Culture

Culture

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

Dolts, Doormats and FGM: theatre to make you physically sick

Theatre

Wow. What an experience. A 1991 movie named Dogfight has spawned a romantic musical. We’re in San Francisco in 1963. Eddie is a swaggering, shaven-headed Marine and Rose is a shy, awkward waitress. Come to a party, he says. She refuses, prevaricates, reconsiders, accepts. They reach the venue; he ignores her. Furtive conversations in corners and a pervasive air of mystery suggest that something is up. The party, or ‘Dogfight’, turns out to be a secret Miss Piggy contest in which a bunch of insecure soldiers award a cash prize to the creep who invites the ugliest escort. When Rose learns she’s been tricked, she asks for an explanation. ‘You were disqualified,’ shrugs Eddie. This grisly set-up occupies the first act.

Kate Bush Hammersmith Apollo review: Still crazy after all these years

Music

It says something about Kate Bush’s standing in the music world that, perhaps uniquely in the history of long-awaited live comebacks, nobody has suggested — or possibly even thought — that her motives might be financial. After all, this is a woman who’s stuck to her artistic guns ever since, aged 19, she defied EMI by insisting that her first single should be the abidingly peculiar ‘Wuthering Heights’. So, a famous 35 years after her last stage appearance, how on earth could she live up to such a fiercely idiosyncratic career, now regarded with almost universal awe? Well, at first the answer seemed to be by doing the most unexpected thing of all: serving up a bog-standard rock concert.

The small rewards of small-scale opera

Opera

Perhaps I should come clean straightaway and admit that, despite the fact that OperaUpClose is about to celebrate its fifth birthday, I’d never been to see one of its shows before last week. This has not been a conscious decision; maybe, though, I’d been unconsciously put off by the company’s early braggadocio — by the manner in which it gleefully trumpeted the Violetta-like decline of ‘traditional’ opera so that it could offer itself up as a timely cure.

Like a Prayer

More from Books

The heat in the day-room can put you to sleep there’s a man reciting the days of the week like a prayer he keeps his coat on, but he’s going nowhere the place is a circus of contradictions nurses anonymous as nuns push trays of benedictions in all colours and shapes; on the tongue they taste vaguely of a memory of Christ hung for our sins on a mates rates tree you count the minutes until the redemptive delivery kicks in; the bed’s unmade, it reeks of you the unrisen penis and the unrepentant view of a wall dulled in industrial blue paint you’d want the submissiveness of a consumptive saint to take it in your stride, not to feel the nails go in, the flogged skin crack and peel washing your face in vinegar from the tap, scrying unholy metaphor in the mirror, s.

Citizen Brand

So it turns out the revolution will be televised after all. ‘Brand’, a full length documentary about the comedian turned political activist Russell Brand, is heading our way next year. The multi-millionaire comedian—who is dating a scion of the Goldsmith family—used a recent appearance on Newsnight to call for the overthrow of the state, claiming ‘profit is a filthy word'. It sounds like we are in for a treat: ‘This feature documentary film promises to follow his spiritual and biographical journey from comedian turned film star, and husband of pop star, to his present incarnation, following his realisation that he had, in Russell's own words, "embraced the superficial and doped up times in which we live, only to find it was an empty proposition".

Kate Bush Hammersmith Apollo review: still crazy after all these years

It says something about Kate Bush’s standing in the music world that, perhaps uniquely in the history of long-awaited live comebacks, nobody has suggested — or possibly even thought — that her motives might be financial. After all, this is a woman who’s stuck to her artistic guns ever since, aged 19, she defied EMI by insisting that her first single should be the abidingly peculiar ‘Wuthering Heights’.  So, a famous 35 years after her last stage appearance, how on earth could she live up to such a fiercely idiosyncratic career, now regarded with almost universal awe?

