I went to the first public night and came away feeling that it was a pretty complicated production of a rather unsatisfactory and obvious play. Complicated in the sense that it seemed to have a large cast and tons of action - but all this seemed to give for my simple mind was that the Met is a world of compromises and fudges in which the lofty principles of an individual easily get subsumed by the norms of the force.
Basically, Wildfire is the nickname for Gail Wilde, a policewoman posted into the Met who starts out rather innocent but quickly becomes corrupted by the tired cynicism of her male colleagues. A key figure in the play is a distinctly untrustworthy 'grass' that leads to her downfall and that of her boss. Early in the play the team are trying to get an abused woman to lay a charge on her partner. Wildfire's colleague who uses the grass gets killed and in trying to identify the killer she betrays to the grass the fact of an impending raid that would have clinched her boss's promotion. She later confesses to this betrayal. Meanwhile, her commitment to her job is mirrored by the backseat given to her husband and daughter, with predictable consequences.
In the final scene, another new squeaky clean officer arrives - a Gail as she was but it is unclear if the audience is meant to think 'here we go again' or what.
Whilst entertaining enough to sit through, I really did not get that much out of the play, an opinion I found shared by some professional reviewers.
Sunday, 16 November 2014
5 November 2014. Germany at the British Museum.
A very interesting and informative exhibition, covering the break up of the Holy Roman Empire up to the fall of the wall.
Assembled by the BM's Director and Germanphile, Neil MacGregor, my only complaint would be that at times the mainly chronological presentation became thematic and it was somewhat easy to get lost.
Aside from the handholding on the history of the pulsing of the German borders, for example to include/exclude Northern Poland, I will remember the exhibition for individual pieces such as:
The amazing clock - like a domestic version of that in the Prague Square
The handcart used by migrating Germans at the end of WW2
The Richter painting of his daughter
The hyperinflation banknotes
Nazi party propaganda
All in all, for those ignorant of German history, such as myself, this was an excellent opportunity to acquire at least a veneer of knowledge.
Assembled by the BM's Director and Germanphile, Neil MacGregor, my only complaint would be that at times the mainly chronological presentation became thematic and it was somewhat easy to get lost.
Aside from the handholding on the history of the pulsing of the German borders, for example to include/exclude Northern Poland, I will remember the exhibition for individual pieces such as:
The amazing clock - like a domestic version of that in the Prague Square
The handcart used by migrating Germans at the end of WW2
The Richter painting of his daughter
The hyperinflation banknotes
Nazi party propaganda
All in all, for those ignorant of German history, such as myself, this was an excellent opportunity to acquire at least a veneer of knowledge.
3 November 2014. Moroni at the Royal Academy
For me, this exhibition suffered by contrast to the Rembrandt just down the road. Moroni's works just did not hit me quite as hard.
He is said to be one of the 16th century greats, passed by because of his location in Counter-reformation Milan. However, it was really just The Tailor from the National Gallery's collection that stood out for me.
He is said to be one of the 16th century greats, passed by because of his location in Counter-reformation Milan. However, it was really just The Tailor from the National Gallery's collection that stood out for me.
3 November 2014. Ming: 50 years that changed China at the British Museum
I went to the exhibition, preceded by an introductory talk. The talked was packed out and I was accommodated in an almost packed overflow room. Clearly people had an appetite for this 'blockbuster'. However, I never found myself grabbed by the exhibition that focused on the years 1400 to 1450. Maybe it was just too crowded but I found myself trooping past the exhibits rather than stopping to learn a great deal. I guess that's because the objects themselves were simply not to my taste or preoccupation and I entirely accept that the exhibition itself was no doubt excellent.
