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In which I continue to seek part time employment as the ruler of the world.

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Category archive: Theatre

Friday January 12 2018

I only just noticed it, but I do like this blog posting title from October 2016, from Archbishop Cranmer:

Brexit, pursued by a Blair

Blair wants another referendum, with an opposite result.  The Archbishop doesn’t.  But then, the Archbishop wants Brexit and Blair doesn’t.

The Archibishop quotes Blair:

The issue is not whether we ignore the will of the people; but whether, as information becomes available, and facts take the place of claims, the ‘will’ of the people shifts.

But what if, after Blair then gets the result he wants, and the matter is then, for him, settled once and for ever, yet more facts become available, replacing Blair’s claims, and that ‘will’ shifts again? Back again to Brexit being the good move?  What if the EU then goes to hell and takes the UK with it, and the voters then want out, again?  Then what?  Then: the matter is settled, time to move on and stop grumbling.  So, why is it not time for Blair to move on and stop grumbling, now?  It comes down to the Divine Right of Blair.  Is that a thing?  I say: not.

Via Dan Hannan.

For those who don’t know their Shakespeare: the original stage direction.  It’s famous.  You should know this.  Now you do.

Thursday January 04 2018

For ages now, I’ve had these two pictures hovering about on my screen waiting to be put next to each other on my blog and then forgotten about, because they look quite like each other:

imageimageimage

But, do they look enough like each other for it to be interesting?  Maybe not.  But there are times when you have to say to yourself: It’s only blogging.

On the left: Shakib-Al-Hasan, noted Bangladesh cricket allrounder.  On the right, what he will turn into when a little bit older, or would if he had whiter skin: noted American actor Gary Sinise.  Photos found here and here.

Wednesday December 20 2017

Personally I thought that the recorded chat that Patrick Crozier and I did about World War 1 was better, because Patrick is an expert on that event and its times, its causes and its consequences.

Here, for whatever it may be worth, is the rather more rambling and disjointed conversation that we had more recently on the subject of television: Part I, Part II, Part III, Part IV, Part V, Part VI, and Part VII.  But, as of now, it’s a lot simpler to crank up the entire site and scroll up and down.

I’m afraid I did well over half of the talking, so cannot be objective about whether all or any of this is worth your attention.  I hope Patrick is right about the worthwhileness of this conversational effort, and that if you do listen, you enjoy.

Thursday November 30 2017

GodDaughter One’s Mum and Dad are members of a theatre-going gang, who take it in turns to organise for them all to go to the theatrical performance, about every month or so.  Tonight it was Antony and Cleopatra by the RSC, at the Barbican.  But GodDaughter One’s Mum was otherwise engaged, helping out with a jewellery show done by GodDaughter One’s Sister, so I went to the Barbican instead.

As so often, when I really pay attention to a Shakespeare play (and if you are seeing it in a theatre there is not a lot else to be doing), I learned a great deal about it.

I did not catch every word.  Much of the support acting, especially by the young men playing various Roman soldiers and messengers, was decidedly school-play-ish, to my old eyes and old ears.  These brand-X guys simply did not fill the auditorium properly.  Since we were at the back, we suffered.  Nor did it help that I for one could not see their faces properly, from that far away.  But Antony and Cleopatra were both pretty good, as was Enobarbus.  But honestly, only the music came over loud and clear.

I will be investigating this play further on the screen.  YouTube offers this, which looks like it could be pretty good.  I quite like north American accents in Shakespeare, given that it probably sounded more like this originally than it sounded like modern Posh English.

As for DVDs, this and this both look promising.  Also: cheap.

Back in the Barbican, Josette Simon as Cleopatra yanked the verse around a lot, but that all added to the impression of her being a force of nature.  Antony, played by Peter Byrne, was a very prosaic figure by comparison.  I especially like the line in this Guardian review about how “Simon is excellent in the closing passages suggesting that Cleopatra is living out a fantasy of an idealised Antony”.  Yes.  So, best of all might well be a DVD of this RSC production.

