Culture

Janacek’s The Makropulos Case is a weird and very wonderful opera, but its basic plot isn’t hard to follow. Still, it seems to send directors into a tailspin. One recent production (since revised) had a cast member break character and pull out a flipchart to recap the story so far. Katie Mitchell’s new staging for the Royal Opera takes the more familiar route of updating the action to the present, and it’s always fascinating to see what opera directors think we’ll find relatable. Luxury hotels, recreational heroin use, Tinder hookups with locally sourced hotties: no, me neither. How the other half live, eh? In short, it’s a bit like Mitchell’s 2022 re-imagining of Handel’s Theodora.

Guillermo del Toro’s Frankenstein stars Oscar Isaac (Baron Victor Frankenstein) and Jacob Elordi (‘the creature’) and retells the basics of Mary Shelley’s story – man creates monster, man rejects monster, monster goes off on one – with high-camp sumptuousness. Del Toro’s spin is to include a redemptive arc, plus he throws in some invented characters. ‘The creature’, meanwhile, is portrayed with great sympathy, as a soulful, mistreated innocent. In other words, there’s no Boris Karloff lumbering around in that blazer a size too small with a bolt through the neck. It opens with a Danish expedition-ship stuck in the Arctic ice and the crew rescuing an injured Victor.

The Two Roberts, Robert MacBryde (1913-66) and Robert Colquhoun (1914-62), are figures of a lost British bohemia. Both born in Ayrshire, they met on their first day at the Glasgow School of Art, becoming lifelong partners and painters. Well-connected in louche literary London, their conversational barbs were recorded by Julian Maclaren-Ross, their jig-dancing antics noted by Joan Wyndham, their drunken fights observed by Anthony Cronin – so that one sometimes forgets what sort of art they made. This show, staged in a former municipal building in Lewes, is a reminder. The work is haunted, unbeautiful British neo-romanticism, second cousin to Piper and Sutherland. They established this angsty, angular modernist style in the 1940s.

Readers of this journal will be shocked at the death of Laura Gascoigne, the brilliant chief art critic at 22 Old Queen Street for five years (2020-24), in succession to Martin Gayford. She contributed over 200 articles to The Spectator between 2001 and 2024 that would well deserve being reprinted in a compendium of art criticism. She wrote widely, with care and discrimination, for Apollo, the Tablet, and the Daily Telegraph among other papers. First and foremost, she regarded herself as a writer who loved stories and loved the telling of them, but who also happened to know a lot about art.

The last Yana-speaker in the world died in 1916. When Ishi was born, the Yana were still a small but healthy collection of tribes ranging the Sierra Nevada mountains of California, where they lived off what they could hunt and the salmon they caught in the rivers. But gold had been discovered in California and every year tens of thousands of settlers were arriving to stake out a claim. When Ishi was four years old, there was a massacre of Yana people near what’s now Mill Creek; Ishi’s father was one of the people killed. The last few survivors disappeared into the hills. The white settlers never encountered them again; as far as they knew the Yana had been wiped out.

It is very hard to imagine the University of Oxford ever constructing a modernist building again. This is the significance of the new Schwarzman Centre for the Humanities. In its sheer scale, in its prominence both within the city centre and within the university – the first multi-department, purpose-built structure to open in its history – it is the most important building to be erected in Oxford in half a century and an endstop to an architectural era. One can imagine that its use of a restrained classicism won’t just influence the architectural aesthetics of Oxford but also of other universities within historical cities, both in the UK and internationally. Its impact is all the more profound given its radical – in Oxford terms – proposition.