Arts Archives

All over the place

Theatre

Deceptively attractive. Romeo and Juliet tempts directors and leads them on while keeping all its false doors and secret pitfalls out of view. Rupert Goold’s RSC production is two fifths good and three fifths indifferent. A respectable score. This lovely, tricky and rather silly play isn’t the work of a genius but of a jobbing apprentice with a careless, or perhaps ambitious, sense of what could be managed on stage. Goold adds a spot of extra bother here and there, overusing the balcony, bunging Arabic music into the masque ball, and botching the costumes. Spectacular irrelevance seems to be his guiding principle. The street brawls are enlivened by whooshes of flame surging up from beneath the boards like an oil-rig blow-out.

Deborah Ross

The long march

Cinema

Peter Weir’s The Way Back tells the story of a group of escapees from a 1940 Siberian gulag who walked across Siberia, Mongolia, Tibet and the Himalayas to freedom in British India, a journey of 12 months and 4,000 miles, and a journey that will bring into sharp focus the domitability of your own crappy spirit, particularly if you always take the bus two stops up the hill, as I do. Peter Weir’s The Way Back tells the story of a group of escapees from a 1940 Siberian gulag who walked across Siberia, Mongolia, Tibet and the Himalayas to freedom in British India, a journey of 12 months and 4,000 miles, and a journey that will bring into sharp focus the domitability of your own crappy spirit, particularly if you always take the bus two stops up the hill, as I do.

Michael Kennedy

A golden age

Music

Was there a golden age of English music a hundred years ago? From today’s vantage-point there probably was. Was there a golden age of English music a hundred years ago? From today’s vantage-point there probably was. The years 1910 and 1911 still excite the imagination as one contemplates the extraordinary richness of the new works that were being introduced to audiences in London and at festivals at that period. If you believed in the Zeitgeist, the spirit of the age, there was plenty to support you. The spirit was changing — ‘Rarely, rarely comest thou, spirit of delight’ was the ambiguous line by Shelley that Edward Elgar inscribed on the score of his Second Symphony.

Kate Chisholm

Unsung poets

Radio and podcasts

We might actually be glad of the time difference over in Australia this Christmas, so that we can switch on to Aggers and co. and listen in peace long after Aunt Maud has been safely tucked up with her mug of Horlicks and hot-water bottle. The Fourth Test in Melbourne promises to be the best present of the season, cheering up the nation and turning us all into Yes We Can people after decades of No Can Do. Who can remember a time when cricket has been so incredibly exciting, with England’s batters whacking the ball into triple figures, and wickets falling ball-on-ball not to the terrifying speed of the West Indians or the crafty spinning of those turncoat Aussies but to our own Broad, Swann and Anderson? It’s enough to turn me into an ardent member of the Barmy Army.

Simon Hoggart

Top of the pops

Television

The most watched programme on British television this year was the special live edition of EastEnders, broadcast in February to mark the soap’s 25th anniversary. The most watched programme on British television this year was the special live edition of EastEnders, broadcast in February to mark the soap’s 25th anniversary. This was the one — I assume you’re keeping up — in which Bradley Branning plunged to his death and Stacey confessed that she had killed Archie. At the end, some 16.6 million people were watching, which is roughly 28 per cent of the population, still a fraction of the 50 per cent who watched the old Morecambe and Wise show on Christmas Day back in the 1970s. But television is no longer the glue that binds us.

Ursula Buchan

Gardens: Beguiled by olive trees

More from Arts

Fashion may be Folly’s child, but that never stopped gardeners, when the urge was on them, from planting something à la mode. Fashion may be Folly’s child, but that never stopped gardeners, when the urge was on them, from planting something à la mode. That must be why olive trees (Olea europea), natives of the rocky dry soils of the eastern Mediterranean, are now so widely planted in British gardens. Prince Charles has them at Highgrove and they can be seen each year at Chelsea Flower Show so, hey, we all have to grow them, don’t we?

11 December 2010

Andrew Petrie

The road to ruins

More from Arts

Director Patrick Keiller made his name with London (1994) and Robinson in Space (1997), semi-documentaries recounting the peripatetic investigations into ‘the problem of England’ conducted by the unseen narrator and his fellow academic Robinson. The late Paul Scofield’s voiceover, rich in literary reference and understated satire, combined with meticulous shot composition to produce unclassifiable portraits of a country forever in decline from its literary and industrial pre-eminence. In the new film Robinson in Ruins, Vanessa Redgrave assumes Scofield’s role as narrator.

