Issue 25/26, 2006
Prompt Corner 
Forgive me for starling almost at the end of a page - its all those bloomin' Christmas shows. (And that's still not all of them; on p1534 you can find a list of those which, at the time of going to press, had received only one review each and so would have been impractical to cover.)
Starting at the end of another story, too. In fact, the Theatre Museum did not close, as announced, on 7 January. No, it closed the previous day, just in case something untoward might happen.
Hang on a minute... when museum authorities are afraid of even luvvies getting obstreperous, does it not strike you that they might realise that somewhere along the line they've taken a really bad step?
Pom-poms
The same, alas, cannot be said of Minister for Culture David Lammy. Having refused to see me regarding the Theatre Museum as my constituency MP, he did in the end reply in his ministerial capacity to an e-mail in which I asked him, nothing too extravagant, if he might simply consider making a public remark to the effect that it would be a sad thing if a Theatre Museum were not to continue to exist in or near London's Theatreland itself. Actually, he replied not so much as Minister for Culture, more as the kind of lazy joumalist (see sidebar on the right!) who regurgitates press releases word for word. This was not in any way a disinterested letter: it was cheerleading for the V&A's plans, complete with splits, pom-poms and all the rest of it. Which is interesting, since the V&A don't actually have firm plans as such. Even when asked in the mildest of terms for the mildest possible of pronouncements upon the matter, the Minister couldn't find even the teensiest bit of backbone required. No doubt the hope now is that the matter will die quietly. Some hope.
Glib
I felt a bit of a fuddy-duddy on a number of occasions last month... although perhaps not as antiquated and out of touch with reality as Quentin Letts' fantastical remarks about the "black polo necks and designer spectacles" in the opening-night audience for Love Song. Quentin suggests that what may harm the reception of John Kolvenbach's play is that it's sentimental. Not a bit of it: many of us, including myself, are unashamedly great big sentimental old Hectors. The problem with Love Song is not that it's sentimental, but that it's insufferably glib. Whether you're a normal urban couple or an agoraphobic basket case, he suggests, the solution is simply to decide to see the world in a new way, and like Tony Blair's government he equates the mere decision with its actual implementation. I feel personally insulted by that as insight and human compassion go, it's on a par with telling a depressive "Pull yourself together!" and writing them off as lacking moral fibre when they don't do so. (Notoriously, lack of Moral Fibre' was the standard British military diagnosis of cases of shell shock in World War I.) I'm sorry to revert to the kind of musical anaysis to which I subjected Tom Stoppard's grossly overrated Rock 'n' Roll several months ago, but John Crowley's production of Love Song has a magnificent soundtrack of three decades of left-field rock music, but what's the last number, the one that chimes with the author's message, at the final curtain? Bloody Supertramp, that's what. That's not sentimentality; it's slop.
Just by the by, it's a little surprising to see Charles Spencer, the most well-versed in rock of the main theatre critics, mentioning the likes of Stiles & Drewe and Fascinating Aida as having written songs for Mark Ravenhill's Dick Whittington panto, but not spotting that also in that songwritng crew was Jim-Bob Morrison, formerly half of beloved '90s rock hooligans Carter The Unstoppable Sex Machine.
Outreach
That's not the only musical remark of Charlie's that has given me pause. His review of the Enchanted Pig notes that "the children in the theatre were evidently entranced throughout". Not the couple beside me, they weren't. Or maybe; it was hard to tell. They kept chatting, the elder one (possibly ten or eleven years old) checking her mobile phone, and they begrudged me even two seconds to gather up my stuff and get out of their way at the interval and the end, yet they did go wild at the curtain call, and it seemed genuine. That leaves me with two options, neither of them particularly flattering to them, or to me for coming to such conclusions: either they really didn't care about the show but were under the impression that raucous to the point of rabid is the minimum response required by way of applause even to an event that didn't thrill them, or they really did but simply had no idea how to behave at a live event among other people - the old "theatre isn't like TV" problem.
Do you see now why I don't like to find myself thinking this way? All the time we evangelise about the importance, the vitality and vibrancy of theatre, but when it comes down to it we still expect a fundamentally passive response... because let's face it, Jonathan Dove and Alasdair Middleton's opera isn't the whoop-and-join-in kind of seasonal show. Yet this may be an example of exactly the kind of expansion and outreach that David Lan's Young Vic is about, which means that I'm being not just a stick-in-the-mud but a begrudger and a hypocrite. I think I need to work on this one.
