Insane in the Brain Bounce, Peacock Theatre An upbeat, street-dance version of Romeo and Juliet, presented by Rumble, was one of the hottest tickets at the 2006 Edinburgh Festival. Some critics did dislike it as yet another example of modern-day cultural and artistic madness, but others welcomed its innovative approach to the creation of both
The Royal Ballet Royal Opera House It is a well-known fact that ballet lives, thrives and survives in a world of its own. By the time the ‘new’ ideas developed in other artistic contexts have seeped through its thick artistic, technical, cultural and social barriers, the other arts have already moved on. Luckily, such a
You have neat, slicked-back hair which never gets dandruff. You keep a pile of beautifully laundered white shirts stacked in your office drawer. You look great in your sharp suit and so does everyone else in theirs. The girls in the office are there to service your every need, and actually discuss with one another
Amnesia? Forget about it. That’s my advice to dramatists considering handling this theme on stage because it always generates the same problem. Memory equals personality so a character without a memory isn’t a character. He’s some clothes. The central figure in The Living Unknown Soldier is a French major suffering from total memory loss after
Modern Painters: the Camden Town Group Tate Britain, until 5 May The Millbank branch of the Tate empire is currently blessed with two major loan exhibitions of painting, and if you find the Peter Doig retrospective a bit too thin for your taste, the thick dry crusty surfaces of the Camden Town Group’s pictures may
Lucia di Lammermoor Coliseum Gentle Giant Linbury Studio Despite two attempts, I haven’t managed to see ENO’s new production of Lucia di Lammermoor with its announced cast. My first try was sabotaged, as so many plans are, by Network Rail, which is still after 12 years working on ‘essential maintenance’ of a ten-mile stretch of
The Other Boleyn Girl 12A, Nationwide The Other Boleyn Girl, based on the bestselling historical romance by Philippa Gregory, stars Natalie Portman as Anne Boleyn and Scarlett Johansson as the other girl, her ‘plainer’ sister Mary, which, considering Scarlett Johansson has just been voted the most beautiful woman in the world, must be a lesson
Melancholy is a peculiarly English malady; almost you might say a national characteristic, born out of our long, dark nights and grizzly, indecisive weather. That dampness of the soul and ambient miserableness is almost like a national uniform; just think of late-Seventies rock or the Jacobean poets, the Brontë novels or Francis Bacon. The Swinging
Salome Royal Opera House Salome Royal Opera House What is a producer, or, as they more often like to be called these days, director, to do if he is asked to produce/direct a work about which he has no interesting ideas and none comes along during the production process, and the invitation comes from a
Flight London Coliseum Flight London Coliseum Ballet galas might be the dream of every spectacle-craving balletomane, but they can easily become a nightmarishly boring series of ‘party pieces’ if they are not properly organised. Luckily, this is not the case when a company such as Ensemble Production takes over, as demonstrated by a number of
Alexander Rodchenko: Revolution in Photography Hayward Gallery, until 27 April There’s a whole separate exhibition in the downstairs galleries of the Hayward. It’s called Laughing in a Foreign Language and is supposed to explore the role of laughter and humour in contemporary art through the work of 30 so-called international artists. As an exhibition, it’s
The Guardian had an interesting — and, frankly, terrifying — piece the other day by Nick Coleman, the Independent’s long-serving and shamelessly cerebral rock critic. I used to know Nick slightly: we talked drivel on the same radio show for a while a dozen years ago, and he wrote a piece about my first cricket
Margot at the Wedding Nationwide, 15 Margot at the Wedding is one of those unsettling and bothersome films which will bother and unsettle you during, afterwards and possibly for much of the next day, like a flea in the ear. If this is your sort of film, then you will like it and if you
Brief Encounter The Cinema Haymarket The Homecoming Almeida Under the Eagle White Bear Bit of a spoiled brat, the Cinema Haymarket. Can’t decide what it wants. Originally built as a theatre, it defected to the movies for many years but having tired of hosting popcorn blockbusters it’s now receiving plays again. Lovely auditorium, though. Wide
The Lady’s Not For Spurning (BBC4, Monday) was ostensibly about Margaret Thatcher and the baleful influence she had on the Conservative party after 1990. It was actually about Michael Portillo’s long quest for redemption. This has been going on since May 1997, when he lost his seat. As he pointed out in this documentary, which
Only this column would persuade me to get up at 6.30 on a Sunday morning. Six-thirty! In my other life I pore over the collected works of the 18th-century writer Dr Johnson, who constantly struggled to persuade himself out of bed before noon. He liked the idea of early rising, and each New Year resolved
Curious to see how the old whore (103 this year) is faring, I tuned in eagerly to Radio Three’s broadcast of a concert performance of Salome (13 February) — the live event already reviewed appreciatively here by my opera colleague. Utterly besotted in early teens with this ultimate product of French/Anglo–Irish/Bavarian decadence, I have over
Rambo 18, nationwide Is nothing sacred? Rambo, the patron saint of the American conservative movement, has become a liberal. When we last encountered this Reagan-era action hero, he was helping the mujahedin kick the Russians out of Afghanistan — and before that, in Rambo: First Blood Part II, he was rescuing forgotten American POWs from
Peter Doig has aroused much passion in recent months for the prices his paintings have started to fetch in the world’s salerooms. For many, he is not only the acceptable face of contemporary British painting, but also a buoyant export and bright international star. Even those who dislike painting and prefer less demanding forms of
Strange fish, Peter Handke. His 1992 play The Hour We Knew Nothing of Each Other is wordless and consists of semi-amusing visual skits. In James Macdonald’s production these mime acts are played out in an unnamed city that looks as if it’s been moulded from dough by a chimpanzee. It’s like an early rehearsal