For me little that is memorable, and even less that is sheer fun, has been penned about football, apart from Gary Lineker’s definition of the game as ‘Twenty-two men chasing a ball — and in the end the Germans win’. For me little that is memorable, and even less that is sheer fun, has been
Andrew Lambirth reflects on Stanley Spencer’s ‘Study for Joachim Among the Shepherds’ Stanley Spencer (1891–1959) is a rare figure of international standing among British 20th-century artists. As the painter and critic Timothy Hyman has observed, Spencer can be ranked alongside Munch, Bonnard, Kirchner, Beckmann and Guston for his extraordinary work exploring the relationship between the
There is one day in the year when it is acceptable for anyone, of any age, to lie on the sofa all day and for much of the night. The blinds remain legitimately lowered; the telly can stay switched on. One hand will grasp the remote control; the other might leaf through a jumbo box
Der Rosenkavalier Royal Opera House Der Rosenkavalier is the most self-conscious of comedies, as well as being largely concerned with self-consciousness. It has two kinds of joke: one, the broad practical jokes indulged in at enormous length at Baron Ochs’s expense; the other, the sophisticated humour of youthful illusions being dashed, while others rapidly spring
Nowhere Boy 15, Nationwide from 26 December Firstly, the year in review — it was good, thanks — and now on to Nowhere Boy, the surprisingly conventional first feature-length film from visual artist Sam Taylor Wood. It is perfectly accomplished, and pleasing enough, but it’s not going to blow your socks off, even though the
Sweet Charity Menier Pajama Men: The Last Stand to Reason Soho Shocking. Absolutely shocking. My state of preparedness for Sweet Charity at the Menier was so poor that we nearly had a critic-doesn’t-know-what-he’s-talking-about scandal on our hands. I’d never seen the show before. I’d missed the film version. I hadn’t the foggiest who the star,
Seven hundred miles now in the borrowed Bristol 410 and I’ve loved every yard of it. Seven hundred miles now in the borrowed Bristol 410 and I’ve loved every yard of it. It’s poised, tolerant, powerful and very comfortable, now that I’ve removed the sunroof windshield that was threatening to scalp me. The elegantly understated
Otello Barbican Die Zauberflöte Royal College of Music Verdi’s Otello has almost become a rarity since Domingo gave up singing the title role, so its inclusion in the LSO series of concert performances under Sir Colin Davis was most welcome, and all the more so when it was announced that, at extremely short notice, the
Carlos Acosta Sadler’s Wells Theatre Jerome Robbins, the undisputed, though often unsung, father of modern American ballet, was one of the few dance-makers who could successfully choreograph to Bach’s music. Undaunted by the morass of cultural, historical and artistic biases that still surrounds the compositions of the baroque master, Robbins approached Bach with an intriguing
Cat on a Hot Tin Roof Novello The Stefan Golaszewski Plays Bush Revolutionary republics, like the USA and Soviet Russia, never really get rid of royalty. They just appoint surrogates. America’s yearning for icons has accorded the actor James Earl Jones a rank somewhere between Richard the Lionheart and John the Baptist. The producers of
Where the Wild Things Are PG, Nationwide Here is what you most need to know about this film: it isn’t a patch on the book. Usually, I wouldn’t put it like that. Indeed, as I have said before, and wouldn’t need to say again if only I could trust you had paid attention the first
God, I hate this time of year. Getting up in the dark in the morning, setting off to work in the dark in the late afternoon, then spending the evening sitting in the dark in the theatre are bad enough. But then there’s the cold, angular rain, stinging my face as I sit cowering in
The demise of the magazine Early Music Today (it will henceforward be published as part of Rhinegold’s Classical Music) begs the question once again: what is the contemporary need for the term ‘Early Music’? The demise of the magazine Early Music Today (it will henceforward be published as part of Rhinegold’s Classical Music) begs the
Edward Bawden Bedford Gallery, Castle Lane, Bedford, until 31 January 2010 In these days when museums seem to think it acceptable to sell off the charitable gifts of past ages to feed contemporary vanities, I wonder who will be tempted to donate works of art without binding them securely in protective red tape? In the
If you haven’t spoken to anyone at all for 24 hours, not even the newsagent or supermarket assistant, it can be odd trying to find the right words, and the right voice, to make a human connection. If you haven’t spoken to anyone at all for 24 hours, not even the newsagent or supermarket assistant,
My favourite Alan Bennett story dates from when his play The Lady in the Van was performed in London. The piece includes two Alan Bennetts, one to take part in the action, the other to narrate. One was played by Nick Farrell, a neighbour of ours, who had agreed to do it on condition that
After many years writing about my enthusiasms, I’m still fascinated by the relationship between expectation and actual enjoyment. After many years writing about my enthusiasms, I’m still fascinated by the relationship between expectation and actual enjoyment. How often have we seen a film everyone has been raving about, and been vaguely and obscurely disappointed? Or
I had to transfer some money into my Polish builder’s bank account the other day, so I rang up the Lloyds TSB Execmaster Super VIP service helpline. I had to transfer some money into my Polish builder’s bank account the other day, so I rang up the Lloyds TSB Execmaster Super VIP service helpline. As
’Tis the season to be jolly — in spite of the gloom outside and the torrents of rain. ’Tis the season to be jolly — in spite of the gloom outside and the torrents of rain. But how do you banish the winter ghouls, put on a mask of good cheer and go forth beaming
Me and Orson Welles 12A, Nationwide For a film about drama, Me and Orson Welles — Orson Welles and I? Do we care? — is obstinately undramatic. I kept trying to will it into some kind of life, any kind of life. Come on. You can do it. Think of the children! But it would