Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Philip Clark

The Renaissance master who rescued polyphonic music

Last month I watched conductor Harry Christophers blow through what sounded like an arthritic harmonica but in fact was a pure-toned pitch pipe, which handed the singers of his vocal group the Sixteen their starting notes. Then the Kyrie from Giovanni Pierluigi da Palestrina’s Missa Regina coeli unfolded inside the resonant splendour of St James’s Church in Mayfair and, 500 years after his birth, I grasped why Palestrina, maestro di cappella of St Peter’s Basilica in Rome from 1551-5, still has the capacity to surprise. Christophers and the Sixteen are celebrating this greatest of the late Renaissance composers in his anniversary year with three concerts promoted by the Wigmore Hall

Sam Kriss

How do you exhibit living deities?

The most-watched TV programme in human history isn’t the Moon landings, and it isn’t M*A*S*H; chances are it’s Ramayan, a magnificently cheesy 1980s adaptation of India’s national epic. The show has a status in India that’s hard to overstate. Something like 80 per cent of the entire population watched its original run; in rural areas entire villages would crowd around a single television hooked up to a car battery. When the show ended, omitting the ‘Uttara Kanda’, the fairly controversial last book of the original poem, street sweepers across the country went on strike, demanding the government fund more episodes. The government caved. But while every country has its pieces

Deborah Ross

Darkly comic samurai spaghetti western: Tornado reviewed

Tornado is a samurai spaghetti western starring Tim Roth, Jack Lowden and Takehiro Hira (among others). Samurai spaghetti westerns aren’t anything new. In fact, we wouldn’t have spaghetti westerns if it weren’t for the samurai genre – Sergio Leone’s Fistful of Dollars (1964) was, as Clint Eastwood conceded, an ‘obvious rip-off’* of Akira Kurosawa’s Yojimbo (1961) – yet this may be the first one set in 1790 and filmed in Scotland. It may also be the first one to feature thick woollens and tweed. That makes it sound twee which it isn’t. It’s a super-bloody revenge story filmed in just 25 days with a running time of 90 minutes. We

Michael Hann

The charm of Robbie Williams

What could it possibly feel like to be a sportsperson who gets the yips? To wake up one morning and be unable to replicate the technical skills that define you. To suddenly find the thing you do well absolutely impossible. Golfers who lose their swing, cricketers whose bowling deserts them, snooker players who can’t sink a pot. Stage fright – something both Robbie Williams and Cat Power have suffered from – is much the same. Williams took seven years off touring last decade because of it, which must have been devastating for someone whose need for validation is so intense that he has made it his brand. Chan Marshall, the

Craig Raine

Why disaffected actors often make excellent playwrights

Actors are easily bored on long runs. Phoebe Waller-Bridge once revealed that she staged distractions in the wings to amuse her colleagues. On the last night of Hay Fever, egged on by another actor, she bent over ‘and showed [her] arsehole’ to the on-stage actors. Nabokov’s plays are seldom performed. But he was alive to middling, mediocre dramatic clichés, fashions long-forgotten, but invaluably preserved in his 1941 lecture ‘The Tragedy of Tragedy’: ‘The next trick, to take the most obvious ones, is the promise of somebody’s arrival. So-and-so is expected. We know that so-and-so will unavoidably come…’ This is the lost convention, the stand-by that Beckett was frustrating in Waiting

Richard Bratby

Summer opera festivals have gone Wagner mad

Another week, another Wagner production at a summer opera festival. This never used to happen. When John Christie launched Glyndebourne in the 1930s, he hoped to stage the Ring. So he gathered a team of refugee musicians from Germany, who quickly assured him that it was impossible and he should stick to Mozart. The man who changed all that was Martin Graham, the plimsoll-wearing founder of Longborough Festival Opera, who died in April at the age of 83. Graham was irrepressible; a self-taught enthusiast. With no one around to tell him it couldn’t be done, he pushed ahead regardless, staging the Ring cycle twice in as many decades. And now

Lloyd Evans Lloyd Evans

Ingenious: the Globe’s Romeo & Juliet reviewed

Cul-de-Sac feels like an ersatz sitcom of a kind that’s increasingly common on the fringe. Audiences are eager to see an unpretentious domestic comedy set in a kitchen or a sitting-room where the characters gossip, argue, fall in love, break up and so on. TV broadcasters can’t produce this sort of vernacular entertainment and they treat audiences as atomised members of racial ghettos or social tribes. And they assume that every viewer is an irascible brat who can’t bear to hear uncensored language without having a tantrum. The result is that TV comedy often feels like appeasement rather than entertainment. Theatre producers are keen to fill the gap, and the

