Arts Archives

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11 January 2013

Any suggestions for ‘Any Questions’?

I'm doing Radio 4's 'Any Questions?' tonight with Harriet Harman and Simon Hughes. It's a strange news week, in which almost anything could come up. But I wondered if Spectator readers had any ideas, points or questions they think should be put to my fellow guests?

10 January 2013

Will Gore

Sex and sensibility

Arts feature

Being wary of men who wear novelty braces is one of those rules of thumb I’ve always tried to adhere to. So when I’m introduced to Ben Lewin, the writer and director of the lauded new film The Sessions and spy his bright-yellow braces, designed to look like a tape measure, my heart sinks for a moment. Am I, as my instinct suggests, about to be overwhelmed by ‘zaniness’? Thankfully, the answer proves to be no. Lewin, a short, slightly portly man who looks a touch older than his 66 years, is far quieter than his choice of braces suggests. He’s a happy man, too, smiling as he does throughout much of our time together, reminding me of a sitting Buddha. Lewin, who walks with the aid of crutches after suffering from polio as a child, has every right to be content.

Andrew Lambirth

Nexus of opposites

Exhibitions

Francesco Clemente (born Naples 1952) began his rise to prominence in this country with two exhibitions at the Royal Academy — the famous New Spirit in Painting of 1981, when figuration was officially relaunched on London (though for some it had never gone away); and Italian Art in the 20th Century eight years later. A third RA venture was a Clemente solo show in 1991, a touring exhibition entitled Three Worlds, memorable as much for its plethora of exciting and witty images (many in pastel or watercolour), as for the beautiful girls thronging the private view. Clemente has long been a fashion icon; in him popular art and high art meet and mingle.

The Spectator

Books and Arts – 10 January 2013

Olivia Glazebrook

Insomniac’s heaven

More from Arts

If I wake up at too rude an hour to get up — before four o’clock, let’s say — Through the Night is my reward: I switch on the radio and find it to be inhabited not by humans but by music. This six-hour programme, which runs every night on Radio 3 from half-past 12 (on weeknights) or one o’clock (at weekends), is scarcely interrupted by the spoken word. Each piece is introduced with friendly brevity, and then left to speak for itself. No one tries to wake me up, divert or entertain me. My attention must be — and invariably is — engaged by the music alone. At this raw hour, the repertoire can be vivid and entrancing.

Kate Chisholm

All in the mind | 10 January 2013

Radio and podcasts

Radio 4’s Book of the Week sounded so promising, pertinent, perfect for these gloomy first days of January. Maybe listening to it day-by-day could help to banish those demons of despair and disillusion which become so virulent after festive over-indulgence and the onset of the New Year? What better antidote to the dank outside than the positive thoughts and advice of an expert psychoanalyst, you might think. But although Stephen Grosz’s The Examined Life was beautifully read by Peter Marinker — a voice that’s easy on the ear yet always fluent with meaning — it felt empty, without relevance. Grosz promised us solutions to those feelings of being trapped, imprisoned, walled in by life.

James Delingpole

Death watch | 10 January 2013

Television

Some people say TV is a bad thing for families but I say don’t knock it. It was thanks to TV this school holidays that I almost got vaguely, slightly, accepted by Boy. Fathers of young teenage males will know exactly what I’m on about here. There comes a point — quite often bang on your son’s 13th birthday — when he suddenly decides that you’re the lamest, dumbest, uncoolest Dad in the entire history of fatherhood. And you spend many anxious months wondering how on earth you’re ever going to win him back. Well, in my case TV has been the answer.

Lloyd Evans

Decline and fall | 10 January 2013

Theatre

Filmic structures are always tricky on stage. David Mamet, an exception, can get away with writing long chains of scenes that last a couple of minutes each. But the theatre prefers to relax, to snuggle down, to linger slowly over every morsel of a many-layered spread. Encountering a screenplay on stage is like receiving a box of Milk Tray in a restaurant and being told it’s a 32-course meal. David Gooderson’s made-for-TV script concerns an Edwardian sex scandal featuring teenage boys and lauded grandees. Sir Hector MacDonald (aka Fighting Mac) was a crofter’s son who enlisted as an infantryman and reached the rank of major-general during a 20-year career. To rise so high without a private income was pretty rare in Britain’s gentry-loving military.

