Arts Archives

We are the mockers, too

Arts feature

Hieronymus Bosch had a distinctive view of our debased humanity, most distinctly expressed in his paintings of Christ’s Passion, says Michael Prodger Carl Jung described the painter Hieronymus Bosch as ‘the master of the monstrous...the discoverer of the unconscious’. He was, however, only half right. While it is true that Bosch has no peers as a conjurer of phantasms and grotesques, he was no proto-psychologist: he was a man of his times. Bosch lived c.1450–1516 so his times were the late Middle Ages and there was no such thing as the unconscious then — there was the Bible. All human behaviour, good or ill, could be ascribed either to God or to the Devil. And, in Bosch’s worldview at least, the Devil was in the ascendant.

Alex Massie

Saturday Morning Country: Flatt and Scruggs

Here are Lester and Earl with the boys and, bless 'em, a lovely little sales pitch to put everyone in the mood for some old time harmony. Since it's Easter this seems like a good time to sing I'm On My Way to Canaan's Land...

Liz Anderson

Me and my spoon

The great divide | 23 April 2011

Music

It seems to me that society can now be divided into three different types of people on principles that have nothing to do with class, wealth or status, and everything to do with one’s ease — or lack of it — with modern technology. It seems to me that society can now be divided into three different types of people on principles that have nothing to do with class, wealth or status, and everything to do with one’s ease — or lack of it — with modern technology. In this arrangement, my parents, who live comfortably in Surrey with two cars in the drive and a delightful garden, would belong to the underclass. They have no computer at home, would have little idea how to use one if they did and even struggle with mobile phones.

Lloyd Evans

Pinter’s self-vandalising

Theatre

Let’s think about it. How did Harold Pinter write his masterpieces? And why are they praised so much more lavishly than the scribbles of his contemporaries? Let’s think about it. How did Harold Pinter write his masterpieces? And why are they praised so much more lavishly than the scribbles of his contemporaries? Moonlight, his 1993 play, has been slickly revived at the Donmar and it opens with a dying pensioner sprawling luxuriously in a double-bed and ranting at his wife. Across stage his sons engage in madcap vaudevillian banter. Other characters wander in and speak fluent nonsense. A girl, who is also a ghost, articulates charming drivel about moonshine and memory. The characters fail to communicate and the dramatist fails to communicate why they fail to communicate.

Michael Tanner

Russian revenge | 23 April 2011

Opera

The Tsar’s Bride is Rimsky-Korsakov’s tenth opera, give or take various versions of some previous ones, but you’d never guess it. The Tsar’s Bride is Rimsky-Korsakov’s tenth opera, give or take various versions of some previous ones, but you’d never guess it. The production at the Royal Opera, which is exemplary in most respects, suggests a fairly talented newcomer to the genre, who isn’t yet in a position to boss his librettist around in the necessary ways. The Overture sets no scene, and is anyway tiresome and undistinguished; there are lots of stereotypical choral scenes; the central set of characters and their motivations sometimes get submerged in superfluous sidelines.

Deborah Ross

Triumph of goodness

Cinema

Two films, this week, because I spoil you — what can I say? It’s in my nature — and not much to choose between them apart from the fact that one is good (Cedar Rapids) and one is so bad (Arthur) that just thinking about it makes me want to weep for myself, for remakes, for film audiences, for the state of cinema today, for humankind and for dogs that are cruelly treated, which is not especially relevant but, if I am weeping anyway, I might as well include them. Two films, this week, because I spoil you — what can I say?

Simon Hoggart

Laid-back fantasy

Television

This is how heavily Game of Thrones (Sky Atlantic, Monday) is being promoted: the preview discs came with a big, wider than A4, stiff-backed glossy book containing pictures of the actors and the settings, plus a glossary and a guide to the programme’s fantasy land — more than any lonely schoolboy in his bedroom could wish for. This is how heavily Game of Thrones (Sky Atlantic, Monday) is being promoted: the preview discs came with a big, wider than A4, stiff-backed glossy book containing pictures of the actors and the settings, plus a glossary and a guide to the programme’s fantasy land — more than any lonely schoolboy in his bedroom could wish for. But this is not just aimed at lonely schoolboys, though I’m sure plenty will watch it.

