Dance: Thierry Baë: Journal d’inquiétude, The Place: Robin Howard Dance Theatre; Shen Wei: Connect Transfer, Barbican So far, the two most thought-provoking performances I have seen in this year’s Dance Umbrella have both been French. But Compagnie Beau Geste’s duet between a man and a digger, which I reviewed enthusiastically two weeks ago, and Thierry
Opera: Das Rheingold; Die Walküre Halfway through the second cycle of the Ring at the Royal Opera, I’m feeling far more positive than I could have expected. When I saw the separate parts of the work I found Keith Warner’s direction cluttered and confusing, Stefanos Lazaridis’s sets ugly and evidently unsafe, Antonio Pappano’s conducting wayward
I wish Mary Whitehouse were still among us. In my teenage years, she was an invaluable guide to where the filth could be found on television — though to be frank most of what she disliked was disappointing: hardly titillating, and far from filthy. I suspect that if she were invited back to earth to
Sex is never any good on radio. Think of all those excruciating scenes in The Archers — Sid and Jolene in the shower, or, for those addicts with a good memory, Shula on a picnic rug with that seamy journalist from the Borchester Echo. On radio, without the carefully crafted images of a film-maker and
It’s a good month for the Great War. At the National Theatre this week a new play by Michael Morpurgo tells the story of the war seen through the eyes of a horse. Staged with huge puppet nags, War Horse sounds on paper like the theatrical lovechild of Equus and Birdsong. Up in Bolton, with
For once a major blockbuster exhibition at the Tate justifies its size: the imaginative world of Louise Bourgeois is so potent and all-encompassing that a show of more than 200 works, from small experimental objects to large installations, seems not a fraction too extensive. Bourgeois, born in Paris in 1911, is famous — in this
Paula Rego had a retrospective at Tate Liverpool a decade ago and a big show in her native Portugal, where she is properly regarded as the country’s greatest living artist, but both exhibitions seem niggardly in comparison with the more than 200 works shown in some 14 rooms at the Reina Sofia in Madrid. Even
Theatre: Shadowlands; Cat’s-Paw; Glengarry Glen Ross Repressed Brits are on parade in Shadowlands. Author C.S. Lewis is portrayed as an emotional cripple who can’t bring himself to articulate his love for Joy Gresham, a sassy, super-intelligent American poet. Charles Dance is perfectly cast in the weird role of Lewis. With his stately, ruminative face and
OK, here we have a fantasy film and I absolutely hate fantasy films. They bore me to hell and back, plus what if one day I don’t actually make it back? What if I end up stuck for all eternity in some place where, for example, everyone insists on speaking Elvish and having three-day message-board
It isn’t often that we get the chance to see a semi-opera, of which Purcell and Dryden’s King Arthur is a paradigm. And after seeing a competent production in Bury St Edmunds last week, I can’t say that I regret the infrequency of performances. This one was in the enchanting setting of the Theatre Royal,
Dance: Giselle — on love and other difficulties; Shaker As the blurb at the back of the programme says, it is well known that ‘Dance Umbrella celebrates and champions contemporary dance’. Yet the notion of ‘contemporary’ dance, once an artistically neat classification, has long lost its transparency. The vibrant and provocative combination of diverse performing
Amid all the fuss about cuts at the BBC and how this will affect programme output, I can’t help thinking, why the outrage? For years, there have been dark rumblings among writers that there’s no longer a drama department to nurture young talent and commission new work — the Birtian revolution of the 1990s saw
The thing I want to talk about this week is random and unnecessary tension-generation because it ruins almost every TV programme I watch and, once I’ve explained it, I like to think it will ruin all your TV viewing too. I’ll give you a classic example from Heroes (BBC2, Wednesday), a series to which I’m
In Version 2.0 of George Orwell’s Nineteen Eighty-Four, Winston Smith will have a ‘preferred customer’ gold card for Googlezon, the corporation that results from the merger of the internet giants Google and Amazon. Google has completed its mission to organise all the world’s words, images and sounds and make them easy to find; and, once
Any show that sets out to be definitive encourages brickbats and controversy. When Charles Baudelaire called in 1863 for a painter of modern life, he was seeking the kind of artist who would do justice to the realities of contemporary existence rather than escape them as was the habit of the French Salon painters of
Ever since he burst on the scene in the 1960s Michael Sandle RA has been the rogue elephant of British art. At Ludlow Castle, a perfect venue for work whose subject is war, both metaphorical and actual, his artistic power is irrefutable. This is a superb show. John Powis, who owns the castle, should be
There was a piece in the Telegraph last week claiming that nearly two thirds of people over the age of 50 are happier now than at any previous time in their lives. We know there are lies, damned lies and government surveys, and at first sight this seems to be one of the least persuasive
Dance: Transports Exceptionnels, Compagnie Beau Geste, Jubilee Gardens; Cast No Shadow, Sadler’s Wells Dance-making has come a long way since the days when a duet was the expected climatic bravura piece for principal dancers. Even before modern and post-modern challenges altered the traditional format of the classical pas de deux, 20th-century ballet-makers such as Mikhail
Theatre: Present Laughter, Lyttelton; Moonlight and Magnolias, Tricycle; Dealer’s Choice, Menier Perhaps it was all a joke. In 1939 Noël Coward wrote a play starring a vain, bullying, self-obsessed, misogynistic diva called Garry Essendine. Himself, that is, with his worst faults exaggerated. He duly took the role into the West End and everyone duly loved
Now, listen, and listen good, or I’ll come round and box your ears. Should anyone happen to say to you, ‘Shall we go see The Nanny Diaries tonight?’, you must answer, ‘No.’ There should be no need to embellish this. Just say ‘no’. It’s very simple. Practise it now. No, no, no, no, no. Should