Monday, 3 November 2014
30 October 2014. The Cherry Orchard at the Young Vic
A new translation by Simon Stephens resulted in a no interval reduced version of this classic. I thought it worked well but somehow lacked the richness one might have expected of a classic. Maybe something went missing in the reduction. Nonetheless the tale of the stubborn resistance to even well-intentioned new money by the down at heal aristocrats was well-conveyed and the set intoned the oppressive parochialism of the old house in the country. It reminded me of some of the characters in the Kentish village where I grew up. Most tantalising to me was the refusal to consider a rexcue plan that would involve the cutting down of the treasured orchard in favour of a non-rescue plan that had the same result. The implication that it is harder to live amongst one's compromises than to be exiled from them perhaps attests to the mind's ability to move on if the body has done likewise.
The ending of this particular production did not quite work for me. Firs shuffling around the locked up house seemed in this production to have been all but murdered by Yasha, the duplicitous love them and leave them manservant of the mistress of the house.
The ending of this particular production did not quite work for me. Firs shuffling around the locked up house seemed in this production to have been all but murdered by Yasha, the duplicitous love them and leave them manservant of the mistress of the house.
28 October 2014. Four minutes twelve seconds at Hampstead Downstairs.
This excellent and topical play at Hampstead was all about Jack, who never appears in it. He is a teenager who has uploaded a video of him forcing himself on his girlfriend, Cara. He was destined for great things with good grades leading to university and career. The girl, on the other hand, is a bit more of an average achiever - A Croydon harpie, as one commentator describes her..
The cleverness of the play is in watching Di and David, the parents, in their different responses to this event which is like a wedge between them. They consult one of their son's friends and gradually it dawns on them that he is the rapist that he has been accused of being.
The cleverness of the play is in watching Di and David, the parents, in their different responses to this event which is like a wedge between them. They consult one of their son's friends and gradually it dawns on them that he is the rapist that he has been accused of being.
24 October 2014. Rembrandt at the National Gallery.
This is an amazing collection of late works. I revisited it at least five times - which was made particularly easy by having taken out a membership of the Gallery.
The first and perhaps most haunting room was a small etching self portrait together with four oils. The ageing face of the artist looking out from various walls creating an overall most sobering and poignant effect. The next room had a further self portrait (from Kenwood), as well as the first of two portraits of Lucretia and the striking Conspiracy of the Batavians. Through into the next room was the most incredible sketch of a lion that looked almost contemporary. Then, we had the large portrait of the Amsterdam Drapers' Guild (The Syndics) as well as the pair of portraits of Jacob Trip and his wife - two sobre figures. The latter was the first of several portraits of woman of a certain age, marked out by their determined but in some cases warm expressions. One such was the Old Woman reading, in the next room. This also contained a magnificent portrait of the artist's son, Titus, lost in day-dreaming thought at his desk. The provocative composition had him coming out of the picture frame to join us. This room also contained the well known Jewish Bride. The final two rooms contained a further portrait of Titus as well as the second one of Lucretia and Jacob Blessing the Sons of Joseph.
Really each of the works was incredible - marked out by a simplicity and dignity. The only picture in the whole exhibition that I didn't care for was that of Frederik Rihel on Horseback.
It was a shame when the exhibition closed. These works had become like old friends!
The first and perhaps most haunting room was a small etching self portrait together with four oils. The ageing face of the artist looking out from various walls creating an overall most sobering and poignant effect. The next room had a further self portrait (from Kenwood), as well as the first of two portraits of Lucretia and the striking Conspiracy of the Batavians. Through into the next room was the most incredible sketch of a lion that looked almost contemporary. Then, we had the large portrait of the Amsterdam Drapers' Guild (The Syndics) as well as the pair of portraits of Jacob Trip and his wife - two sobre figures. The latter was the first of several portraits of woman of a certain age, marked out by their determined but in some cases warm expressions. One such was the Old Woman reading, in the next room. This also contained a magnificent portrait of the artist's son, Titus, lost in day-dreaming thought at his desk. The provocative composition had him coming out of the picture frame to join us. This room also contained the well known Jewish Bride. The final two rooms contained a further portrait of Titus as well as the second one of Lucretia and Jacob Blessing the Sons of Joseph.