21 April 2011

Alex Massie

In Praise of Alastair Sim

There is, I confess, little pressing need to post this clip from The Happiest Days of Your Life beyond the fact that a) it is always good to see Alastair Sim in action and b) this thought was triggered by this, entirely unrelated, story* in the Scotsman which quotes the head of Universities Scotland - a chap named Alastair Sim. The Happiest Days of Your Life, you will recall, is a splendid caper during which the exigencies of wartime demand a girls' school be sequestered at a boys' boarding school. Alastair Sim is the much put-upon headmaster and Margaret Rutherford the splendid headmistress. As always, Sim is the real star however.

17 April 2011

Ian Birrell

Spotify Sunday: Shuffle…

Like many music fans, I could spend months pondering a playlist and coming up with dozens of variations. Since I assume I was invited to participate in Spotify Sunday as co-founder of Africa Express, I wondered whether to do an all-African list, but in the end decided to do a random shuffle of a few of my favourite things – much like the madness of an Africa Express show. Je T’aime – Staff Benda Bilili I first came across this band in Kinshasa, when a group of homeless paraplegics were carried on to the stage in a tiny club and left us all totally stunned. A breathtaking moment. Since then they have become global stars with their incredible rumba-driven grooves, overlaid with the virtuoso playing of Roger Landau and his homemade one-string electric lute.

16 April 2011

Andrew Lambirth

Spring round-up

Arts feature

Perhaps to contradict the shocking fade-out of sculpture post-1970 in the Royal Academy’s Modern British Sculpture exhibition, just ended, there are a number of good sculpture shows in the commercial galleries. Perhaps to contradict the shocking fade-out of sculpture post-1970 in the Royal Academy’s Modern British Sculpture exhibition, just ended, there are a number of good sculpture shows in the commercial galleries. A survey at Waddington’s of Bill Woodrow’s witty recycled works from the 1980s ends on 16 April, but over the road is a fine display of recent prints and sculpture by Ivor Abrahams (born 1935), entitled Suburban Encounters (Mayor Gallery, 22a Cork Street, W1, until 28 April).

Ross Clark

Pop up Games

Arts feature

Despite promises, the London Olympics is set to leave us with a legacy of unwanted buildings. We should cut costs and have flatpack movable stadia, says Ross Clark The complex used for the 1908 Olympics became known as White City. For 2012, the challenge is not to create a White Elephant City. While gymnastics can impress and beach volleyball entertain, the Olympic sport that has spectators truly gasping is property development. It has become almost a cliché that each Olympic city be left with a host of monumental venues that were built to sell the host city to the world but that lie empty for years while citizens struggle to pay the bill. Even before the credit crunch, London 2012 was conceived as the Olympic Games that would put an end to the gargantuan waste.

Alex Massie

Saturday Afternoon Country: The Carter Family

It's a beautfiul sunny* afternoon heralding the start of summer and so here, to celebrate that, is Maybelle Carter and the girls with one of their many classics, Wildwood Flower: *Sod's Law dictates it will pour with rain next Saturday since that's when our cricket season begins.

Harry Mount

Royal treasures

Marathon man

Music

It rapidly became inevitable that my annual trip to Fukushima would be cancelled: I was due to go less than a week after the earthquake. No explanations were asked for and none was given. After all, every contract I have ever signed has included a standard clause about force majeure — it is always taken for granted and assumed it will never be invoked — and here suddenly I was presented with the most complete definition of that phrase I could ever expect to encounter. The job in question was to judge the all-Nippon Choral Competition, which I had done for the previous three years. In so doing I had got to know not only the town of Fukushima and its delights, but also the people who run the Symphony Hall there, including the prefect of the province.

