Marcel Duchamp and Salvador Dalí: two titans of modern art who might appear to have little in common. One is the father of conceptual art, who turned his back on the commercialisation of that world in favour of playing chess; the other is famous as a painter – and just as famous for embracing fame, a dandyish personality who knew how to sell himself. Continue reading “Dali and Duchamp: these mischievous mavericks shaped the 21st century”
I reviewed W. Sydney Robinson’s biography of Ronald Harwood for the TLS – take a look here.
I did an interview with Denise Gough, about taking People Places and Things and Angels in America, for The New York Times. Link to full profile here.
I interviewed Sir Nicholas Hytner for a piece for the New York Times on the opening of his new Bridge Theatre, Young Marx, and why new writing needn’t be worthy. See the full piece here.
“I’m mad as hell, and I’m not going to take this anymore”: the rallying cry from Paddy Chayefsky’s 1976 film about Howard Beale, a news anchor who loses it on-air, has become a much-quoted meme, as the film seems only more prophetic with each passing year. Continue reading “Review: Network, National Theatre”
She is known as ‘the most painted woman in the world’: around 225 artists have captured the captivating likeness of Suzy Solidor, including Tamara de Lempicka, Jean Cocteau, Francis Bacon, Man Ray and Francis Picabia. A French cabaret star, she was a major mainstream recording artist in the 1930s – even though she sang really rather explicit songs of lesbian desire. Today, however, the chanteuse is hardly a familiar face. Continue reading “The ‘most painted woman in the world’”
So this is what happens when the manic pixie dream girl grows up: she’s just as annoying as she ever was. Continue reading “Review: Heisenberg, Wyndham’s”
It’s a welcome return for David Greig’s family musical version of Dr Seuss’ The Lorax. First seen in 2015, it’s back at the Old Vic, before touring North America. Continue reading “Review: The Lorax, Old Vic”
Why was the red rose chosen by Labour as its new symbol during rebranding in the Nineties? “Because it looks pretty but is full of pricks,” quips party faithful Jean, in a play that sugars its analysis of the internal struggles of the Labour Party with an extremely high gag rate. Continue reading “Review: Labour of Love, Noel Coward Theatre”