Sunday November 19 2017

I was once briefly acquainted with a quite close relative of Robert Mugabe, and that person was truly remarkable in being utterly incapable of understanding how anyone could possibly disagree with the truth that he saw so very clearly.  This person also looked exactly - spookily - like Robert Mugabe. (It was asking about this resemblance that got me the information that he was a close relative of Mugabe.) I have never known a more deeply stubborn person, ever.  But it was not a stubbornness made merely of the desire or the determination not to change his mind.  No.  He was simply unable to change his mind.  The idea of him ever having been wrong, about anything, was simply impossible for him to grasp.

If Robert Mugabe is anything like this relative of his, and everything I know about Robert Mugabe tells me that Mugabe is, in this respect, exactly like him, Mugabe may find himself sacked, imprisoned, or even executed, but he will never resign, or ever change his mind about the wisdom of anything he ever said or did.  That he has not yet resigned has, according to the Guardian headline linked to there, has “stunned” Zimbabwe.  I was not stunned.

They’ll have to force him out, like King Richard II was forced out by King Henry IV.  But if Mugabe is forced out, there will be no scenes like the closing scenes of Shakespeare’s version of Richard II, where the deposed Richard comes to see the world and its ways differently, and to understand things more deeply.  Simply, Mugabe is right, has always been right and will always be right, and if everyone else disagrees with him, it can only be that everyone else is, was, and will be, hopelesslyl wrong.  Mugabe is literally incapable of understanding matters in any other way.

Mugabe is indeed now a rather confused old man.  But his confusion concerns only how it is possible for so many people to be so completely mistaken.

Sunday November 12 2017

A few weeks ago, I watched and recorded a Shakespeare documentary series, in one episode of which Jeremy Irons talked about, and talked with others about, the two Henry IV plays.  And that got me watching two recorded DVDs that I had already made of these plays, the BBC “Hollow Crown” versions, with Irons as King Henry and Tom Hiddleston as the King’s son, Prince Hal.  While watching these, I realised how little I really knew these wonderful plays, and how much I was enjoying correcting that a little.

More recently, partly spurred on by what Trevor Nunn in that same documentary series had to say about it, I have been doing the same with The Tempest, this time making use of a DVD that I long ago purchased for next to nothing in a charity shop but had failed ever to watch.

By accident, when this DVD of The Tempest began, there were subtitles to be seen, and I realised that these written lines, far from getting in the way, only added to my enjoyment, so I left them on.  And, if subtitles were helping, why not the entire text?  Maybe I possess a copy of The Tempest, but if so I could not find it, so instead, I tried the internet, which quickly obliged.  My eyesight not being the best, I beefed up the magnification of the text until it was nearly as big as those subtitles.  So, I watched, I read subtitles, and I was able to see who was saying what, and what they were about to say.  And very gratifying it all was:

image

On the telly, on the left, David Dixon as Ariel and, on the right, Michael Hordern as Prospero, both very impressive.

And here, should you be curious, is the text they were enacting at that particular moment, as shown on the right of the above photo, but now blown up and photoshop-cloned into greater legibility:

image

I think the reason I found this redundancy-packed way of watching The Tempest so very satisfying is that with Shakespeare, the mere matter of what is going on is secondary to the far more significant matter of exactly what is being said, this latter often consisting of phrases and sentences which have bounced about in our culture for several centuries.  As ever more people have felt the need to recycle these snatches or chunks of verbiage, for their own sake, and because they illuminate so much else that has happened and is happening in the world, so these words have gathered ever more force and charismatic power.  As the apocryphal old lady said when leaving a performance of Hamlet: “Lovely.  So full of quotations.”

The thing is, Shakespeare’s characters don’t just do the things that they do, and say only what needs to be said to keep the plot rolling along.  They seek to find the universal meaning of their experiences, and being theatrical characters, they are able, having found the right words to describe these experiences, to pass on this knowledge to their audiences.  This is especially true of Hamlet, because central to Hamlet’s character is that he is constantly trying to pin down the meaning of life, in a series of what we would now call tweets, and consequently to be remembered after his death.

