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Posts Tagged ‘Ian Hislop’

Contemporary Music

I’ve seen Paul McCartney six or seven times in the last 20 years or so, but his Christmas concert at the O2 Arena topped them all. He played 40 songs spanning 60 years in a three hour set. The visuals were up to their usual standard, the band are as tight as any, the atmosphere was euphoric and Ringo came on the play Get Back! For someone like me, for whom this music is the most important part of the soundtrack of my life, it was pure joy.

Opera / Classical Music

ENO’s La Boheme was lovely, with a superb set of singers – even our Rodolfo sub. was new favourite David Butt Philip. I was surprised I hadn’t seen Jonathan Miller’s production, with a superb design by Isabella Bywater, before. For once, I thought an English translation actually added something, as it brought out humour that’s not usually there.

The LSO kicked off the Bernstein centenary at the Barbican almost exactly one year ago with a wonderful concert version of his musical Wonderful Town under Simon Rattle and ended it this month with Candide which had the same sense of fun and was thrillingly played and sung under Marin Alsop. I’m not sure I would have included dialogue, narration and attempts at staging, but I’ll forgive anything for the glory of the music, played better than I’ve ever heard it.

The LSO’s Half Six Fix at the Barbican is a superb initiative. An hour of music from the next day’s concert with onstage introductions and synchronised programme notes in an app, and this month’s Jazz Roots saw Simon Rattle with Katie & Marielle Labeque give a thrilling programme of works by Stravinsky, Golijov and Bernstein. It’s great to see the brass and woodwind sections centre stage and I absolutely loved it.

Art

When you walk into the first room of the Elmgreen & Dragset exhibition at Whitechapel Gallery you gasp, as you appear to have walked into a disused public swimming pool. This new installation is the centrepiece and is followed by a retrospective of earlier works, mostly subversive sculptures, in a fascinating show.

The British Museum’s poorly titled exhibition I Am Ashurbanipal – King of the world, King of Assyria is absolutely stunning. Though it is mostly made up of items from the museum’s own collection, they are extraordinary, seeing them together is special and the storytelling curation is terrific. It was shamefully empty (I suspect the title doesn’t help) whereas Ian Hislop’s search for dissent in I Object, a personal selection from the museum’s collection, although fitfully interesting but way less significant, is packing them in in the same building.

A disappointing visit to the National Portrait Gallery for Gainsborough Family Album and the Taylor Wessing Portrait Prize. The former isn’t really my thing; I admire the skill but tire of 18th century posed portraits, and the latter didn’t seem to live up to previous years, though there were a handful of gems.

The third historical exhibition gem in two weeks was the British Library’s Anglo-Saxon Kingdoms: Art, Word, War. I learnt so much in two hours, I thought my brain was going to explode. Mostly books and manuscripts, but with a smattering of objects, it brought alive 300 years of English history. How lucky are we to have the Royal Academy, British Museum and British Library making history, geography and culture so thrilling in this way.

One of my mini-tours of private galleries proved very frustrating with Timothy Taylor and Edel Assanti closed during published hours, without any notification of their websites. Thankfully, Blain/Southern had not one, but two terrific exhibitions – Me Somewhere Else, installations and sculpture by Japanese artist Chiharu Shiota, many involving thread resembling spiders webs, and extraordinary, almost gothic drawings by German artist Jonas Burgert.

My mini-tour of East End private galleries was more successful in that they were open when they said they would be, but neither lived up to the 5* Time Out reviews that sent me there. In Carlos / Ishikawa, there was a three-screen film installation by Korakrit Arunanondchai with, for some unknown reason, lasers coming out of an artificial garden to take a 90 degree journey above the screens. At Modern Art, Bojan Sarcevic placed six commercial freezers which were ‘breeding’ frost because of the gallery’s temperature. Um. Somewhat ironically, the Lothar Hempel exhibition upstairs which I didn’t know about was the best of the three!

Film

I don’t usually go to documentaries in the cinema, but made an exception for Three Identical Strangers, which proved to be fascinating and riveting, unfolding like a thriller.

Mary Poppins Returns was a 90-minute film in a 130-minute package which had some great moments, but too many dull ones. The acting was superb, though.

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I’m not sure why it’s taken me so long to catch up with this, but I’m very glad I did so in its last week. Of all the excellent commemorations of the centenary of the First World War, this seems to me the most human and the most personal, a play based on a true story of some extraordinary men, which both entertained and moved me.

Ian Hislop and Nick Newman uncovered the story of a satirical newspaper published in the trenches. Captain Roberts and Lieutenant Pearson, when they are shown a working printer by one of their men, decide to produce something that would raise morale amongst the troops and provide some intellectual stimulation for them. They appear to have got away with it because at least one senior officer saw the potentially positive impact on morale, whilst others saw it as insubordinate, disruptive and potentially mutinous. Its satire targeted the officer class as well as the Germans, the French and the war itself. They managed to produce 23 issues over a two year period, despite moving location and losing the first printer, and news of it got back to blighty.

The story is framed by a post-war scene back in London, but the rest takes place in the trenches and nearby towns in an excellent evocative design by Dora Schweitzer, very well lit by James Smith, with an excellent soundscape by Steve Mayo . There are lots of short scenes, with the changes between them animated by songs of the war. It’s punctuated by comic cameos which pop up behind, and music hall turns stage front. I really liked this combination in Caroline Leslie’s fast-paced staging, which successfully blended the humour, the engaging story of the newspaper and the horrors of life in the trenches. I found myself both laughing out loud and welling up. It’s superbly performed by a cast of ten, three of whom each play three roles, led by James Dutton and George Kemp as Roberts and Pearson.

A very respectful tale of defiance and determination, which brings the story of these extraordinary men the posthumous public attention that is long overdue.

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