Series two of Spanish drama Locked Up has arrived on Channel 4. A sugar-free simulacrum of Orange Is the New Black, the first series spent 16 episodes embroiling viewers in its fraught tale of a falsely incarcerated innocent sucked into the violent, morally compromising and sexuaRead More »
Betroffenheit is an overwhelming theatrical experience, a stark exploration of grief and addiction. Created by Crystal Pite and Jonathon Young, this dance-theatre hybrid is raw, funny and profoundly, tenderly human. Young wrote and stars in the production, directed and choreographed by Pite.
“There is something timeless, terrifying and marvellous about Carousel,” observes Ethan Mordden in his fine programme note for Lonny Price's rather ravishing semi-staged revival of this Rodgers and Hammerstein classic – a show that kicks off the third season of musicals co-produced by English National Opera and the GradeLinnit company. Aficionados of the form tend to agree with Rodgers that nothing surpasses this score, premiered in 1945, in the R&H canon for sheer beauty. There is controversy, though, in Hammerstein's book, which gives a New England setting to the dark saturnine Hungarian play Liliom, whose protagonist, a fairground barker, beats his wife, dies in a failed robbery, burns in hell for 16 years and then screws up his one chance of salvation when granted a day back on earth.
Head to the capital for a cracking Easter bank holiday, with plenty of free events for the whole family to enjoy.
The two champagne-flute-chiming couples at the centre of Nina Raione’s new play Consent are high-flying lawyers who would be happier trying to converse in one of the African clicking languages than doff their mock-jaded irony around even the most basic human watersheds, such as wetting a new baby's head.
In Diamonds, Marianela Nuñez has a glow that goes beyond glitter. Fifty years old this year, Jewels was designed as a company showcase for Balanchine's own New York City Ballet: three contrasting ballets, with plenty of solo roles and chances to shine. Rubies, to jazzy Stravinsky, is all New York pizazz, while Diamonds looks back to Tchaikovsky and the imperial classicism of St Petersburg, where the choreographer trained before coming to the west.
Pina Bausch’s Le Sacre du printemps (The Rite of Spring) is terrifying. It’s a coup for English National Ballet to acquire this production, another sign of artistic director Tamara Rojo’s ambitions for the company. Created in 1975 for Bausch’s own dancers, this Sacre has been danced by only one other ballet company, the Paris Opéra.
Vladimir Lenin’s four metre high index finger dominates the entrance hall of Imagine Moscow. Moscow’s authorities got as far as dynamiting the city’s Cathedral of Christ the Saviour to make room for the Palace, but the plan was wisely abandoned in 1941 so the steel earmarked for it could be used to fight the Nazis. Imagine Moscow dusts off the designs and architecture of the early Soviet Union, the most radical of which only ever existed on paper.
A museum in northern Italy has unveiled an oil painting by Adolf Hitler as part of an exhibition exploring the link between art and madness. The deceased dictator’s work has been described as a “piece of s***” by the acerbic art critic Vittorio Sgarbi, who curated the exhibition at Museo Di Salo in Lombardy. Hitler’s oil painting, which is on loan from a private German collector, has never been exhibited before.
Few books inspire such breathless fandom as Elena Ferrante’s. Her four "Neapolitan Novels" have proved huge international hits, with over 5.5 million copies sold in over 50 countries. Can they really be brought to life, or do such characters belong safely inside our heads? "Ferrante fever", as this publishing sensation has been dubbed, is most likely to strike among women.
“One must be constantly looking for opportunities to tell one’s story,” explains Hans Vollman, one of the restless spirits who’s responsible for much of the narration of Lincoln in the Bardo, a book that’s marked by an author who’s not only found an inventive way to tell his story, but has managed to weave something truly strange and enchanting in the process. Two days earlier, eleven-year-old Willie Lincoln, beloved son of the President of the United States Abraham Lincoln, died from typhoid fever, and now he’s been interred in a marble crypt in Georgetown cemetery. As his wife Mary remains at the White House, insensible with sorrow, sedated by doctors, Lincoln, weighed down by grief, visits his son’s body in its final resting place.