Prospero in The Tempest is not quite so desperate to be remembered, any more, we are told, than Shakespeare himself was.  In Prospero, as Trevor Nunn explained in his documentary about The Tempest, many hear Shakespeare saying goodbye to his career as a theatrical magician and returning to his provincial life of Middle English normality. But Shakespeare was Shakespeare.  He couldn’t help creating these supremely eloquent central characters.  Even when all they are doing is ordering room service, or in the case of Prospero doing something like passing on his latest instructions to Ariel, they all end up speaking Shakespeare, with words and phrases that beg to be remembered for ever.  These famous Shakespeare bits are rather like those favourite bits that we classical music fans all hear in the great works of the Western musical cannon.

So, a way of watching these plays that enables these great word-clusters to hang around for a while is just what you want.  (Especially if, like Prospero, you are getting old, and your short-term memory is not what it was.) It also helps being able to press the pause button from time to time, to enable you to savour these moments, to absorb their context, better than you could if just watching the one unpausable performance in front of you.  Although I agree, having a pause symbol on the furrowed brow of Prospero, as in my telly-photo above, is not ideal.

I am now browsing through my Shakespeare DVD collection, wondering which one to wallow in next.

Thursday November 09 2017

I have started reading Music & Monarchy, by David Starkey and Katie Greening.  What the division of labour is between these two (Starkey is in larger letters thatn Greening on the front cover) I do not know, but it certainly starts very promisingly.  I have already encountered two passages worthy of prolonged recycling here, the one that starts the book (see below), and the bit that follows, about England’s profound medieval musicality.

So, to begin where Starkey and Greening begin, here is how the introduction of this book launches itself (pages 1-2):

Music or Words? Poetry and Drama? Or Anthems, Opera and Oratorio? Which, to personalise and particularise, is the more important in British history and to the British monarchy: the anniversary of Shakespeare or the centenary of Handel? The question almost seems absurd. Nowadays there is no doubt that Shakespeare wins every time. Shakespeare’s cycle of history plays, famously described by another maker of history, John Churchill, 1st Duke of Marlborough, as ‘the only history I ever read’, still shapes the popular understanding of English history and its murderous dynastic rivalries; while in their nobler moments the plays (re-)invent the idea of England herself before going on to adumbrate a larger, mistier vision of Britain:

This royal throne of kings, this scepter’d isle,
This earth of majesty, this sea of Mars,
This other Eden, demi-Paradise ...
This happy breed of men, this little world,
This precious stone set in the silver sea ...
This blessed plot, this earth, this realm, this England,
This nurse, this teeming womb of royal kings ...
This land of such dear souls, this dear, dear land.

Who could resist that? George III (1760-1820) for one, who confided to Fanny Burney: ‘Was there ever such stuff as a great part of Shakespeare? Only one must not say so!’ The eighteenth century more or less agreed with its longest reigning king. The bicentenary of Shakespeare, celebrated five years late in 1769, was a provincial pageant, which, despite the best efforts of the actor-manager David Garrick, made little impact outside the Bard’s birthplace of Stratford-upon-Avon and, thanks to torrential rain, was literally a washout even there. On the other hand, the centenary of Handel’s birth (celebrated a year early by mistake in 1784) was a grand national event the like of which had never been seen before: not for the greatest general, politician or king, let alone for a mere musician.  Fashionable London fought (and queued) for tickets; Westminster Abbey was crammed and ladies were instructed not to wear excessive hoops in their dresses while hats were absolutely forbidden. Even then, demand was unsatisfied and two of the events had to be rerun.

Monday October 23 2017

GodDaughter 2 has fixed for me and her to go to a dress rehearsal of Rodelinda, at the ENO, tomorrow evening, for free!

So, what is Rodelinda about?

Rodelinda is a dramatic tale of power, anguish and love. When Grimoaldo takes Bertarido’s throne, Bertarido flees abroad, leaving behind his grieving wife Rodelinda. The usurper tries to force Rodelinda to love him, but when the exiled king returns in disguise, everyone is put to the test.