Andrew Lambirth

Exhibitions Round-up: lifting the heart

More from Arts

The run-up to Christmas is the perfect season for an exhibition of Andrew Logan’s joyful and extravagant art. The run-up to Christmas is the perfect season for an exhibition of Andrew Logan’s joyful and extravagant art. At Flowers (82 Kingsland Road, E2, until 31 December) is an installation of glittering sculptures which lightens the spirit and brings a song to the lips. Fashion meets fantasy in Logan’s signature mirror sculptures, his unique blend of resin, glass, fibreglass, paint and glitter. For the past 40 years, Logan (born 1945) has brought colour and light into people’s lives. He was a pioneer of the sensational long before the YBAs toddled into view; revealingly, Sir Norman Rosenthal, chief enabler of the YBAs, is a long-time admirer of Logan.

Deborah Ross

All the lonely people

Cinema

Whereas Sofia Coppola’s directorial breakthrough, Lost in Translation, featured two lonely souls rattling about in a Tokyo hotel, her latest film, Somewhere, features one lonely soul holed up in a Californian hotel, and isn’t half so good. Whereas Sofia Coppola’s directorial breakthrough, Lost in Translation, featured two lonely souls rattling about in a Tokyo hotel, her latest film, Somewhere, features one lonely soul holed up in a Californian hotel, and isn’t half so good. It’s not bad. It’s not hateful. It’s not evil. You won’t want to hunt it down and bring it to trial. But a second film about ennui suffers from ennui itself. And I’m not sure I can buy into the ‘emptiness of celebrity’ shtick any more.

Marcus Berkmann

Bring on the warmth

Music

Cold weather demands warm music. To which end I am delighted that Mojo, the monthly rock magazine for the more gnarled music fan, has chosen as its album of the year Queen of Denmark by John Grant. As we all know to our cost, albums adored by music magazines tend to be more rigorous and admirable than enjoyable, but this one is as warm and welcoming as a hot bath, a cup of mulled wine and an enormous cheque all rolled into one. Mr Grant, who is 41, gay, from Denver and very gloomy, is the former lead singer of a band called The Czars.

Michael Tanner

Gruesome fun

Opera

Having been away, I only got to Alexander Raskatov’s opera A Dog’s Heart at its fifth performance by ENO, by which time everyone knew that it was brilliantly mounted, but not of much musical substance. Having been away, I only got to Alexander Raskatov’s opera A Dog’s Heart at its fifth performance by ENO, by which time everyone knew that it was brilliantly mounted, but not of much musical substance. Actually, you could say the same for most of the new operas that ENO has mounted over the past decade, and from composers much better known than Raskatov. I’d be happy to volunteer a list.

Michael Tanner

Interview: Semyon Bychkov: his own man

Opera

Semyon Bychkov has rather unspectacularly become one of the world’s most sought after conductors, and at present he is in London to conduct a series of performances of Wagner’s now least often staged canonical opera, Tannhäuser, at the Royal Opera House. Semyon Bychkov has rather unspectacularly become one of the world’s most sought after conductors, and at present he is in London to conduct a series of performances of Wagner’s now least often staged canonical opera, Tannhäuser, at the Royal Opera House.

Lloyd Evans

Flawed curiosity

Theatre

His brain clouded with opium fumes, Jean Cocteau wrote Les Parents Terribles in just one week. It opens like a Greek tragedy crossed with a madcap sitcom. The ageing beauty Yvonne prances around her Bohemian apartment pining and weeping for her son, Michael, who has gone missing. When he turns up safe and sound, she throws herself into ecstasies of relief, leads him to the chaise-longue and showers his face and lips with kisses. He then breaks the news that he’s in love with a typist. She reacts like a cobra touched with a cattle prod. Spitting with anger she denounces the ‘lying hussy’, and vows never to let an intruder steal away her happiness and leave her to die neglected and unloved.

Kate Chisholm

Speech impediment

Radio and podcasts

It’s the juxtaposition of ‘u’ on ‘u’ that did for Jim. According to scientific study, a sequence of words with the same vowels in the same place can trip us up, as poor Jim Naughtie discovered on Monday morning. It’s the juxtaposition of ‘u’ on ‘u’ that did for Jim. According to scientific study, a sequence of words with the same vowels in the same place can trip us up, as poor Jim Naughtie discovered on Monday morning. If you missed the classic radio moment, he was trying to announce Jeremy Hunt, the culture minister, just before the eight o’clock news but didn’t quite get his name right, muddling up those initial letters.

James Delingpole

Juggling statistics

Television

I love statistics. Possibly my favourite is the one from Bjorn Lomborg’s The Skeptical Environmentalist: the total number of birds killed in the Exxon Valdez disaster was the same as are killed each day in the US flying into plate-glass windows or the same as are killed in Britain every two days by cats. It’s good because you can use it in so many different ways: to annoy cat lovers; to amaze friends at dinner parties; and above all to bait those tortured souls for whom Exxon Valdez has become the ne plus ultra of the kind of Man Made Eco Armageddon that must never, at all costs, be allowed to happen again. Obviously, we’d all rather those little tweetie birdies didn’t die, but that’s not the point.