Deborah Ross

The monotony of Les Misérables

Cinema

Les Misérables is one of the longest-running, most popular stage musicals in history, having been seen by 60 million people in 42 countries — sit on that, Cats! — and although I can’t comment on the live show, as I’ve never seen it, I can tell you this film, which comes in at around 140 hours, boils down to a lot of fuss and singing (of the jaw-straining variety) about a very minor parole offence. I’m telling you, if I’d ever Dreamed a Dream, whether In Time Gone By or In My Local Starbucks, that so many jaws would strain so much for so little, I’d feel completely satisfied, but otherwise? I’m not so sure. Directed by Tom Hooper, with a stellar, A-list cast — sit on that, all other casts!

Marcus Berkmann

Wielding the axe

Music

I’m sure I’m not alone in feeling a bit sorry for Mike Harding. The long-serving host of BBC Radio 2’s ‘folk, roots and acoustic’ show was given the heave-ho last month, and the far-from-underemployed Mark Radcliffe took his place last week. One might ask what Harding had done wrong, and indeed Harding has been asking it repeatedly. He says he was sacked by phone and given no sensible reason for his dismissal. Ah, the freelance life! I have been sacked so many times from so many supposedly cushy numbers that they all meld into one vast megasacking, but as far as I remember, they rarely give a reason, or at least they almost never give the real reason. On one occasion, though, someone did.

John Mole

The Afterlife of Literary Fame

3 January 2013

Andrew Lambirth

Best in show | 3 January 2013

Arts feature

The National Gallery is limiting itself to two major shows a year in the Sainsbury Wing. The spring exhibition is Barocci: Brilliance and Grace (27 February to 19 May), the first major showing of Federico Barocci (1535–1612), who managed to fuse Venetian colour with the sense of drawing and pictorial design favoured in Central Italy. The autumn show is The Portrait in Vienna 1867–1918 (9 October 2013 to 12 January 2014), an examination of the punchy Viennese avant-garde of Klimt, Schiele and Kokoschka. Both sound very promising, and for lighter entertainment, there are smaller shows of Frederic Church’s oil sketches (6 February to 28 April) and Michael Landy’s kinetic sculptures (23 May to 24 November) in the main building.

George Hull

Magical mystery tour | 3 January 2013

More from Arts

Pontius Pilate is deciding the fate of Ha-Notsri (aka Jesus) in Herod’s palace. In Stalin’s Moscow, meanwhile, the Devil (aka Woland) stalks the streets. One man, the Master (aka Mikhail Bulgakov), can reconcile these opposing cosmic forces. But he is languishing in a mental asylum. Bulgakov’s Manichaean acid trip avant la lettre, The Master and Margarita, has been brought to life by Complicite at the Barbican (until 19 January). With spectacular video projections, and making clever use of satellite maps, Simon McBurney’s production whisks us from Moscow to Yalta, back to 1 AD, into the epicentre of the Procurator’s headache, and over into the fifth dimension.

Kate Chisholm

Vision on

Radio and podcasts

Something strange, very strange is going on. Take two sparky young, very young men, watch them launch their media careers a couple of years ago by creating zany videos and putting them up on YouTube. Witness the impish, imaginative duo going viral, followed by millions across the globe. Note that what they’re famous for are the videos, the visual gags; not for music, for sound, for aural wizardry. Who, then, might you expect to snap them up as the next best thing? The head of Sky TV? Or the controller of Radio 1? In this topsy-turvy world, it’s Radio 1 who’ll be hosting Dan and Phil from 13 January onwards, giving them their own Sunday-night request show (produced by Alistair Parrington).

Olivia Glazebrook

What the doctor ordered

Television

I don’t know whose idea it was to put New Year at the beginning of January, but it seems like an odd one. Why not begin each new year on, let’s say, the first of April or May? It might bring at least a dash of new dawn-ishness — a flicker of sunlight, scampering clouds, hello birds and a hey nonny no — to New Year’s Day. There’s no spring in the step of 1 January. She has neither the time nor the inclination for good cheer. She is as tired, headachey and whey-faced as if she had stayed up half the night dancing to ‘Yes Sir, I Can Boogie’ with 31 December and had woken to find him — Oh God! Not again! — snoring in her bed.