One of Handel’s finest operas, Rodelinda is filled with intense drama told through ravishingly beautiful music. ...

Good, good.

But then, this:

Award-winning director Richard Jones brings his distinctive theatrical imagination to this production, which sets Handel’s bitter political drama in Fascist Italy.

Well, maybe it’ll be okay.  Not all such productions are ridiculous.  And when it comes to Handel operas, my impression is that they are mostly pretty ridiculous to start with, wherever you set them.  This particular opera is ...:

… based on the history of Perctarit, king of the Lombards in the 7th century.

Those Lombards are:

Not to be confused with the modern inhabitants of the region of Lombardy, Italy.

The Lombards were:

… a Germanic people who ruled most of the Italian Peninsula from 568 to 774.

Blog and learn.  Or in this case, blog and go to the opera, and learn.

My worry is that although Rodelinda will be sung “in English”, it will be sung in standard operatic fashion, i.e. the words might as well be in Swahili for all the sense they will make.  But, because all this indecypherable gibberish will be “in English”, there will be no big signs, foreign movie style, to tell me what the hell they are singing about, like there are at the Royal Opera House, where they sing operas mostly in such languages as Italian or German, or they do if you’re lucky.

In short, my fear is that I will get what I pay for, although here’s hoping I get more.

GD2 will definitely get more, because she is studying to do this kind of thing for a living.  Insofar as it’s good she’ll learn about how to do it.  If it’s not good she’ll learn about how not to do it.  Win win.

Rodelinda at the ENO tomorrow evening
How Michael Tanner both misunderstands and understands Turandot
On the popularity of high-rise living: People in high-rises like to look at other high-rises
Die Meistersinger was very good
Some temporariness being immortalised
YPTD
Pavlova under wraps
Batman consults his smartphone
Cruise plays along
Quota thatched roof
LIFE at the Park Theatre
Art comment
Bard and Shard
Steven Johnson on how technology (such as the Magdeburg Sphere) grows science
Blue van
Quota caption competition
Ronald Harwood on Karajan
Some quota reflected cranes and a quota white van
The light outside the Proud Archivist on the evening of July 22nd
Digital photography ballet
Tomorrow I will get out less
Lots of photos of the camera man
Paul Johnson on Mozart and Da Ponte
Ruddigore in Blackfriars
A photographer and an advert
True hearts and warm hands
Anthrozoology
The Magic Flute at the RCM
Waiting for …
The ballerina and her support act
Ballerina with cranes again - this time with added spy cameras
Cat photo and cat news
Pavlova with cranes
Painted people
Ballerina with crane
A photo of a photograph
Big London Things with clutter in the foreground
Monkey Toast at the Leicester Square Theatre
That Clive Woodward gets around
More signs of the times
The bike behind the theatre
Sneezing chat
Everybody draw Mohammed every day!
Andrew Hughes on making heroes of cricketers
London Bites @ Sway
What next for Guido Fawkes?
Dream magic that spoilt the magic
“Dying is a fulltime business. You haven’t time to do a lap of honour.”
The impossibility of God but the possibility of Michael Flatley’s cure and of super-super-flees
And here is a real quotation
On autobiographical ruthlessness
John Carey on Shakespeare and the high-art/ popular-art distinction
Avoiding barbarism in the street
Pictures with words
Hear ye hear ye
A picture of a Wheel seen through a field of corn
The Emperor Jones
A dreadful age
Struggling Actress quote of the day
Cats can be taught!
Me and Alex talking Gilbert and Sullivan
The Pirates opens in New York
Hellcab at the Old Red Lion
Another quota photo of the Docklands towers
Screen back
Oscar Wilde defends society
Jeffrey Archer - blogger
Jeffrey Bernard is unwell but very entertaining
Debussy denounces Massenet but Puccini follows him
Roll playing
Midsummer Night’s Dream now downloadable for free
Shakespeare Sunday
Rylance’s Richard II – and how Richard II pre-echoes Lear
Rylance’s Richard again
King Kevin