of man I’d like to be myself: someone so talented at what he does that he puts in no preparation and little practice; who prefers chilling with his mates and his family to the grinding tedium of work; who loathes rules and formality and won’t be told what to do; and who, despite all these self-generated handicaps, is

Laura Gascoigne

Thoroughly unsettling, never simplistic: Mike Nelson – Extinction Beckons, at the Hayward Gallery, reviewed

You enter through the gift shop. Mike Nelson has turned the Hayward Gallery upside down and back to front for his survey exhibition, Extinction Beckons. ‘It’s been a very intensive four weeks,’ says an assistant putting the finishing touches to the multi-room installation ‘The Deliverance and The Patience’ (2001) when I visit two days before the opening. Lit by one of Nelson’s signature red lights, even the green sign reading ‘FIRE EXIT’ makes me nervous Having the place to myself feels like having sole occupancy of the haunted house at the fair. This is less of a house, though, more a warren of passages and poky rooms bearing unsettling signs

Daisy Dunn

Blue monkeys, bull-leaping and child sacrifice: why were the Minoans so weird?

Labyrinth: Knossos, Myth & Reality at the Ashmolean Museum in Oxford does not take the idea of a labyrinth too literally. It does not lead you through galleries to dead ends, nor are you left searching, like Theseus, for a ball of thread to find your way out again. The real enigma of the exhibition revolves around the Bronze Age civilisation at its heart. The Minoans, who occupied Crete between about 3,000 and 1,100 BC, remain some of the most mystifying people ever to have been stumbled upon in modern times. It is uncertain where they came from, what they believed, how they were governed and why they chose to

Thursday

Deborah Ross

The bear overacts the least: Cocaine Bear reviewed

With a title like Cocaine Bear you’ll probably be happily anticipating one of those B-movie cultural moments. It’s a bear! On cocaine! Sign me up! You go to a film like this in the spirit of trash-loving glee. It’ll be fun. It’ll be 90 minutes of low camp entertainment rather than a four-hour Oscar-contending head-scratcher – and that can be a relief. But, in fact, and despite the publicity blitzkrieg – it’s a bear! On cocaine! – this is a standard animal-on-the-rampage affair. The cocaine doesn’t even bring much to the party. (Kids: take note.) Quite what I was expecting, I don’t know. Maybe the bear would become euphoric and

Wednesday

Lloyd Evans

How has it escaped being cancelled? The Lehman Trilogy, at the Gillian Lynne Theatre, reviewed

Standing at the Sky’s Edge is an ode to a monstrous carbuncle. The atrocity in question is a concrete gulag, Park Hill, built by Sheffield council in the 1960s as a punishment for hard-up locals who couldn’t afford to buy a house. The show is a propaganda effort on behalf of bossy, big-state, high-tax Labour authorities so the smiling residents of the brutalist eyesore keep telling us how much they love their multistorey dungeon. ‘You can see the whole city from up here,’ say the characters, as if no Sheffield resident had ever mounted any of the bluffs or heights that surround the area. The script is honest enough to

James Walton

Riveting and titillating: BBC2’s Parole reviewed

There’s a distinct and rather cunning whiff of cakeism about the new documentary series Parole. On the one hand, it can convincingly pass itself off as a sombre BBC2 exploration of the British justice system. On the other, it offers us an undeniably enjoyable, reality TV-style opportunity to compare our opinions with those of the experts. Who doesn’t welcome the chance to indulge in some serious – or even titillating – armchair psychology? Monday’s opening episode began with some solid statistical captions stating that 16,000 UK prisoners are considered for parole every year, that 4,000 are granted it and that each decision is made by a small panel drawn from

Michael Hann

The crowd was the star of the show: Carly Rae Jepsen, at Alexandra Palace, reviewed

The other week I saw a T-shirt bearing the caption ‘For the girls, the gays and the theys’. And if you want a very quick and easy demonstration of why someone might wish to wear a T-shirt specifically excluding straight men, I suggest you go to pretty much any big standing show, certainly any featuring a youngish guitar band. On the way out, my friend said it was the loveliest crowd he’d been in for a long time, and I pointed out why There you will see the straight man in his natural environment, moving from the bar in small herds of six or seven in a straight line through

Richard Bratby

Crapcore: ENO’s The Rhinegold reviewed

Tubas and timpani thunder in The Rhinegold as the giants Fasolt and Fafner, having built Valhalla, arrive to claim their fee: Freia, goddess of beauty and youth. It doesn’t go well. Suddenly Fasolt drops his defences and declares his yearning (the translation is John Deathridge’s) for ‘a woman who’d lovingly and softly live with us lowly mortals’. At those words the music melts, and a solo oboe sings a melody so poignant that Ernest Newman thought it worthy of Mozart. This is the first instance in the whole cosmic drama where Wagner gives us a glimpse, however unformed, of something that an adult human might recognise as love. It’s the