Peter Phillips

If the price is right …

Music

The question of who is going to buy EMI Classics took up most of 2012 and seems destined to run well into the new year. Given that the catalogue in question is probably the most extensive ever put together, containing priceless recordings from the earliest days of so many great artists that it would be otiose even to start listing them in this confined space, you might think that here was the sale of the century let alone of the year. In fact, no one seems to want it. The reason for putting such a property up for sale is that Universal, which already owned much of the music industry, last March began negotiations to acquire EMI as well.

Peter Hoskin

Friends reunited | 3 January 2013

Cinema

You know how television is becoming like the movies, more expansive and more expensive? Well, what if the movies were to meet television halfway, becoming smaller and more routine? The result, I’m sure, would be something like Quartet, Dustin Hoffman’s first directorial effort since 1978’s Straight Time. If you ran past this film at speed, you could almost mistake it for an episode of Downton Abbey. It’s set in a country house. Maggie Smith is among its cast members. And it’s borrowed actors from small-screen series such as Gavin and Stacey and The Vicar of Dibley. Just the ticket for a lazy Sunday night in. Except Quartet is not nearly so grand as Downton Abbey.

Lloyd Evans

Wrong, wrong, wrong

Theatre

I wasn’t the only one desperate that Viva Forever! would be a blast. There were hundreds of us eager to leap to our feet and holler through the Spice Girls’ greatest hits as a band of teenage lookalikes led the tribute on stage. Didn’t happen, I’m afraid. The Spice Girls are not in this show. I’ll say that again. The Spice Girls are not in the Spice Girls musical. Jennifer Saunders has penned an arch and scabrous spoof of TV talent contests like Pop Idol and The X Factor. Wrong, wrong, wrong. Even celebrity culture has its epochs and phases, its stratifications and its correct chronology. The Spice Girls date from 1996. Pop Idol didn’t appear till five years later. In slebs-ville, that’s centuries.

Michael Tanner

Dutch treat

Opera

The Flying Dutchman, Wagner’s first masterpiece, has had a rough passage in the UK over the past few decades. I recall a production at the Royal Opera in the mid-1980s which revealed to me for the first time the possibility that an insensitive director can completely destroy a great work, something which is now commonplace. In between there have been further productions, in London and in Wales, which have done nothing to penetrate the work’s grandeur and freshness, so that the idea of a concert performance was even more welcome than usual. Zurich Opera came over for one night to the Royal Festival Hall and can have left no one in doubt as to the stature of Holländer or the quality of the performers, with one minor exception.

Giannandrea Poesio

Bourne again | 3 January 2013

More from Arts

While most theatres brace themselves for the annual invasion of prancing Nutcrackers and flying snowmen, Sadler’s Wells offers something that is mercifully not as sugary. Never-ending love and magic kisses might be at the core of Matthew Bourne’s long-awaited take on Sleeping Beauty — aptly subtitled ‘ A Gothic Romance’ — but there are also bites of the Twilight saga genre, demonic creatures and a fair amount of gender-bending. Odd as it may sound, it all works to absolute perfection, contrary to what some Jurassic highbrows might like to think.

2 January 2013

Steerpike

Down-turn Abbey, the movie

A brief flurry of excitement in Guardian-land over the festive period as the news trickles out about who might be cast in Dreamworks' silver-screen adaptation of the paper's turbulent love-in with Julian Assange and subsequent fall out with the Wikileaks chief. Benedict Cumberbatch will play the reclusive protagonist, but enter stage (liberal) left Dan Stevens, who was last seen with blood pouring out of his ear on Christmas Day after being clumsily written out of Downton Abbey. Last week’s Mail on Sunday reports that he is now in talks to play Guardian deputy editor Ian Katz. Being played by such a high profile star would surely do wonders for Katz's on-going quest for the top job at the paper.

28 December 2012

Laura Gascoigne

New dawn for Newlyn School

Arts feature

‘The street scenes in Newlyn lack nothing of subject for the painter,’ reported the young Frank Richards from the Cornish art colony in 1895; ‘paved with cobblestone, some of the narrow streets are occasionally strewn over with fishheads and entrails, so that one’s progress in going “up” or “down”-along is sometimes considerably facilitated by an alarmingly quick slide to an unexpected destination.’ Thirty-six years earlier, Brunel’s bridge across the Tamar had connected England’s westernmost tip to the railway system, speeding the transport of fish one way and tourists the other. And, as elsewhere in Europe, before the tourists came the plein-air painters.

