Culture

Culture

The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.

Michael Tanner

Unclear Handeling

Opera

ENO has revived Richard Jones’s production of Handel’s Rodelinda. It was warmly greeted on its first outing in 2014, though Jones was, as he remains, inveterately controversial. The opera itself seems to command universal admiration among Handelians, and widespread approval among those of us who have never quite managed to call ourselves that. The most unequivocally positive response I’ve had to it was at Glyndebourne in 1998, where it was produced as if it were an early black-and-white film, and superbly conducted by William Christie. Viewing the DVD has confirmed my warm feelings about it.

26 October 2017

Fraser Nelson

The art of persuasion

Arts feature

It’s hard to admire communist art with an entirely clear conscience. The centenary of the October revolution, which falls this month, marks a national calamity whose casualties are still being counted. When my father-in-law comes to visit, I have to hide my modest collection of Russian propaganda: he grew up under the Soviets and has few fond memories of the experience. He can’t work out why old agitprop is so popular today. But the simple fact is, for all the disaster they wrought, the Bolsheviks did leave a legacy of images so striking that, even now, they can draw thousands into a museum. As Tate Modern is about to demonstrate. Its new exhibition, Red Star Over Russia, showcases one of the greatest collections of Soviet propaganda posters.

Laura Gascoigne

Emotional rescue

Exhibitions

In the 1880s the young Max Klinger made a series of etchings detailing the surreal adventures of a woman’s glove picked up by a stranger at an ice rink. At a certain point the glove washes up, nightmarishly large, beside a sleeping man’s bed on to which a shipwrecked sailor is desperately hauling himself. Storm-tossed billows merge with rumpled pillows in an image simply titled ‘Angste’. Klinger’s nightmare vision came back to haunt me at the exhibition Tracey Emin, ‘My Bed’/JMW Turner. Yes, you read that right. Since its loan to the Tate in 2015, Emin’s most famous oeuvre has been partnered in exhibitions with the work of Francis Bacon at Tate Britain and William Blake at Tate Liverpool.

Richard Bratby

Irish ayes | 26 October 2017

Opera

Luigi Cherubini is the pantomime villain of French romantic music. As head of the Paris Conservatoire in the 1820s he was the embodiment of obsolescence: Berlioz’s Memoirs recount an occasion when some state functionary told the ageing master that he should really write an opera. ‘One can dimly imagine the indignant consternation of the author of Medea, Les deux journées, Lodoïska, Mont Saint-Bernard…’ writes Berlioz with twinkling malice, though most modern operagoers, if they’re honest, won’t be any wiser. The one exception is Medea, which has never quite dropped into obscurity. Fiona Shaw’s new production at the Wexford Festival shakes it brusquely back to life. We’re at a hen party at a day spa.

Louise Levene

Wayne’s world

More from Arts

Ballet would have been an obvious revenue stream for Sadler’s Wells when it reopened back in 1998 but straight-up classics have been few and far between over the past two decades — the Rothbart of the Royal Ballet of Flanders’ Swan Lake wore a live owl on his head. And yet, while the theatre’s programming fights shy of tutus and toe shoes, its fiercely contemporary output can sometimes bridge the notorious gulf that has traditionally divided classical and contemporary audiences. Wayne McGregor has been resident choreographer at the Royal Ballet since 2006 but combines this role — and countless international projects — with his directorship of his own company, whose Autobiography premièred at the Wells earlier this month.

Lloyd Evans

Family planning

Theatre

Beginning starts at the end. A Crouch End party has just finished and the sitting room is a waste tip of punctured beer cans, tortured napkins and crushed nibbles. Wine bottles lie scattered across the carpet like fallen ninepins. Hostess Laura invites her last guest, Danny, for a final glass of Chardonnay. Twitchy conversation ensues. Then she tells him point-blank that she’s fallen in love with him, even though they’ve only just met. He rejects her weird come-ons (‘Kiss me, you lemon’) with evasive hyperactivity. He dashes about the room filling a bin-liner with defunct wine bottles and pulverised cheesy Wotsits. She forces him to sit next to her on the sofa, where he squirms and flips like a beached haddock. What’s wrong with him?