5 December 2010

Scott Jordan-Harris

TV: Why I Love … Mastermind

I’m often told I should go on Mastermind. Although this isn’t a compliment (it’s actually a very polite, and very British, way of asking, ‘Can we talk about something else now?’), I still take it as one. Whenever someone mentions to me that I ought to audition for a spot in The Black Chair it tells me that, conversation skills aside, I’m at least on course to be the kind of person I’d like to be. If someone told me I should try out for The Weakest Link or, worse, The National Lottery: In It To Win It, I’d take it either as an insult or a suggestion that I really should engage in some sustained self-improvement.

4 December 2010

Andrew Lambirth

Light relief

Exhibitions

The so-called Glasgow Boys had no manifesto, common background or style, apart from working in and around the city of Glasgow and sharing a belief in the importance of painting from direct observation and experience. They acknowledged the influence of the naturalism practised by the Barbizon and Hague schools in the later 19th century, and rejected narrative in painting and especially the sickly sentimentalism that bedevilled so much Victorian art. They were a loosely associated group of painters, sometimes called the Glasgow School but preferring to be known by the slightly more raffish title of the Glasgow Boys, who banded together principally to exhibit. This ploy worked and they achieved a degree of international recognition.

Niru Ratnam

Come together

Arts feature

Niru Ratnam invites you to join in and take off your trousers in the name of art at the taxpayer’s expense — while you still can In the week before the G20 summit in early 2009, I found myself sitting at a large, round, glass-topped table in the new extension to the Whitechapel Gallery. A large tapestry copy of Picasso’s ‘Guernica’ hung on one of the walls nearby. Around the table were 30-odd people made up of students, random art folk, regulars of the Anarchist Bookshop located in the alley next to the gallery and, somewhat incongruously, the managing director of the Whitechapel Gallery looking dapper, if increasingly confused, in the chair. We had all been invited along to respond to ‘the current political and economic climate’.

George Hull

Broken hearts

More from Arts

In a bleak St Louis tenement, the Wingfields are buckling beneath the Depression and their mother’s old-fashioned aspirations. A framework of fire escapes and raised walkways provides convenient perches from which Tom (Leo Bill) can narrate and look on with foreboding as his lame sister is dressed and groomed for the long awaited ‘gentleman caller’. In a bleak St Louis tenement, the Wingfields are buckling beneath the Depression and their mother’s old-fashioned aspirations. A framework of fire escapes and raised walkways provides convenient perches from which Tom (Leo Bill) can narrate and look on with foreboding as his lame sister is dressed and groomed for the long awaited ‘gentleman caller’.

Deborah Ross

Incredible journey

Cinema

Monsters is a sci-fi alien film and is being promoted as a sci-fi alien film but it’s not really a sci-fi alien film as it’s a love story with a beautiful and unexpected ending. Monsters is a sci-fi alien film and is being promoted as a sci-fi alien film but it’s not really a sci-fi alien film as it’s a love story with a beautiful and unexpected ending. It just happens to be set in the future and happens to feature aliens, and is one of those films that was made for next to nothing — $15,000! — and yet has proved both a critical and box-office success. Fifteen thousand dollars! How is it possible? I spend that in Waitrose and still have nothing to put together as a meal for supper. How is that possible? I don’t know. It’s frightening.

Lloyd Evans

Child abuse

Theatre

Christmas approaches. And kitchens and playrooms across the land resound with the joyous tinkle of little Josephs and Marys rehearsing their roles in the Nativity play. My four-year-old son, making his debut in a farmyard cameo, has just one line, ‘I’m a donkey and I’m very tired,’ which he repeats endlessly to the delight of his beaming dad. So I can only imagine the levels of pride surging through the families of Ciara Southwood and Madison Lygo as they prepared for the lead roles of Mimi and Janey in the Royal Court’s new play Kin, which is set in a girls’ prep school. The homes of these lucky ten-year-old actresses will have echoed with the play’s exquisitely turned dialogue. ‘Lazy shit,’ says Janey.

Damian Thompson

MacMillan’s loyalty

Music

In the first week of September, the Scottish composer James MacMillan sat in the ‘composition hut’ in the backyard of his Glasgow house, finishing the music he’d been commissioned to write for the Pope’s Mass at Westminster Cathedral. In the first week of September, the Scottish composer James MacMillan sat in the ‘composition hut’ in the backyard of his Glasgow house, finishing the music he’d been commissioned to write for the Pope’s Mass at Westminster Cathedral. ‘I’m enjoying it — oh, the triumphalism!’ he wrote on his blog. He wasn’t kidding. Two weeks later, as the small, frail figure of Benedict XVI processed into the cathedral, a fanfare sounded over his head.