Really each of the works was incredible - marked out by a simplicity and dignity. The only picture in the whole exhibition that I didn't care for was that of Frederik Rihel on Horseback.
It was a shame when the exhibition closed. These works had become like old friends!
23 October 2014. The Curious Incident of the Dog in the Night-Time
This National Theatre production came with great reviews and high expectations. Inevitably, perhaps, I was disappointed. The set was clever and engaging, particularly the handling of the train trip to London and his (for him) terrifying ride on the tube. On the other hand, the actual mystery of who had killed the dog didn't amount to much and was solved quite early. Which leaves the third strand of the offering, namely the play's and the actor's portrayal of Asperger's. No doubt this was well-done but it left me somewhat cold. I don't think it added much to Dustin Hoffman's Rain Man performance of the autistic Ray.
In the end, then, I was not entirely sure that I saw the point of this play, though it did provoke me to do some research in autism and Asperger's.
In the end, then, I was not entirely sure that I saw the point of this play, though it did provoke me to do some research in autism and Asperger's.
21 October 2014. Here Lies Love at the Dorfman
A musical of the Marcos era in the Philippines. High in energy, if you had a standing ticket for the arena of the Dorfman you were very much part of the action. This seemed a much better place to be than upstairs watching the goings on.
Frankly, this all seemed more like a bit of fun than anything else. The music was by David Byrne in collaboration with Fatboy Slim and the story line - key moments in the lives of the Marcoses - was projected at either end of the room.
I can't say it made me think or gave me a new understanding of Philippines politics. However, to be fair, it did convey very strongly the neediness of Imelda - where she was coming from psychologically.
Frankly, this all seemed more like a bit of fun than anything else. The music was by David Byrne in collaboration with Fatboy Slim and the story line - key moments in the lives of the Marcoses - was projected at either end of the room.
I can't say it made me think or gave me a new understanding of Philippines politics. However, to be fair, it did convey very strongly the neediness of Imelda - where she was coming from psychologically.
17 October 2014. The Trial at The Linbury
With music by Philip Glass and a libretto by Christopher Hampton, this opera of Kafka's novel was staged by Music Theatre Wales. Being a fan of both Kafka and Glass, I went along with high expectations. The were largely met, as they were for the FT's critic.
The music was unmistakably Glass and, coupled with the set and costumes, evoked perfectly the Kafka world. The cast were excellent, all apart from Johnny Herford (Josef K) playing multiple roles. - I particularly liked and remember the bowler-hatted gents who entered Josef's world.
The music was unmistakably Glass and, coupled with the set and costumes, evoked perfectly the Kafka world. The cast were excellent, all apart from Johnny Herford (Josef K) playing multiple roles. - I particularly liked and remember the bowler-hatted gents who entered Josef's world.
16 October 2014. Bartok's Violin Concerto (Janine Jansen) at the Barbican
The LSO under Pappano delivered an excellent programme that comprised:
I had really bought my ticket to see the violin concerto and Janine Jansen fully lived up to expectations. She played with great passion which earned sufficient applause for an encore - for this she was joined by the LSO's lead violinist in playing two of Bartok's duos.
I must admit the Ravel and Tchaikovsky had less of an impact and I was interested that a reviewer had the same legacy.
- Ravel Mother Goose - Suite
- Batok Violin Concerto
- Tchaikowsky Nutcracker - Suite from Act 2
I had really bought my ticket to see the violin concerto and Janine Jansen fully lived up to expectations. She played with great passion which earned sufficient applause for an encore - for this she was joined by the LSO's lead violinist in playing two of Bartok's duos.
I must admit the Ravel and Tchaikovsky had less of an impact and I was interested that a reviewer had the same legacy.
5 October 2014. Taverner at the Barbican
A pretty emotionally exhausting programme, this Sunday evening concert was the culmination of a day of Total Immersion in Tavener.
The BBC SO started with his Little Ceremonial and this was followed by the Akhmatova Requiem. The closing piece and the only one with which I was familiar was The Protecting Veil.