Jasper Rees

Football focus

More from Arts

The early 1970s was football’s brute era of Passchendaele pitches and Stalingrad tactics. The gnarled ruffians of Leeds United — wee hatchet man Billy Bremner, the graceful assassin Johnny Giles, Norman ‘Bites Yer Legs’ Hunter — embodied the age. Not that you’d guess this from the badge on the club’s shirt: the letters LU were styled into a grinning emoji in goofy yellow. In 1973, the club kit (pristine white, which they had changed to a decade earlier to mimic the lordly Real Madrid) was designed by Admiral, the company that dreamed up the wallet-emptying concept of the replica shirt. Admiral went in for hectic piping and busy collars.

James Walton

Amazing Grace

Cinema

In the first scene of this distinctly odd documentary, Grace Jones meets a group of fans, who squeal with delight at the sight of her and nearly pass out with excitement when they hear her speak. And that, I suspect, is the effect which the film confidently expects to have on the rest of us. OK, it seems to be saying, so you’re not going to learn how Jones got from the Jamaican childhood we see her revisiting to the globetrotting life we see her living now. OK, so there’s no structure, sometimes no clue as to where scenes are taking place or who the other people in them might be — and for quite a lot of the time she’s just pottering around not doing very much. But look! It’s Grace Jones!

Norman Lebrecht

Rattle’s hall

More from Arts

Even in a Trump world where reality is what you say it is, the London Symphony Orchestra’s announcement of a new concert hall occupies a bubble of pure fantasy. New York architects Diller Scofidio + Renfro have been awarded a contract for a project that has no funding. Concert hall, what concert hall? The only cash on the table is £2.5 million from the Corporation of the City of London. The hall is hot air. There has been no public consultation, no actuarial study of demographic need, no consideration of best possible sites or size. There is not even a consensus within the classical sector that a new hall is a top priority when audiences consistently fail to fill the Barbican and Royal Festival Hall.

Kate Chisholm

The ties that bound us

Radio

Only Neil MacGregor could do it — take us in a single thread from a blackened copper coin, about the size of a 10p piece, dating from Rome in about 200 AD, to a packed music hall in London during the first world war. In his new 30-part series for Radio 4, Living with the Gods, the former director of the British Museum looks at the ways in which societies come together through shared rituals and beliefs and how these rituals are developed and used to make sense of our place in a universe beyond human comprehension. One side of the coin shows a fire burning within the Temple of Vesta, dedicated to the Roman goddess of fire, and surrounded by the Vestal Virgins, whose job it was to keep the flames alight, to protect the ‘hearth’, or the focus of Rome’s power.

Hugh Pearman

The old ways

More from Arts

I’m sitting across a café table from a young man with a sheaf of drawings that have an archive look to them but are in fact brand new. His Jacob Rees-Mogg attire — well-cut chalk-stripe suit and immaculate tie — sets him apart from the others in the room, who are mostly architects and architectural fellow travellers like me. We don’t dress like that. But George Saumarez Smith is indeed an architect, a very good one. He just happens to be a trad. A traditionalist, mostly a classicist. And now is very much the time of the architectural trads. They have crept up on us. There’s a revival going on, and I’m very happy about that.

Laura Freeman

London calling | 26 October 2017

More from Arts

Madame Monet was bored. Wouldn’t you have been? Exiled to London in the bad, cold winter of 1870–71. In rented rooms above Shaftesbury Avenue, with a three-year-old son in tow, a husband who couldn’t speak English, and no money coming in. Every day roast beef and potatoes and fog, fog, fog choking the city. ‘Brouillardopolis’, French writers called it. Camille Monet had offered to give language lessons, but when she hadn’t a pupil — and Claude hadn’t a commission — she let him paint her, listless on a chaise-longue, book unread on her lap. Her malaise was ‘l’exilité’ — the low, homesick spirits of the French in England.

19 October 2017

Ismene Brown

Seeing the light | 19 October 2017

Arts feature

Dance is an ephemeral art. It keeps few proper records of its products. Reputations are written in rumours and reviews. And by reputation, Kenneth MacMillan was the dark genius of British ballet — its destroyer, if you listen to some. They think this country’s classical ballet reached its pinnacle under the Apollonian hand of Frederick Ashton, before MacMillan stomped in with his working-class neuroses and rape simulations and took ballet down to the psychological underworld. It’s an absurd reduction, since Ashton was quite as screwed up as MacMillan, but the notion persists of the two of them embodying opposite sides of the British ballet coin, order and chaos. Both giants left the Royal Ballet dozens and dozens of ballets, which critics recorded were amazing things.