Deborah Ross

Tale of the unexpected | 16 April 2011

Cinema

Now, children, are you all sitting comfortably? Good, then I’ll begin. Now, children, are you all sitting comfortably? Good, then I’ll begin. Once upon a time, not so very long ago, the lady who directed the first Twilight film (Catherine Hardwicke) decided it would be a good idea to turn the traditional story of Red Riding Hood into a teen horror/fantasy thriller and no one thought to stop her which, children, is what happens when you already have one box-office hit under your belt. ‘Yes, yes!’ everyone probably said, before offering to park her car. At no point did anyone say, ‘But, Catherine! What lousy ideas you have!’ There is a lesson in here somewhere, children, if only I could think what it was.

Michael Tanner

Short cuts | 16 April 2011

Opera

One of the troubles with opera is that since creating and putting one on involves so many people many composers write as if for eternity, or at least for a sizeable segment of it. It’s been a great boon in recent years that some companies, notably Tête-à-Tête, have encouraged the creation and production of operas-in-progress and of short pieces which enable composers and librettists, and the mainly young performers they recruit, to find out what they might be good at. It’s a great boost for the spirits of the opera-goer to realise that, if he is being bored rigid by a piece, there is only 20 or so minutes of it.

Lloyd Evans

Love joust

Theatre

Throughout his career Clifford Odets was overshadowed by Arthur Miller. Nowadays, his plays tend to be classified on a topsy-turvy scale beginning with the least completely forgotten. One of the lesser forgotten, A Rocket to the Moon, is a flawed, steamy, bourgeois melodrama. At first it seems crammed with gestures that don’t quite gel. The setting, a New York dental practice, seems to symbolise the American dream with the handbrake on. The characters’ names hint at their function. Belle is a flouncing beauty, Mr Prince is jolly rich, Willy Wax is a slippery, priapic seducer. There’s an earnest deadbeat dentist, Ben Stark, whose name vividly evokes the lead in his boots.

Simon Hoggart

Carry on camping | 16 April 2011

Television

Britain’s Next Big Thing (BBC2, Tuesday) is another reality show in which members of the public risk humiliation for the chance of brief success and even briefer fame. Britain’s Next Big Thing (BBC2, Tuesday) is another reality show in which members of the public risk humiliation for the chance of brief success and even briefer fame. It’s Masterchef with craftwork. In the first episode, various people tried to pitch their designs to Liberty, the department store in London that resembles a mock-Tudor country-house hotel. The kind where the rooms have names instead of numbers and there are tortuously worded notices telling you not to steal the dressing-gowns. The chief buyer is Ed Burstell, an American who wears a casually knotted scarf, even indoors. Ed is camp.

Kate Chisholm

Modern miracles

Radio and podcasts

Five clever updates of Old Testament stories filled Radio 3’s late-night speech slot this week and revealed just how difficult it is to make these stories work in a contemporary setting. Five clever updates of Old Testament stories filled Radio 3’s late-night speech slot this week and revealed just how difficult it is to make these stories work in a contemporary setting. Without the cadences of the Authorised Version, the rigour of the language, its powerful rhetoric but also its inflated poetic style, Noah and his ark, or Samson and Delilah, can appear quite ridiculous. How do you make sense of miracles in our enlightened times?

13 April 2011

Kate Maltby

Hell Comes to Dublin

No one can accurately imagine Hell. In Terminus, a magical paean to the art of storytelling, playwright Mark O’Rowe wisely does not try. No one can accurately imagine Hell. In Terminus, a magical paean to the art of storytelling, playwright Mark O’Rowe wisely does not try. The one soul in his universe who does manage to escape the place, finds himself, like Old Hamlet, unable to unfold its horrors to the youthful melancholic he encounters in a run-down corner of Dublin. But Miltonic questions of salvation, punishment and survival are infused through every phrase of the language his characters inhabit.