Remember Richard Attenborough for his acting – not his directing

Jurassic Park has a lot to answer for. When I was growing up, I was convinced Richard Attenborough was a real dinosaur scientist. I was also convinced that Richard was David. When I became a bit older and wiser, and grew to realise there could be two Attenboroughs, I came to the conclusion that Richard might just be famous for being David’s brother. My problem with understanding how Richard fitted into the world was that, though he was ubiquitous, it wasn’t entirely clear to me (in the mid 90s) exactly why. Then I saw Brighton Rock... It's a shame his later behind-the-scenes big-shot-ery so overshadowed his prolific earlier acting career. Between 1945 and 1971 he starred in two movies a year.

The Spectator at war: Bayreuth on the eve of war

The Spectator, 22 August 1914: Inter arma silent Musae; but Bayreuth on the eve of the war showed very few signs of the coming cataclysm. It is true that on the presentation of the Austrian ultimatum to Servia a good many Austrian visitors departed, and the Fürsten-galerie was not so crowded towards the end of the first cycle as it was at the performance of Parsifal. The military were more and more in evidence in the streets: knots of officers were seen in animated conversation; groups of people circled round the newspaper offices and other places where bulletins were posted up, and, to judge from the nocturnal voces populi, a good many of the residents of Bayreuth seemed never to go to bed at all.

Cringe at the Fringe: are these really the ten funniest jokes from Edinburgh?

According to a poll, the funniest one-liner at this year’s Edinburgh Fringe was a joke about a vacuum cleaner: ‘I’ve decided to sell my hoover… well, it was just collecting dust’. Tim Vine, the man responsible for this curious bit of word play, said he was surprised to have won the coveted award. Presumably he hadn’t seen the rest of the top ten jokes, which ranged from cliché (‘I wanted to do a show about feminism. But my husband wouldn’t let me’) to stereotyping (‘Scotland had oil, but it’s running out thanks to all that deep frying’) and risky (‘Always leave them wanting more, my uncle used to say to me. Which is why he lost his job in disaster relief’).

The dodgy world of posthumous art works

What does an artist do with work that isn’t quite up to his or her standards? Throw it out? Frank Stella and Robert Rauschenberg both tried that, putting artworks they didn’t like out with the trash, only to find them on sale in galleries a few years later. Some artists preemptively destroy works they don’t like. 'There's enough bad art in the world,' Indiana painter Charles Mundy said. 'I want to spare the public bad art, especially if it's mine.' The solution for most artists is just to keep their misfires in storage, which only postpones a decision.

Alex Salmond has already lost — if the Edinburgh Festival is anything to go by

Arts feature

Scotland’s on a knife-edge. Like all referendum-watchers at the Edinburgh Festival I grabbed a ticket for The Pitiless Storm, a drama about independence, which attracts big crowds every lunchtime at the Assembly Rooms. The play draws its inspiration from the passion and fury of Red Clydeside. David Hayman, an actor and lifelong leftie, plays a Glaswegian trade unionist who reflects on the troubles of Scottish socialism as the referendum approaches. Some of his rhetoric captures the best of the independence movement. ‘We’re not leaving the union, we’re joining the world.’ And he flavours his optimism with a dash of local irony.

Futurism’s escape to the country

Exhibitions

Futurism, with its populist mix of explosive rhetoric (burn all the museums!) and resolutely urban experience and emphasis on speed, was a force to be reckoned with (at least in Italy) for longer than one might imagine. It was launched in Paris in 1909 by Filippo Tommaso Marinetti, poet and performer, a superb propagandist for the movement he effectively founded, and it managed to survive the upheavals of the first world war, continuing into the 1920s. (Some say it lasted until Marinetti’s death in 1944.) Besides the core figures of Boccioni, Carrà, Balla and Severini, there were a number of other artists closely involved in Futurism, one of whom was Gerardo Dottori (1884–1977).

‘Ashtray’ Annie Fischer was a piano giant. Why didn’t more people realise this?