James Walton

Channel 4’s Beth is a sad glimpse into the future of terrestrial TV

On the face of it, Beth seemed that most old-fashioned of TV genres: the single play. In fact, Monday’s programme was the complete version of a three-parter made for YouTube and excitedly announced as Channel 4’s first-ever digital commission. A less excited interpretation, however, might be that it was Channel 4’s first sign of surrender to the hostile forces of streaming now threatening all of Britain’s terrestrial networks. Either way, it was a peculiar watch that, over the course of its 36 minutes, felt less like a fully fledged drama than notes towards one. In a nervous bid to ensure YouTube viewers were gripped before they could search for something

Friday

Max Jeffery Max Jeffery

Max Jeffery, Tanya Gold, Madeline Grant, Matthew Parris and Calvin Po

29 min listen

On this week’s Spectator Out Loud: Max Jeffery tracks down the Cambridge bike bandit (1:10); Tanya Gold says that selling bathwater is an easy way to exploit a sad male fetish (5:38); Madeline Grant examines the decline of period dramas (10:16); a visit to Lyon has Matthew Parris pondering what history doesn’t tell us (15:49); and, Calvin Po visits the new V&A East Storehouse (23:08).  Produced and presented by Patrick Gibbons.

Thursday

Jonathan Meades

The gloriously impure world of Edward Burra

Every few years the shade of Edward Burra is treated to a Major Retrospective. The pattern is long established: Edward who? Forgotten genius, sui generis, well known for being unknown save by beardy centenarians and art tarts with ginny voices. Why have I never heard of this man? LGBT-ish avant la lettre, Polari-ish. After the show inhumation beckons again and he will disappear into an obscurity that cannot be relieved until the curatocracy once more lets loose the dogs of hype. George Melly and Dan Farson are no longer around to peal his name and Jane Stevenson’s impeccable and often funny biography suffers from its subject’s being a forgotten genius,

Deborah Ross

Literate and sensitive romance: Falling Into Place reviewed

Falling Into Place is a love story written by Aylin Tezel, directed by Aylin Tezel, and starring Aylin Tezel. That’s a lot of Aylin Tezel so I was nervous going in. What if it’s too much Aylin Tezel? What if Aylin Tezel and I don’t get along? Who even is Aylin Tezel? But I knew within the first few minutes we were in safe hands and I was set to like this Aylin Tezel. In Falling Into Place she’s created a literate and sensitive romance that is allowed to unfold gently. If it’s ‘high-octane action’ you’re after, then your better bet this week is Ballerina, the John Wick spin-off. This

Hermione Eyre

Why you didn’t want to get on the wrong side of Cecil Beaton

‘Remember, Roy, white flowers are the only chic ones.’ So Cecil Beaton remarked to Roy Strong, possibly as a mild put-down to the young curator. But it was a curious put-down to make because Beaton broke his own rule happily, buying mountainous armfuls of speckled yellow, pink and scarlet carnations at Covent Garden and longing to fill his borders with Korean chrysanthemums and purple salvias. This small exhibition at the Garden Museum enjoys the sweet-pea surface of Beaton’s creations, while giving a flash of the glinting secateur that also made up such an important part of his personality. Beaton’s ability as an image-maker was astounding. Those famous photos of his

Calvin Po

V&A’s new museum is a defiant stand against the vandals

In last week’s Spectator, Richard Morris lamented museum collections languishing in storage, pleading to ‘get these works out’. There’s an alternative solution: bring the public in. V&A East Storehouse, which opened last weekend, was designed by New York architects Diller Scofidio + Renfro to do just that. The museum’s collections were previously holed up in the creaking, late-Victorian Blythe House. The government decided to sell it in 2015, leading the V&A to find a new home in the Olympics’s former Broadcasting Centre in Hackney Wick, a big box since rebadged as Here East, an ‘innovation campus’. The Storehouse’s entrance indeed blends in with the startups and students sharing the building.