Michael Tanner

Magnificent Mozart

Opera

The subtitle of Mozart’s Don Giovanni is ‘Il dissoluto punito’ (the rake punished), that of Rossini’s La Cenerentola is ‘La bontà in trionfo’ (goodness triumphant), while Monteverdi’s L’Incoronazione di Poppea might well be subtitled ‘Vice rewarded’. The subtitle of Mozart’s Don Giovanni is ‘Il dissoluto punito’ (the rake punished), that of Rossini’s La Cenerentola is ‘La bontà in trionfo’ (goodness triumphant), while Monteverdi’s L’Incoronazione di Poppea might well be subtitled ‘Vice rewarded’. They are the three operas that Glyndebourne is taking round the country this year, whether with moralistic intent I don’t know.

Giannandrea Poesio

Playing it safe

More from Arts

Put the life of a legendary music-maker/campaigner in the hands of a controversial choreographer and you’ll possibly end up with some explosive stuff. Put the life of a legendary music-maker/campaigner in the hands of a controversial choreographer and you’ll possibly end up with some explosive stuff. This is what the Broadway producer Stephen Hendel might have had in mind when he asked Bill T. Jones to direct and choreograph a musical about Fela Kuti. But whether or not he saw his dream realised, I am not sure. Fela! hails from Broadway where it has been a long-running sizzling hit. It has great music, an almost endless stream of colourful numbers and an engaging storyline.

Charles Spencer

Box of delights

Music

Sitting on my desk as I write are two objects of wonder and delight. They are a pair of box sets from the Deutsche Grammophon label celebrating the company’s 111 years of existence. An odd anniversary to celebrate, you might think, and I suspect the real reason is that the marketing men somehow forgot the centenary and are catching up late, with the rather lame excuse that the number 111 ‘enjoys a special kudos in musical circles’ because Op. 111 was Beethoven’s last piano sonata. The first box was released last year, and very quickly sold out. By the time I became aware of it, you could only lay your hands on second-hand copies selling for eye-watering prices. It was such a success, however, that DG has recently reissued it, along with a second collection.

Kate Chisholm

Watching and waiting

Radio and podcasts

Phew! We’ve just had a narrow escape, if reports are true that the Today programme has been ‘in talks with’ Katie Price, aka Jordan. Phew! We’ve just had a narrow escape, if reports are true that the Today programme has been ‘in talks with’ Katie Price, aka Jordan. In talks with? Is international-style diplomacy really necessary for Ms Price to be persuaded to accept such an invitation, guest-editing Radio 4’s flagship current-affairs slot one morning between Christmas and New Year?

Simon Hoggart

Street life

Television

It is the 50th anniversary of Coronation Street and there seems to be as much celebration and feasting as there was for the Queen’s own golden jubilee, in 2002. It is the 50th anniversary of Coronation Street and there seems to be as much celebration and feasting as there was for the Queen’s own golden jubilee, in 2002. I have to declare a personal interest here. The inventor of Corrie is Tony Warren, who told my father that his book, The Uses of Literacy, had been one of his inspirations. It had shown working-class life to be as rich and complex as the lives lived by the middle and upper classes. This does not mean that it was in any sense superior, merely that it was as textured and as interesting as anything that happened to people with more money.

27 November 2010

Alasdair Palmer

Rewarding rubbish

Arts feature

If you went on holiday to Italy this year, you may have come back with a plate, a mug or a jug — an item or two of the painted pottery still handmade (at least sometimes) by craftsmen and women, mostly in Umbria, but also in the Marche, and which you can see in the shops in Siena and Florence and in other places in Tuscany. If you went on holiday to Italy this year, you may have come back with a plate, a mug or a jug — an item or two of the painted pottery still handmade (at least sometimes) by craftsmen and women, mostly in Umbria, but also in the Marche, and which you can see in the shops in Siena and Florence and in other places in Tuscany.

Susan Moore

Chinese burn

Arts feature

A kind of madness has taken grip of the art market. It seems that the world’s super-rich have decided that money has no value — or at least that it has a value different from that understood by the rest of us. Just this month, one of Alma Tadema’s fanciful biblical epics was sold for an incredible $36 million (previous auction record $2.8 million), a Modigliani changed hands at $69 million (previous record $31 million), while a now famous porcelain vase made for the Emperor Qianlong, which turned up in a bungalow in Pinner, realised more than £53 million — a world auction record for any Chinese work of art. Of all global art markets, none is more feverish than that of Chinese art.