Classical

This year marks the centenary of a pianist whom London orchestral players nicknamed ‘Ashtray Annie’. Only at the keyboard did she have a cigarette out of her mouth. Annie Fischer (1914–1995) was one of those female pianists who, despite their spinsterish appearance, possessed far richer imaginations than splashy male virtuosos. Clara Haskil and Marcelle Meyer also come to mind. Of the three, only Haskil — a physically frail Romanian celebrated for her purity of line — is today given the recognition she deserves: Pope Francis recently named her as his favourite Mozart pianist. Meyer, who as a young woman played for Debussy, had a technique of such refinement that she could liquefy trills and arpeggios without any loss of accuracy.

Anne Seymour Damer: the female Bernini?

More from Arts

Anne Seymour Damer (1748–1828) was virtually the only female sculptor working in Britain during her lifetime. Contemporary artists may have dismissed her as a well-connected dilettante with curiosity value as a woman. But her most important connection was her uncle, Horace Walpole. He warmly praised his niece’s abilities: her terracotta ‘Shock Dog’ of 1780 (see above) he compared to a work by Bernini. On his death, he bequeathed her his country retreat, Strawberry Hill, Twickenham. This house is a fitting venue for Anne Seymour Damer – Sculpture and Society (until 9 November).

Eye-gouging within the first half-hour: the edgy new rules of TV drama

Television

Where is Jessica Hyde? If those words mean nothing to you then I have some excellent news. If not, then you’ll already be aware that I have failed you totally. And not for the first time, either. I was about a series (sorry, ‘season’) late to Game of Thrones; not much quicker into Breaking Bad; and now here I am again belatedly drawing your attention to something we all really should have seen last year if we were to consider ourselves even halfway in the loop... Anyway, for what it’s worth, the show is Utopia (Channel 4, Tuesdays) and I can’t remember when I last saw a British drama series open so strongly.

The Origin of Poetry

Poems

Forgive the figure curled like a question mark in the corner no one speaks his language He tried to read a newspaper and failed, print swimming like tadpoles in a jar At night he speaks to Napoléon of empires and dying horses in the day-room he recalls his wife She comes as ghosted as a footballer’s memoir, her face a jigsaw puzzle he can’t resolve In Occupational Therapy he’s made a basket, a crazy weave to hold his ashes; he doodles poems On toilet paper when no one’s around, the paper splits words sliced and snowing on the pissy tiles.

An innocent graduate of Operation Yewtree, Jim Davidson, dazzles in Edinburgh

Theatre

Let’s start with a nightmare. Wendy Wason, an Edinburgh comedienne, travelled to LA last year accompanied by her husband, who promptly succumbed to a fainting fit. Wason called an ambulance, unaware she was in a hospital car park, and was handed an £8,000 bill to cover the 15-yard trip. By the time her husband had been cured, the invoice had risen fivefold. As comedy Wason’s show (at the Gilded Balloon) is wry, downbeat and hilarious. It also has a Wider Purpose. She believes that US-style healthcare is about to engulf Britain and she wants us to help her save the NHS. Always a dilemma, I find, when stand-ups dabble in politics. Is the comic promoting the cause, or the cause the comic?

In defence of Puccini

Opera

During my opera-going lifetime the most sensational change in the repertoire has, of course, been the immense expansion of the baroque repertoire, with Monteverdi, Rameau and above all Handel being not only revived but also seen now as mainstays in most opera houses. To think that only 50 years ago it was regarded as daring for Glyndebourne to mount L’incoronazione di Poppea, even in Raymond Leppard’s abbreviated and sumptuous version, which has been most unfairly denigrated in recent years. Yet just as remarkable, though hardly ever remarked on, has been the instatement of Puccini (who never needed reviving, since after initial scandals and flops he has always been more or less responsible for opera houses sometimes being in the black).

80 sq yds per gallon

More from Books

Nothing brings him to the door quite as surely as Silexine Watertight, the complete waterproofer. One Imperial Quart. Opened this morning to seal a stump, it scents my hands beyond washing. No warning on the tin, no list of toxins, just a metal lid scummed with rust. Eleven and thruppence. My father walks into his garage and puts it away on the back of the bench, next to the spare.

