Every so often, John Deakin, jug-eared chronicler of Soho and hanger-on at the Colony Rooms, is breathlessly rediscovered as the unknown giant behind Bacon and the forgotten man from Soho’s generation of genius. All that is so much tosh: Deakin is no genius and he has not been forgotten. In fact, he can never be
I did not mean to snort so loudly. There I was watching the amazing Simon Russell Beale in King Lear at the National Theatre and things were all getting a bit nasty — what with daughters scheming and people having their eyes gouged out. And then, through a small earpiece, which no one else could
‘London,’ says Jean Paul Gaultier, ‘was my vitamin. I love the freedom of London…The energy, the character, all the people that are different.’ It was perhaps inevitable, then, that the first major exhibition of his work should come to the city that so inspires him. From the moment you enter the Barbican, you are struck
In a dance world that has chosen to dispense with stylistic and semantic subtleties, ‘narrative ballet’ and ‘story ballet’ are often used as synonymous. Yet there are differences — and major ones at that. In a ‘narrative ballet’ it is the choreography that carries the story. Each movement idea is thus conceived in relation to
The Blyth Gallery is situated in the Sherfield Building, deep in the South Kensington campus of Imperial College London. The Sherfield Building is a labyrinth of concrete, linoleum and glass. Its atmosphere is oppressively institutional. You walk around to the percussion of slamming fire doors and the click-clock of unseen footsteps. The air carries the
The day before I’m due to meet Ferdinand Kingsley, actor son of Sir Ben, he sends me a message to introduce himself via Twitter. ‘I’ll try not to be a complete a***hole!’ he quips merrily, for absolutely no reason at all since I hadn’t actually imagined that he would be. Does he normally behave badly
South Kensington is teeming with butterflies at the moment, or at least the specially constructed tropical enclosure at the Natural History Museum is. Sensational Butterflies (until 14 September) takes you on a journey through the life cycle of, you guessed it, the butterfly: from egg, to caterpillar, to chrysalis, to butterfly. Butterflies had a good
Visitors to Chatsworth House this spring might wonder if they have stumbled through the looking-glass. The estate’s rolling parkland has been invaded by an army of vibrantly coloured, outsized garden tools, whose outlines seem to hover, mirage-like, over the landscape. These painted-steel 2D ‘sculptures of drawings’ are the brainchildren of the conceptual artist Michael Craig-Martin.
What’s in a definition? As far as theatre dance is concerned, quite a lot. Labelling — and often labelling for the mere sake of it — is integral to our dance culture. Take, for instance, the various A-level dance syllabuses, the curricula of most dance-studies departments and, most of all, those dance-history manuals that slavishly
When you’re next waiting for a train at King’s Cross, don’t waste time window shopping on the concourse. Instead, pop round the corner to the British Library to see Beautiful Science: Picturing Data, Inspiring Insight (until 26 May). It’s not an enticing name for an exhibition, I grant you. But the show is beguiling: small,
Louis XIV might have been a narcissistic and whimsical tyrant, but he did a lot for dance. An accomplished practitioner, he made ballet a noble art and turned it into a profession with the creation of the Académie Royale de Danse, the first institution of its kind, though not the first ballet school as some
At the Venice Biennale last year, Jeremy Deller presented English Magic in the British Pavilion. It was an aggressive look at contemporary Britain and featured protest art based on socialist politics. It’s fitting, then, that the show has transferred to the William Morris gallery in Walthamstow; no doubt the libertarian socialist would be proud to
It all started in 1971, when a group of physically and artistically talented youngsters decided to create a dance company and call it Pilobolus, after a fungus. Not unlike this barnyard micro-organism, which ‘propels its spores with extraordinary speed and accuracy’, the company was soon propelled to international success. But it was not an easy
Roberto Rossellini shot his neorealist landmark Rome, Open City while the war still raged and rubble littered the freshly liberated capital. Based on real experiences from the ten-month German occupation, the film follows ordinary Romans, some active dissenters, some just trying to get by, as the Nazis and the Italian fascist authorities mount a search
Every year, tens of thousands of visitors flock to the Mark Twain House in Hartford, Connecticut, in order to see where he lived and wrote. Many famous writers’ homes are preserved for visitors, some of whom are devoted readers (and some who know they are supposed to read his or her books). Twain, we can
If Margaret Thatcher is remembered by many more as a caricature than as her actual self, then blame Spitting Image. The show, which ran from 1984 to 1996, portrayed her variously as a cross-dresser, a fascist and a bully but, to her credit, she never complained. Or, if she did, there’s no record of it.
Artists make good critics, but do critics make good artists? It’s hard to tell, when most are too chicken to try. For over 20 years, Spectator critic Andrew Lambirth has been making collages. He caught the habit from the British Surrealist Eileen Agar in the late 1980s and kept it private, until forced to go
A tip: go see Martin Creed’s retrospective at the Hayward in the company of a child. I didn’t, but I tagged on to a merry gaggle of five-year-olds being guided round by their mums. I watched as they pointed at the enormous rotating beam with a neon sign that reads ‘MOTHER’. ‘Jump up and touch
Discoveries: Art, Science and Exploration at Two Temple Place (until 27 April) is like a giant cabinet of curiosities. Maps, gizmos and memorabilia are spread across two floors of this glorious high-Victorian building on the Embankment. There are drawings from doomed polar expeditions, bones and teeth of fish from the Woodwardian Collection (see above), early
It appears that J.S. Bach’s music is to theatre-dance what whipped cream is to chocolate. Masterworks such as Trisha Brown’s MO, George Balanchine’s Concerto Barocco and a plethora of less-known, though equally acclaimed compositions owe a great deal to the giant of baroque music. Wayne McGregor is the most recent addition to this illustrious roster