12 April 2011

Rod Liddle

Politics ahead of plot

Sad to hear of the death of Sidney Lumet, whose films, for the most part, I enjoyed. His most famous – 12 Angry Men – was certainly compelling, claustrophobic and actorly; a little like a very early version of the wonderful Glengarry Glen Ross, in its reliance upon dialogue and nuance. Hardly a surprise that Lumet later worked with the writer and director of Glengarry Glen Ross on his best – rather than most famous – film, The Verdict, a courtroom drama with a who bunch of performances to cherish – Newman, Mason, Milo O Shea.. But the plot of 12 Angry Men was a nonsense, wasn’t it? Quite clearly the defendant did it and should have been fried, no matter how noble Henry Fonda looked and how nasty Lee J Cobb appeared to be.

10 April 2011

Alex Massie

Sunday Afternoon Country: Lefty Frizzell

From an appearance on the Porter Wagoner show way back in the day. You can see why and how Lefty was such an influence on Merle.

9 April 2011

Andrew Lambirth

Personal vision

Exhibitions

At the beginning of Richard Ingrams’s book on John Piper (1903–92), he quotes the artist as saying: ‘The basic and unexplainable thing about my paintings is a feeling for places. At the beginning of Richard Ingrams’s book on John Piper (1903–92), he quotes the artist as saying: ‘The basic and unexplainable thing about my paintings is a feeling for places. Not for “travel”, but just for going somewhere — anywhere, really — and trying to see what hasn’t been seen before.’ It’s a good description of what makes Piper’s best work special and memorable, that feeling not just for identifying the spirit of a place, but for depicting it as never before.

William Cook

Little big man

Arts feature

A museum dedicated to Charlie Chaplin will open soon. William Cook gets a preview and talks to the star’s son Michael about life with a legend Standing in the deserted drawing-room of Charlie Chaplin’s Swiss château, waiting to meet his eldest surviving son, Michael, I remember something Auberon Waugh once said to Naim Attallah. ‘A lot of sons of famous fathers seem to be upset by the circumstance, even destroyed by it,’ said Waugh. ‘But I don’t think they need be. It entirely depends on the personality.’ However, Waugh was merely the son of the best British novelist of the last century. The man I’ve travelled here to meet is the son of the 20th century’s biggest film star — for a while, the most famous man in the world.

Alex Massie

Rickrolling Oregon

Silly but kinda fun too: Ooh for the win, of course. Here's how it went: [A]ssembling the video was about as tricky an undertaking as as one can imagine. First, Smith had to sell his colleagues on the joke--which wasn't as hard as he initially feared. Most of his fellow lawmakers--at the time, the legislature was split evenly, with 30 Democrats and 30 Republicans--knew of Astley's 1987 hit and understood the basic concept of a "Rick Roll," he insists. "I pitched the idea to a few members, and they liked it," he recalls. But Smith--who developed the concept with his wife, a few colleagues and several friends, one of whom is video editor--had a few rules about the joke.

Michael Henderson

Acting up | 9 April 2011

Features

‘We’re asked to console with each tremulous soul who steps out to be loudly applauded. Stars on opening nights weep when they see their names in lights. Though people who act, as a matter of fact, are financially amply rewarded, it seems while pursuing their calling their suffering is simply appalling.’ The mummers couldn’t deceive Noel Coward. The Master knew all their ways, for he lived among them, as dramatist, actor, director and — as we have seen — songwriter. What a shame he’s not still with us, for the furore surrounding the ‘savage cuts’ announced last week by the Arts Council of England might have prompted him to add a few more humorous verses about the vanity of certain thesps. Not all; by no means.

David Blackburn

Underneath the arches | 9 April 2011

Lost in space

Opera

The opening performance of the Royal Opera’s first revival of Fidelio, in the production by Jürgen Flimm which was unwisely imported in 2007, was so dreary that it would be better not to comment on it, except that it seems worth separating the inherently feeble elements from the ones that happened to be present, and which may well have disappeared in later performances. The opening performance of the Royal Opera’s first revival of Fidelio, in the production by Jürgen Flimm which was unwisely imported in 2007, was so dreary that it would be better not to comment on it, except that it seems worth separating the inherently feeble elements from the ones that happened to be present, and which may well have disappeared in later performances.