I’d like to share my favourite violent pop video with you

This week has seen the Prime Minister playing Mary Whitehouse again. On Monday he announced that, as of October, music videos on sites like YouTube and Vevo are to carry age classifications similar to those already in place for feature films. You can read the subtext on his ‘deeply concerned’ brow: 'if this is what it takes to get a majority…' In principle, it’s hard to object too much. CDs (if anyone still buys them) carry parental guidance stickers, and a lot of comic books have a ratings system. Video games and DVDs follow the same British film classification board traffic-light system as cinema releases. Unless you take particular issue with any of this, you can’t really do much but shrug. But then you clock how ineffectual the whole thing is.

Roland Barthes was a fan of Sister Sledge – and I can see why

Disco, the tackiest of music subcultures, is the nostalgia choice de nos jours. The sudden revival is a sort of pop gentrification. You want proof? They play Baccara’s 'Yes Sir, I Can Boogie' in Pret A Manger. Sister Sledge, too. Sledge were never the naffest of the movement’s megastars, but that’s not saying much. Roland Barthes was a fan, whatever that implies. 'How many people do you think are here as an ironic statement?' a friend asked as we stood in Camden’s Jazz Cafe waiting for the Sledge to take the stage. It was a good question. Who actually comes to a disco revival gig? And can such a thing exist outside of inverted commas? The first answer was: hipsters, Peter Stringfellow lookalikes and - wow - normal people.

My addiction to the bullet train

Arts feature

In 1963, Dr Richard Beeching, an ICI director with a PhD in physics, a qualification that clearly boondoggled his credulous political patrons, published a government report called ‘The Reshaping of British Railways’. It identified 8,000km of painstakingly created track for closure. At the time, road transport seemed just the thing. Lorries? Bring them on! Commuting by car? What could possibly be the objection? Beeching was a tragic case-study in mandarin myopia. It was not so much that he did not hit the target. He couldn’t even see it. The year after Beeching, Japan inaugurated its Shinkansen, the world’s greatest high-speed railway. The year after the Shinkansen, work began in Bristol on the prototype Concorde.

How Richard Wilson made Wales beautiful

Exhibitions

‘I recollect nothing so much as a solemn — bright — warm — fresh landscape by Wilson, which swims in my brain like a delicious dream,’ wrote Constable of his encounter with the Welsh artist’s ‘Tabley House, Cheshire’ after he visited the gallery of that house owned by Sir John Leicester. Recalling this epiphany, Constable went on to say of Richard Wilson: ‘He was one of the great appointments to shew to the world what exists in nature but which was not known till his time.

Ballet’s super couple should stick to the classical repertoire

More from Arts

Last week, the feast of long-awaited dance events on offer echoed bygone days when London life was dominated by the strategically engineered appearances of rival ballet stars at the same time in different venues. At the London Coliseum, Solo for Two featured one of ballet’s super-duper couples, Natalia Osipova and Ivan Vasiliev. As Osipova told me in a recent interview, their aim was to tackle choreographic modes outside their standard repertoire. Alas, bravery and bravura do not always go together. The classically trained Mikhail Baryshnikov and, more recently, Sylvie Guillem have made successful forays into modern and postmodern dance, but they were very much the exception. Let’s not forget what happened when Nureyev tried to dance Graham.

Strauss and Hofmannsthal deserve better from the Salzburg Festival

Opera

The Salzburg Festival’s reputation might largely be one of cultural conservatism, but it made an impressive commitment to new works when it announced in 2011 that it had commissioned four operas, to be unveiled at the rate of one a year between 2013 and 2016. The first was to have been by György Kurtág, but he failed to deliver on time. And it sounds as though the French composer Marc-André Dalbavie might also have given the Salzburg management a bit of a scare. His Charlotte Salomon made it to the stage on time for this year, but there had been substantial reworking of the piece’s Epilogue by Dalbavie and his director, Luc Bondy, right up until the start of rehearsals.