On the night of the US Presidential Election, Shelly Bond had just returned from a comics convention in the UK to her home in Los Angeles. The news that Donald Trump had beaten Hillary Clinton to the White House gradually permeated her jet-lagged doze. The next night Bond was at LA’s El Rey Theatre to watch a solo performance by Moloko frontwoman Roisin Murphy.
The subject of this exhibition could scarcely be more fashionable if it tried. It's all about gender-slipperiness, the mass appeal of androgyny, that wish we all have to slip off a mask – or put one on. Or having slipped one off with such seductive adroitness, to surprise our friends by revealing that there is yet another mask behind the first one. What fun! If only Bowie had not absented himself so shockingly abruptly.
An insightful, intriguing and comprehensive look at the extensive history of album artwork arrives in the form of Art Record Covers [Taschen]. In its introduction, author Francesco Spampinato – who is currently completing a PhD at the Sorbonne Nouvelle in Paris – explains how records are an opportunity to remove some of the sacredness from contemporary art and can be viewed as the artist’s way of escaping the constraints that are imposed by the art world. It examines a staggering array of covers by famous artists – from Banksy's graffiti for Blur, Damien Hirst’s skull for The Hours, Warhol’s Velvet Underground banana and the Dali butterfly on Jacke Gleason’s Lonesome Echo.
Alex MacKeith’s debut play epitomises failing schools, 65-plus-hour working weeks, academisation, exams, a lack of money and shifting blame with a painfully realistic 90 minute long thought provoking and insightful take on a struggling south London primary school. The small theatre of Southwark playhouse becomes a corner of the head teacher's office, with drab walls and white boards covered with plans, rotas and schedules. Inside head teacher Jo (Ann Ogbomo)’s office, we learn the monotonous demands staff face daily, including permission slips and trip fees for the Year Six trip to the Natural History Museum, difficult parents, council visits and personal problems – in Jo’s case the beginnings of a divorce - which are shown through the almost robotic exchanged between head teacher and her sweet and earnest wanna-be teacher Lara (Fola Evans-Akinbola), currently working as a secretary in her former school with the hope of applying for a PGCE.
Moving through an exhibition stuffed with 14 rooms of the photographs of Wolfgang Tillmans is a bit like eavesdropping on someone wondering about life as it passes by. The mood changes all the time, from the casual to the formal, as does the hang itself and the size of the image, from post-card tiny to full-screen cinematic. He pins to the wall, he tapes, he frames. There’s no chronology to speak of, merely thematic clusterings.
Certainly, it’s hard to credit the fact that the painter Vanessa Bell – sister of Virginia Woolf - has never had a major solo show till now. The singer and poet has long loved Charleston, the Sussex farmhouse where Bell lived from 1916 with her sometime lover, artist Duncan Grant, and which they spectacularly decorated, painting almost every available surface. Legacy, a small exhibition of Smith’s photographs displayed alongside Bell’s own, accompanies the show of her paintings, and draws these two seemingly unlikely women together.
Returning to work after the festive period is always tough – especially when you feel you have nothing to look forward to. Fear not for there are plenty of releases and events to whet your appetite this year. From award-winning musicals to much-anticipated exhibitions, there’s something for every month. Get booking. 7 hair and beauty trends to look out for in 2017 The Pinterest 100: What we’ll all be eating in 201
There’s nothing more relaxing than reading a book with a glass of wine (perhaps throw a warm bath in there as well). Brand and product design agency Reverse Innovations and winery Matteo Correggia have teamed up to create Librottiglia, a line of wines that provides you with a short story to read as you drink.
If watching Dirty Dancing makes you want to get up off your feet, but you have no idea what to do with them, dance classes can be a brilliant way of learning some moves. This one’s perfect if you have a stressful, mile-a-minute lifestyle.
People in fashion do aesthetics best of course, so it’s not wonder they make books to ogle at endlessly. Whether you want a career in fashion or just love it, these are the fashion books you need in your life.