To Shakespeare’s Globe – or at least to the Sackler Studios just round the corner – for a wonderfully jolly staged reading on Sunday of Philip Massinger‘s comedy A New Way to Pay Old Debts. Probably written in 1625, this is one of the more popular dramas from the theatre just after Shakespeare’s death. Even so our theatre companies invariably seem to prefer yet another Romeo and Juliet to presenting this comedy – or indeed to exploring the contemporary repertory of nearly 500 surviving plays from the period 1576 to 1642 that are not by Shakespeare. Which is exactly why Globe Education’s excellent Sunday afternoon series called Read not Dead came into being seventeen years and two hundred performances ago. read more »
Today we film for Sky Arts the first of four (and, we hope, more) Rosenblatt Recitals from Wigmore Hall. The American bel canto tenor Lawrence Brownlee, accompanied by painist Iain Burnside, is giving a programme of songs by Verdi, Poulenc, the contemporary American composer Ben Moore, Rossini and Mozart – and we will be there with six cameras to translate it to the screen. The programme will be shown on Sky Arts next year. In the meantime, follow the links for more – and enjoy Lawrence Brownlee from an earlier Rosenblatt Recital singing ‘Ah, mes amis, quel jour de fete’ from Donizetti’s La fille du régiment.
A time there was when I posted weekly a group of links to things that I recently read or watched online. Then I stopped for a while. And now – I think – I am going to start again. Maybe it’s just a sense of autumnal rain and the nights drawing in, but I also feel reconnected with the blog after some weeks away – in part because finally finally we have managed to get Google Analytics working (don’t ask) and everything here seems less imaginary and more, well, real. So let’s see how it goes. A first selection is across the jump – – and since the weekend I have added additional links. But before that I might mention that on Tuesday evening there was a free screening of our RSC/BBC Julius Caesar film (above) at The British Museum. Despite it being outdoors, some three hundred turned up to watch, and many of them stayed to the end. The projection screen was several degrees too bright but it was definitely interesting to see the film in this way. read more »
I have to admit to squeezing in another late summer cultural mini-break (see here for my Shakespeare trip last month). Last week I was in the French town of Arles for a couple of nights, catching the end of Les Rencontres Arles Photographie (it closes 23 September). Les Rencontres is the famous festival of photography that has been held in Arles each summer since 1970, and I have long meant to go. The smart thing to do is to be there for the opening week, when along with the various parties and talks, there are photographic projections in the town’s classical ruins. But that’s for another time – this year, my friend Michael Jackson and I grabbed the chance for a trip to the south just before the autumn set in. (Incidentally, that’s Édouard Belin above, receiving a telephotograph in 1920 – the relevance of this will become clear below.)
You will have noticed that I have not been blogging much over the past two months. I have been planning posts, writing parts of them in my head, even jotting down drafts. There is one that I want to offer (and may well still) about listening to the audiobook of Ian McEwan’s Sweet Tooth. I should also draw together my ideas about my visit to Les Rencontres d’Arles for photography exhibitions. Until an hour or so ago, however, I wasn’t going to mention the talk about filming Shakespeare that I contributed on Saturday to the Whitstable Biennale. In large part, I thought that I had written here all that I spoke there. But then Alice Hattrick’s blog about the event appears and she says much of the presentation was ‘a bit boring’. Which brought me straight back here – not (I hope) prompted by defensiveness, but because she makes some interesting points that I want to work through.
To the London Olympics and the York Mystery Plays on the same evening, although both only virtually. I spent Saturday night somewhere between 2012 and the medieval world, as I watched athletics and diving on the BBC and Pilot Theatre’s transmission of the Christian Creation on The Space. Each in its way was remarkable and both raised interesting questions about media in a multi-stream world. Only one of them, however, was truly successful in telling me a story. read more »
Earlier this week Eric Pfanner for The New York Timescelebrated the BBC’s coverage of the Olympics, suggesting- albeit only cautiously – that it was significantly superior to NBC’s offering. This might be the year of Super Hi-Vision and every-minute-of-every-event coverage (and haven’t we loved it!) but Pfanner also noted that
London Olympics have provided a variety of television firsts. The last such Games, in 1948, were the first to be televised to people’s homes, for example.
There was television at the notorious 1936 Berlin Games but the pictures were only shown in collective viewing rooms. So London 1948 was the start of the small-screen Olympics, and as this year’s extravaganza comes to an end I thought it might be interesting to look back to television at the Games sixty-four years ago. (The official Olympics web sit has some vivid colour newsreel from 1948.) read more »
I snuck away from London over the past two days on a kind of avant-garde Shakespeare mini-break. Last night I was in Stratford to see Troilus and Cressida, a co-pro between the Royal Shakespeare Company and The Wooster Group. Today I drove to Cardiff to see the first performance of Coriolan/us, a National Theatre Wales adaptation after Shakespeare and Brecht staged in a very big aircraft hanger at RAF St Athan in the Vale of Glamorgan. Neither production is on for long – Troilus is in Stratford until 18 August, then 23 August to 8 September in London, and there are only six more dates for Coriolan/us before 18 August – but both are essential for anyone interested in contemporary theatre, and in the ever more intimate connections of live performance and media. I’m not sure I’ve yet made sense of either production for myself, but undaunted I thought I’d offer some first notes. read more »
Seven days later. A week on from Danny Boyle’s Olympics opening ceremony, and the great writing about that extraordinary vision keeps on coming. So I cannot resist offering links to a third group of ten views. Across the jump you will find political analysis, textual exploration and some fun – what more can you ask of a blog (or indeed an Olympics opening ceremony)? (Warning: contains link to toxic Richard Littlejohn.)
Time, most definitely, to return to The Space, the Arts Council England/BBC digital ‘pop-up’ that, in its present form at least, will be with us for only another three months. Indeed, this is exactly the half-way point for the announced project, although it is almost certain to continue in some form. In the Arts Council’s recently published document ‘Creative media policy’ (link: download), £8 million is set aside for funding the future phase of the project. In the now unlikely event that it disappears entirely – and heaven forfend – we most definitely won’t know what we’ve got ’til it’s gone. Some licences and rights deals, however, will expire at the end of October. So we need now to cherish the riches and celebrate the achievements of The Space. But I think we also need to offer some tough love in the form of rather more critical scrutiny than I sense it is receiving. read more »