Martin Gayford

It’s the thought that counts

Exhibitions

During a panel discussion in 1949, Frank Lloyd Wright made an undiplomatic comment about Marcel Duchamp’s celebrated picture of 1912, ‘Nude Descending a Staircase, No. 2’, in the presence of the artist. ‘I am sure he doesn’t himself regard it as a great picture now.’ At this Duchamp bridled, exclaiming in his excellent English, ‘I beg your pardon, sir!’ However, the architect had a point, as the exhibition Dalí/Duchamp at the Royal Academy bears out. I came away from it reflecting that Duchamp wasn’t a very good painter. This is not the point, obviously, that the RA intended to make.

Tom Yarwood

Cruise ship pianists

Notes on...

When Crystal Cruises invited me to join their flagship as the guest classical pianist for a springtime voyage around the Aegean, I had my doubts. Inspecting their website, I anticipated jazz-age glamour, Art Deco-inflected design and gourmet cuisine. But playing Beethoven on a boat? What about the noise, and the movement — not to mention the psychological effect of the environment on my interpretation? How, for instance, would my inner Richter fare in a face-off with my inner Liberace in a venue called the Galaxy Lounge? I have a genetic piano-seeking compulsion, however. I play them wherever I can find them. Could a luxury passenger vessel, I asked myself, really be much worse than a rowdy London pub? A Brazilian jungle lodge?

Jonathan Meades

The Bilbao effect

More from Arts

Twenty years ago I wrote of the otherwise slaveringly praised Guggenheim Museum in Bilbao: I’m in a minority of, apparently, one. It strikes me as a consummate gimmick… a fantastically elaborate and rather wearisome joke. Has mankind spent all these centuries perfecting Euclidean geometry and orthogonal engineering in order to have it overthrown by massively expensive crazy cottages clad in titanium? Apparently mankind has. So much for the building. What of the ‘Bilbao effect’, an epithet that I am accused of having coined (I can’t remember, but it’s inappropriate because there is, typically, no effect).

Rod Liddle

St Vincent: Masseduction

More from Arts

Grade: A The old Tulsa sound was a rather agreeable low-key, shuffling, blues-inflected rockabilly — primarily J.J. Cale and Leon Russell. Which then somehow mutated into the anglophile pop of Dwight Twilley. Here’s the third wave of it — probably the best yet, much though I admire all the aforementioned. A strange lady, St Vincent — in real life plain ol’ gender-fluid Annie Clark from Oklahoma. And this is another rather wonderful album from the woman. She may be this decade’s Prince, for the breadth of vision and the invention and crucial ability to wring melodies out of the dead ground. Here and there the listener must navigate around slabs of generic R&B, such as the tiresome title track.

James Walton

Saints and sinners | 19 October 2017

Television

Any rival reality-TV makers watching Channel 5 on Thursday will, I suspect, have been both mystified and slightly embarrassed at not having thought up Bad Habits, Holy Orders themselves. After all, the concept is a blindingly obvious one. Take five young women whose primary interests are selfies, booze and clubbing and make them live like nuns for a month. And not metaphorically either: the five are staying with the Daughters of Divine Charity at the Convent of the Sacred Heart in Swaffham, where days filled with prayer, reflection, manual work and wholesome play end at a 10 p.m. bedtime.

Richard Bratby

Mad Men – The Opera

Opera

Leonard Bernstein’s Trouble in Tahiti begins not with a prelude, but a jingle. In Matthew Eberhardt’s production a trio of session singers clusters around a studio microphone. A clarinet throws out a slinky riff, the ‘On Air’ light blinks on, and they’re off: a swinging hymn to postwar suburbia, in Andrews Sisters close-harmony. Then we see a scene familiar from a hundred sitcoms and movies: all-American domesticity, 1950s-style. Clean-cut Sam is in his business suit, his prettily dressed wife Dinah fixes breakfast, and Junior scampers about in a cowboy costume. Bernstein establishes his world instantly, and Eberhardt sets it up with a deft touch. This is basically Mad Men — The Opera. So you know the deal.

Lloyd Evans

The bad sex award

Theatre

Simon Stephens gives his plays misleading titles. Nuclear War, Pornography and Punk Rock contained little trace of their advertised ingredients. Heisenberg: The Uncertainty Principle includes no information about the German physicist or his theories. This is a sentimental romcom starring Anne-Marie Duff as a giggling airhead who stalks a grunting Cockney shopkeeper played by Kenneth Cranham. He’s 75 years old and though she’s in her mid-forties she has the skittish desperation of a gold-digging pensioner trying to act the nubile bimbo. Both characters are bored loners adrift in London. And because they’re solidly working class (she’s a receptionist, he’s a butcher), they excite our curiosity as lesser beings far removed from our own social milieu.