The second and third pieces were particularly demanding and I think it would have been hard to come away from this concert with an unaltered mood, described by the Telegraph as bleakness.
The BBC SO started with his Little Ceremonial and this was followed by the Akhmatova Requiem. The closing piece and the only one with which I was familiar was The Protecting Veil.
The second and third pieces were particularly demanding and I think it would have been hard to come away from this concert with an unaltered mood, described by the Telegraph as bleakness.
2 October 2014. Dirty Butterfly at the Young Vic
A somewhat claustrophobic and menacing atmosphere in this play about two sets of neighbours, the one who listens in on the other. Appearing on stage are Jo from one house and Jason and Amelia from the other. Jason and Amelia are siblings and the ones listening in - on the passionate and now abusive relationship of their neighbours. Jason is ineffectual and Amelia frustrated by the situation. Towards the end, Jo turns up to where Amelia is working as a cleaner, leaving a disturbing bloody trace on the newly cleaned white tiles.
Not a bundle of laughs but arresting theatre by the Genesis Future Directors winner, Tinuke Craig.
Not a bundle of laughs but arresting theatre by the Genesis Future Directors winner, Tinuke Craig.
17 September 2014. The Illusion of Light at Palazzo Grassi and Prima Materia at Punta della Dogana
Two very contemporary exhibitions in Venice at these linked venues.
I first visited the Palazzo Grassi and one is immediately drawn into the space of Doug Wheeler's installation which has one feeling one is moving forward in an impenetrable fog despite the fact that all was clear looking back.
Most of the exhibition was up the staircase, the climbing of which gave a chance to view the outside of Wheeler's installation. On the first floor, I was particularly struck by:
Marcel Broodthaers - Le Salon Noir. A gothic horror movie atmosphere.
Troy Brauntuch. Very clever works Criminal and State Trooper that only reveal themselves on close inspection
David Claerbout - A film of Nigerian Shell workers sheltering from torrential rain
Robert Irwin. 8x 8 fourfold
Claire Tabouret - Les Veilleurs. An eery group of children
Then it was on to the Punta Della Dogana. There, I was particularly struck by:
Loris Greaud. An amazing installation called 'does the angle between two walls have a happy ending' that included a rotating monkey foetus amidst the ebb and flow of light and sound.
Lynn Foulkes. Deliverance, showing the killing of Mickey Mouse.
Adel Abdessemed's Decor - Four crucifixions from razor wire.
Sherrie Levine - 12 crystal skulls
Diana Thater. Six colour sun vertical stack
Thomas Schutte's Fratelli.
Quite apart from all the art, I was struck by the ceiling of the amazing building we were in.
I first visited the Palazzo Grassi and one is immediately drawn into the space of Doug Wheeler's installation which has one feeling one is moving forward in an impenetrable fog despite the fact that all was clear looking back.
Most of the exhibition was up the staircase, the climbing of which gave a chance to view the outside of Wheeler's installation. On the first floor, I was particularly struck by:
Marcel Broodthaers - Le Salon Noir. A gothic horror movie atmosphere.
Troy Brauntuch. Very clever works Criminal and State Trooper that only reveal themselves on close inspection
David Claerbout - A film of Nigerian Shell workers sheltering from torrential rain
Robert Irwin. 8x 8 fourfold
Claire Tabouret - Les Veilleurs. An eery group of children
Then it was on to the Punta Della Dogana. There, I was particularly struck by:
Loris Greaud. An amazing installation called 'does the angle between two walls have a happy ending' that included a rotating monkey foetus amidst the ebb and flow of light and sound.
Lynn Foulkes. Deliverance, showing the killing of Mickey Mouse.
Adel Abdessemed's Decor - Four crucifixions from razor wire.
Sherrie Levine - 12 crystal skulls
Diana Thater. Six colour sun vertical stack
Thomas Schutte's Fratelli.
Quite apart from all the art, I was struck by the ceiling of the amazing building we were in.
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