Culture

Edwina Leapman (born 1934) is an abstract painter and colourist of beguiling subtlety. Her current show at Annely Juda Fine Art (until 25 February) is a mini-retrospective of 30 years’ work, and a celebration of 30 years of exhibiting with the same gallery. (This continuity is to be applauded in an age when artists swap galleries on a whim or because of a better offer.) Ascending to the top floor of number 23 Dering Street, W1, go through to the rear gallery for the beginning of the exhibition and the earliest works. The first painting dates from 1976 and was shown that year by Annely Juda. It’s a large pearlescent canvas of great subtlety, ruled with equally spaced horizontal lines, and painted sparely in white.

Humperdinck’s minor masterpiece Hansel and Gretel is one of those operas that disappears for a time and then comes in waves. I hope that Opera North’s splendid new semi-production of it heralds a fresh wave, because we’ve had a long period without it. It went very well in the grand spaces of Leeds Town Hall, where it has another couple of performances before moving to three other northern destinations. The greatest single cause for pleasure was having the orchestra of Opera North on stage, so that it could be heard to full advantage; I don’t imagine that any other orchestra in the country would have sounded finer.

I can’t remember a Christmas where I watched so little Christmas TV as this one, which is a shame in a way, because I do think that mammoth sessions in front of the box are the key to feeling truly Christmassy. Going to church helps, too, obviously, but it’s never quite enough. The only way you’re ever going to trick your mind into conjuring up an approximation of all those Christmases you think you remember from childhood where cheery robins perched on snowy gateposts, the turkey breasts were never dry and the presents were always as exciting as you’d hoped they’d be is by brainwashing yourself with constant exposure to Christmas specials and Christmas movies and Christmas adverts, all lying sweetly about how Christmas ought to be instead of how boring it is.

The good end-of-year news was that Home Truths on Radio Four (Saturdays) is to be taken off the air in the spring. Unfortunately, it seems likely to be replaced by something similar. The new show, says Mark Damazer, the network controller, ‘will continue to feature the sometimes extraordinary experiences of its listeners’. Damazer explained that the late John Peel’s ‘unique personality’ was bound up with Home Truths and now it was time to look for a different programme. I must say I hated it when Peel presented it and I don’t feel any differently now.

Oh joy, oh bliss, it is Nutcracker season again! Hordes of overdressed and overexcited children invade our theatres, much to the despair of those who know that the kids’ excitement and attention will fade as soon as they realise that neither the Mouse King nor the Sugar Plum Fairy can be incinerated by one of Lord Voldemort’s spells. Indeed, a Harry Potter-esque version of the unsinkable classic could be an appropriate addition to the long series of radical, humorous, gothic and psychoanalytical versions of the 1892 ballet that we have seen in the past years. Yet, London balletomanes will find no such thing, nor any other new Nutcracker in their stockings this year.

Verdi’s Falstaff is an opera which I have usually found it easier to admire than to love, but English Touring Opera’s production, which has been going round the country since October, is exceptionally endearing. I hope that they might keep it in their repertoire — so many of the best things this company has done have disappeared, while I’m sure that many people who have seen them once would be happy to go to a repeat performance a few years later — what happened to their wonderful Fidelio, for instance? Falstaff is probably the biggest challenge to date, demanding the utmost in precision from the performers, while needing never to lack spontaneity and tireless zest.

Take a pile of bilge, add a bucket of drivel, stir in a few dead babies’ heads and you’ve got Coram Boy. The Olivier’s big Christmas production is a version of a kids’ book about abducted orphans in the 18th century. It’s certainly lavish. A huge cast, acres of costumes, enough lights to land the Shuttle, and an orchestra on stage. What for? An orgy of confusion and tedium, a choppy text and a gang of flouncing show-offs striding about the stage delivering ‘Egad, sir’ dialogue and occasionally breaking into a burst of Handel. Coram Boy, beware, is a curriculum text.