Andrew Lambirth

Particularity of place

Exhibitions

John Sell Cotman (1782–1842) is a key figure in the great tradition of English watercolour painting. A prominent member of the Norwich School (he was born in the city), he was a landscape painter of genius, who transcended mere topographical record by making paintings of superb abstract design which also evoke the particularity of place. He could suggest space and light and weather with the lightest and broadest of touches, in images that look curiously modern, if not timeless. He earned a living by teaching and travelling, making saleable studies of antiquities, many of which were reproduced as etchings. Between 1810 and 1821 he focused on the architecture of Norfolk and Normandy, and it is from this work that the exhibition is drawn.

Clarissa Tan

Special K

More from Arts

There’s a K-Pop Academy in London. Students go through a 12-week course and learn not only the finer points of PSY-style hip-hop, but also Korean cuisine, fashion, history and traditional music. Not everyone can attend — as with Hogwarts, one must be chosen. Applicants submit an essay to the Korean Cultural Centre and 30 students are picked each term. Once you have been selected, the course is free. I am invited to the Academy’s ‘graduation’ ceremony, where the students — all teenage girls, from all ethnic groups — express their love for all things K-Poppy. They adore Korean dance, Korean soaps, wearing the hanbok or Korean national dress. ‘I can’t believe this is over,’ I later overhear one girl wail to another in the lavatory.

Kate Chisholm

Heart of the matter | 28 December 2012

Radio and podcasts

Looking back can be fatal and is usually ill-advised, inducing a nostalgia that can only blight what lies ahead. Let’s risk it, though, reliving those radio moments of 2012 (avoiding the Jubilee and the Olympics) when words took shape and became visceral. Most memorable (perhaps because most recent) was John Humphrys’s grilling of his boss George Entwistle on the Today programme on Radio 4. The air crackled with pent-up feeling, as Humphrys, like one of Eddie Grundy’s ferrets, went after Entwistle. ‘You should go, shouldn’t you?’ says Humphrys, after we had heard the then DG admit that he hadn’t seen the newspaper story which exposed the flawed Newsnight investigation.

James Delingpole

On the bias

Television

It must be ten years now since I risked life and limb to brave the Cresta Run, go fox hunting and be driven round a racetrack by Lord Brocket in a Ferrari for a Channel 4 documentary on the British Upper Class. In the heady few minutes following its first transmission I thought it would mark the beginning of a glorious TV career. But TV never happened for me and oftentimes since I’ve wondered why. The short and obvious answer is that I’m crap — which may be true, but that never stopped a thousand and one other TV C-listers you could name. What I think it really boils down to is something far more insidious and pernicious: the institutional bias right across the board against almost anyone of a vaguely right-wing persuasion.

Lloyd Evans

Age limit

Theatre

Michael Grandage is homeless. After a near-faultless decade in charge of the Donmar Warehouse, he now reinvents himself as a roving thesp, a buskined vagabond, a theatrical mendicant wandering the byways and the turnpike lanes and ushering his troupe of all-stars into any pen that will accommodate them. It’s a medieval conception. The strolling players. His team of celebrity vagrants has taken a 15-month lease on the Noël Coward theatre where its residency kicks off with Privates on Parade, a 1977 play by Peter Nichols, examining life in an army concert party in Malaya in 1948. In shorthand, it’s the BBC sitcom It Ain’t Half Hot Mum without the spitting bullies and the pouting misfits. Everything is tremendous fun.

Deborah Ross

Trading places | 28 December 2012

Cinema

The trouble with this adaptation of Salman Rushdie’s Booker prize-winning Midnight’s Children, aside from the fact it is a mess and a muddle, is that it goes on and on and on and on. And on. And on. And then, just when you think it has to be over, it goes on some more. If it were up to me, I would charge film-makers for every minute — £1, say; let’s not be greedy — over 90 minutes that I’m kept in the cinema for no good reason. In this instance, as the film comes in at two and a half hours, I think I’m owed £60 (plus VAT and expenses) and I will be invoicing Mr Rushdie directly, as we cannot let him off the hook. Rushdie has no one to blame for this but Rushdie. Rushdie wrote the script. Rushdie is the executive producer.