Graeme Thomson

Compelling: Little Simz’s Lotus reviewed

It is not uncommon for (predominantly male) music critics to invert the ‘great man/great woman’ dictum in order to suggest that behind the success of every powerful female artist there simply must be a moustache-twirling Svengali pulling the strings. It’s less common for the artist themselves to pose the question. On ‘Lonely’, the penultimate track on her compelling sixth album, London rapper and actor Simbiatu Ajikawo, who performs as Little Simz, interrogates the doubts and insecurities she felt while writing and recording this record. In doing so, she asks: ‘I’m used to making it with [redacted]/ Can I do it without?’ The bleeped-out name is likely that of Dean Cover,

James Delingpole James Delingpole

Excruciating: Sirens reviewed

You had a narrow escape this week. I was about to urge you to watch Sirens, the latest iteration of that fashionable genre Ultra-Rich Lifestyle Porn, currently trending on Netflix. But luckily for you I watched it right to the end and got to witness the whole edifice collapsing like a speeded up version of Miss Havisham’s wedding cake. Normally, this doesn’t happen. Like most critics I have neither the time nor the work ethic to view a TV series in its entirety before putting in my tuppenny-ha’penny’s worth. I just assume that if something starts well or badly it’s going to continue that way. Not Sirens, though. It’s as

Richard Bratby

Thrilling: Garsington’s Queen of Spades reviewed

Tchaikovsky’s The Queen of Spades is one of those operas that under-promises on paper but over-delivers on stage. It’s hard to summarise the plot in a way that makes it sound theatrical, even if you’ve read Pushkin’s novella, and I’ve never found a recording that really hits the spot. And yet, time and again, in the theatre: wham! It goes up like a petrol bomb. With a good production and performers, Tchaikovsky hurls you out at the far end feeling almost hungover – head swimming, and wondering where those three hours went. The cast and staging at Garsington are very, very good. True, you’d expect great things from any production

Sam Leith Sam Leith

Ridiculously enjoyable: Doom – The Dark Ages reviewed

Grade: A In the beginning, there was Doom. The videogame landscape was formless and void. But id Software created a square-headed space marine and several billion two-dimensional demons for him to kill with a shotgun, a chainsaw and a BFG (Big Fracking Gun); and several billion teenage boys saw that it was good, and they called it the First-Person Shooter, and lo, they gave up leaving their bedrooms altogether. The original Doom (1993) really was the genesis of a genre: dark, intense, relentless, addictive. The latest iteration of the game – which plunks our space marine and his demon hordes in a medieval world rather than a space station –

Lloyd Evans Lloyd Evans

Provocative, verbose and humourless: Mrs Warren’s Profession reviewed

George Bernard Shaw’s provocative play Mrs Warren’s Profession examines the moral hypocrisy of the moneyed classes. It opens with a brilliant young graduate, Vivie Warren, boasting about her dazzling achievements as a mathematician at Newnham College, Cambridge. She explains her future plans to a pair of mild-mannered chaps who clearly adore her. Like most of Shaw’s characters, Vivie is hard-nosed, emotionally cold, incapable of speaking concisely and boundlessly self-confident. Quite irritating, in other words. She plans to start a firm with another hyper-brainy female and to make a killing in the London insurance market. This occurs in 1902. Was it normal for two unmarried Edwardian women to enter the world

Thursday

Richard Morris

Museums: open up your vaults!

At any one time eighty per cent of the art owned by Britain’s many museums and public art galleries will find itself hidden away in storage. And once it is, it can stay there for years. Yet in these vaults are a wealth of treasures. It’s why I recently launched ‘Everyone’s Art’, which has a simple premise: to get these works out of the storeroom and into community centres, libraries, churches, village halls and schools, so their makers, and what they made, can finally be celebrated. Consider Henry Bright, a friend of the critic, writer and painter John Ruskin. Ruskin paid for Bright to accompany Turner on many of his

Richard Bratby

Sincere, serious and beautiful: Glyndebourne’s Parsifal reviewed

‘Here time becomes space,’ says Gurnemanz in Act One of Parsifal, and true enough, the end of the new Glyndebourne Parsifal is in its beginning. We don’t know that, at first: the sickbed image that’s glimpsed during the prelude doesn’t resolve itself until the opera’s closing scenes. In between, characters appear on stage in multiple forms, at different ages – past and future selves attendant on the present, whatever ‘present’ means in Monsalvat. Wagner, after all, makes it clear enough that time in the Grail Domain moves in mysterious ways, and his whole musical strategy reinforces that truth. So I can’t get too upset about those multiple personas, even though