One of Van Morrison’s umpteen albums is called What’s Wrong with this Picture? It’s a question long-term fans are likely to echo as they contemplate the cover of his new release, Astral Weeks Live at the Hollywood Bowl. One of Van Morrison’s umpteen albums is called What’s Wrong with this Picture? It’s a question long-term
Gran Torino 15, Nationwide Gran Torino is a Clint Eastwood film — what, he’s still alive? — and it’s about a grouchy old fella who is hard-core racist but then gets involved with the Asian family next door and, would you believe it, discovers they are quite decent, really. This is probably not a very
When Sarah Kane’s play Blasted was premièred at the tiny upstairs studio in the Royal Court Theatre in London in January 1995, it created such a stir that her name was splashed across the tabloid newspapers. When Sarah Kane’s play Blasted was premièred at the tiny upstairs studio in the Royal Court Theatre in London
The Art of the Poster — A Century of Design London Transport Museum, Covent Garden Piazza, WC2, until 31 March The first thing to say is that this is not an exhibition of posters. It is, in fact, an exhibition of the original art works from which were made some of the last century’s best
Woman in Mind Vaudeville On the Waterfront Theatre Royal, Haymarket The Stone; Seven Jewish Children Royal Court Blistering, searing, cracking, scorching. I’m describing the performances of Janie Dee and Stuart Fox in Woman in Mind, Alan Ayckbourn’s comedy about senile dementia. Smouldering, blazing, torrid, incandescent. There’s a few more. But a show can only take
Les Ballets C de la B Sadler’s Wells Theatre Jérôme Bel Lilian Baylis Studio at Sadler’s Wells Within the past two weeks Sadler’s Wells played host to two memorable modern dance performances: Pitié! and A Spectator. They could not have been more different, and yet they both showed how, in an arts world plagued by
I often drone on about how there are television programmes made with love and there are those that are knocked out cynically, to win ratings and advertising, or because the programme makers are just too lazy to come up with anything new, challenging, informative or even entertaining. Hole in the Wall is obviously cynical, as
What is it with snowdrops? Why do people make so much fuss about them, when they are so small and relatively insignificant? These are questions that mystify people each February, as they view yet more images in newspapers or gardening magazines of chilly, brilliant white, droopy flowers on short stalks. I have, in the past,
January was a fierce month for celebrity life expectancy, especially if you are in your late forties and feel you grew up with these people. John Updike. Bill Frindall. Patrick McGoohan (‘I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered’). Ricardo Montalban (‘from Hell’s heart I stab at thee; for hate’s sake,
People make assumptions about how other people think, and then influence the zeitgeist by broadcasting their findings. There is a circularity to this rule of thumb which is ultimately sterile, but which takes some deconstructing. One of the current such verities is that sacred music in worship is of no wide cultural relevance, either because
Stuck in a traffic jam on an icy road I caught most of Midweek (Radio Four, Wednesdays), and was forced by the complete standstill and the sense of white stillness beyond the car window to really listen to what was being said. Libby Purves’s guests included David Attenborough, who will shortly be donning the mantle
Iran And The West (BBC2, Saturday); Terry Pratchett: Living With Alzheimer’s (BBC2, Wednesday) Just in case you needed another reason to loathe and despise the French (I mean, as if Olivier Besancenot wasn’t enough), there was a corker in Norma Percy’s characteristically brilliant new documentary series Iran And The West (BBC2, Saturday). It concerned the
It’s a little awkward, standing nose to nose with strangers. Here, inside a lift the size of a train loo, are two young actresses, a PR man, one actor on the brink of proper stardom (Rory Kinnear) and me, all inching down through the body of the bustling, gossipy National Theatre. We’ve been silent for
‘The Roundhouse of International Spirits’: Arp, Benazzi, Bissier, Nicholson, Richter, Tobey, Valenti in the Ticino Kettle’s Yard, Castle Street, Cambridge, until 15 March ‘I turned it into a palace’: Sir Sydney Cockerell and the Fitzwilliam Museum Fitzwilliam Museum, Trumpington Street, Cambridge, until 17 March The Ticino is the Italian-speaking canton of Switzerland, home to Lakes
Enjoy Gielgud Entertaining Mr Sloane Trafalgar Studio A View from the Bridge Duke of York’s How does he get away with it? The main target of Alan Bennett’s 1980 comedy Enjoy is disability. Ageing Connie has pre-senile dementia and her husband Wilf is partially paralysed and prone to blackouts. Their condemned terraced house is about
La Bohème English National Opera The Demon Barbican Of all the most popular operas of Puccini, La Bohème is the one that has attracted least critical fire, and that, even during the long period when highbrows were required to despise him, was exempted from the general interdict. Even though the heroine dies a harrowing death,
Vicky Cristina Barcelona 12A, Nationwide In Vicky Cristina Barcelona, Woody Allen’s latest film, a character asks in an opening, theme-setting scene: ‘Why is love so hard to define?’ which is daft, really, because as anyone who knows anything about cinema knows and has known since 1970: love means never having to say you’re sorry. What,
Triple Bill Royal Ballet, Royal Opera House ‘Saucy’ and ‘funky’ are not terms one would normally expect to hear in relation to a ballet performance. Nor is the irritatingly ubiquitous ‘cool’, which is what my young(er) date uttered last Saturday at the end of the Royal Ballet’s triple bill. Yet they all suit perfectly well
Nationwide tribute (BBC 4, Thursday); Ramsay’s Kitchen Nightmares USA (Channel 4); Charles Darwin and the Tree of Life (BBC1, Sunday) Nationwide began 40 years ago, and on Thursday BBC4 showed a tribute. The show ran nightly up to 1983, and was always the cheekie chappie of BBC programming. In the early 1980s I did a
At the cinema the other night to see Frost/Nixon, at least five minutes of the commercial break were devoted to selling Radio Four. It was such an odd experience. Nothing to watch, just a blank screen, with Paul Merton and co. telling a few jokes in Dolby sense surround. But we’d bought tickets to watch