Alexandra Coghlan

Salon Strauss

Music

An opera without singers, a Strauss orchestra of just 16, and an early music ensemble playing Mahler: welcome to the Oxford Lieder Festival, where familiar repertoire is getting a reboot this year thanks to some brilliantly ambitious programming. When it comes to classical music, we’re used to living in a bifurcated world. On the one hand, you have the contemporary ensembles: the orchestras, choirs and quartets performing pretty much everything from Mozart onwards. And on the other the early music groups, whose territory is everything that’s left — Bach, Byrd, Hildegard of Bingen. It’s only fairly recently, and thanks to groups such as the Orchestra of the Age of Enlightenment, that this crude, artificial divide has been challenged.

Deborah Ross

Comedy of terrors

Cinema

Armando Iannucci’s The Death of Stalin is nearly two hours of men in bad suits bickering, but if you have to sit through nearly two hours of men in bad suits bickering you would want it to be written (and directed) by Iannucci. So there’s that, but it’s still not up there with his previous film, In the Loop. It’s funny but not as funny, misfires in places, and by the end you are rather thinking: come on, one of you seize power, so we can all just get out of here. On this outing, Iannucci has substituted Whitehall and White House backbiting (The Thick of It, Veep) for Russia in 1953, the sudden death of Stalin, and the fierce scramble to succeed him.

Kate Chisholm

Speed limit | 19 October 2017

Radio

Slow radio is popping up everywhere at the moment — programmes that have no outward form but just meander through the schedule, and often, but not always, are played out live in real time. In spite of their spontaneous feel and free flow these programmes have usually been carefully orchestrated, and that’s part of slow radio’s appeal: crafted to sound like life itself, impressionistic, en plein air, long-running. It’s not to everyone’s taste — too slow, too redolent of nostalgia for a mystical past where there was once time and space to think. Who wants to follow Horatio Clare’s every footfall as he tramps for ten miles along Offa’s Dyke (as happened on Radio 3 in the spring)?

17 October 2017

William Cook

How Sean Hughes (1965-2017) transformed comedy

Not many people can say they’ve transformed an entire art form, but Sean Hughes, who died yesterday, aged 51, did just that. His one man show, A One Night Stand With Sean Hughes, changed our preconceptions of what stand-up comedy should be – not by being strident or political, but by rejecting trite one-liners and letting his imagination run riot. I was lucky enough to see this ground-breaking show on its first run at the Edinburgh Festival in 1990. I’ve never seen anything quite like it, before or since. In the summer of 1990, so-called alternative comedy was all the rage – but though the style of stand-up had shifted, the format had hardly altered. Traditional stand-up consisted of working class men in tuxedoes cracking lame jokes about the mother-in-law.

12 October 2017

Laura Freeman

Cabbages and kings

Arts feature

The first pastry cook Chaïm Soutine painted came out like a collapsed soufflé. The sitter for ‘The Pastry Cook’ (c.1919) was Rémy Zocchetto, a 17-year-old apprentice at the Garetta Hotel in Céret in southern France. He is deflated, lopsided, slouch-shouldered, in a chef’s jacket several sizes too big for him. His hat is askew, his body a scramble of egg-white paint. Soutine painted at least six cooks in their kitchen livery. In their chef’s whites they look like meringues that have not set (‘Pastry Cook of Cagnes’, 1922), îles flottantes that do not float (‘Cook of Cagnes’, c.1924), and, in the case of the ‘Little Pastry Cook’ (c.

Laura Gascoigne

Raw materials

Exhibitions

‘Art by its very essence is of the new… There is only one healthy diet for artistic creation: permanent revolution.’ Jean Dubuffet wrote those words in 1963, and when Jean-Michel Basquiat burst on to the New York art scene 20 years later — barely out of his teens, untrained and black — he seemed to embody them. Together with his friend Al Diaz, he had grabbed attention in the late 1970s with a campaign of cryptic graffiti signed SAMO© targeted on the SoHo gallery district. Born to middle-class Haitian-Puerto Rican parents in the South Bronx, Basquiat didn’t waste time tagging trains. He knew the value of location; his dad was an accountant. Photographs of the graffiti fill a room in the Barbican’s exhibition Basquiat: Boom for Real.