Ramifications
I feel less awkward about my response to A Family Affair, as detailed in my Financial Times review. It drew one of the very rare items of correspondence I get about my writing, from a correspondent who misinterpreted my tentative worries about the characterisation in performance of the figure of Lazar in the play. I recognise that Ostrovsky's play is pretty egalitarian in its misanthropy. However, if the character of Lazar as written is indeed Jewish (as his name indicates - a friend better versed in this field than me assures me that, in 19th-century Russia, the very name "Lazar' would be an unmistakable signpost of Jewishness) and there's a suggestion in the writing that his unpleasantness is at least in part associated with this factor, and if in the production he is played in a way which (as I maintain) is open to interpretation as being Jewish, then it becomes a much more difficult and delicate matter to retain the unpleasantness - even amid so many equally unpleasant characters - whilst trying to close off the suggestion of a causal link with Jewishness. It's specifically this closure-off where I think the current production fails, with potentially very uncomfortable ramifications. Compare my possible over-sensitivity on this score with Caroline McGinn who, in her review of On Religion, seems to think that Hebrew and Yiddish are one and the same language: even this Northern Irish Protestant recognised what she called "melodious nonsense" as being part of the Kaddish.
There are times when we do ourselves and the cultural discourse in general a disservice by holding our tongues. I remember in the 1990s, when the National Theatre triumphantly revived Rodgers & Hammerstein's Carousel, Richard Ingrams wrote in his (non-review) Sunday newspaper column about the casting of Clive Rowe in the role of Enoch Snow. I love Rowe as an actor, but it seems to me now that Ingrams had a point when he noted that, in a story set in the southern states of America less than a decade after the end of the Civil War, if such a principal character were indeed black like Rowe, it would not pass without comment in the social context! Ingrams, of course, went over the top in the matter, but it's not the kind of point we generally deem it politic to raise, because the whole business gets quite radioactive when it begins to interact too with our attitudes as an audience-which are generally liberal, but often not liberal enough, and on occasion overly timid as a result of that liberalism being misplaced. After all, the only way for the debate to progress is for matters to be raised in debate in the first place. And the debate, as Alastair Macaulay remarks sagely in his Dick Whittington review, will continue. For Theatre Record, it will continue with another double issue covering the first four weeks of 2007, to be published on February 13.
Ian Shuttleworth | Ian@ theatrerecord.com
At the Back
Can You Hear Them At the V & A?
You've had more than enough from me about the campaign to save the Theatre Museum, which closed to the general public on 6 January - a day early, presumably to avoid riots in Russell Street. What you may not realise is the depth of feeling the campaign has aroused, from theatre people and theatregoers alike. Here are just a few of the hundreds of varied messages of support the Guardians have received - you'll find even more on the website www.theatremuseumguardians.org.uk. Join us! IH
How can they not realise that theatre is
still one of the few areas in which UK is a world leader? Our theatre, past and
present, is a deep part of our culture. The
Theatre Museum is a rich resource that registers this - how can the
V&A let it slip through their fingers?
Jean Chothia, Reader in Drama and Theatre,
University of Cambridge
The reputation of the Theatre Museum
amongst people in Australia is massive. To have this remarkable resource move
from the superb location is a disgrace.
Keeping its proximity to the West End ensures it is not just another set of glass cases in an ornate building as so much
is at the V&A, but a relevant vibrant and vital reflection on one of
London's greatest assets, Theatre.
Simon Carroll
What kind
of civilised country even DREAMS of closing an
international arts resource? It makes me ashamed to be
British. But not surprised -when it comes to
supporting the arts, we've been shooting ourselves in both feet for years. Good
luck to the campaign.
Kate Scarratt
The closing of the Theatre Museum in
Covent Garden will be a knife in the heart of international culture. It is
shocking to think that the reality of this closing is
upon us. Surely there must be a chivalrous knight in shining armour who will come to the rescue
at the last minute? The closing is simply
unthinkable! Do the powers that be really not understand the legacy of the Theatre Museum? Are they that blind? A voice
from the colonies cries out for someone to make this terrible situation right!
Jack
Lane St Louis Stage
Of course I support your campaign. My
holiday this year was in Malta, the smallest country in
the EU. They have a theatre museum, next to their
main theatre in Valetta. If they can afford it .
Robin
Cave
Please keep the Theatre Museum open
while you consider proposals from the various
stake-holders put forth in public forums. You are charged with preserving
Cultural Heritage, yet this hasty decision betrays
either ignorance or unsaid alternate agendas. Wed like to think you take your responsibilities more seriously
than is shown by petty and spiteful
policy decisions.
Daniel Kanter
This museum is one of its kind. Westminster is rich enough to save this monument where it is. Stars of
yesterday must not be defeated by the Starbucks of today.
Mehmet Ergen, Arcola Theatre
My late father, Richard Leacroft, made much use of material from the Theatre Museum in the preparation of
his incredible cut-open drawings of many theatres for
the wide range of books that he and my mother wrote
on the history of theatre buildings. After his death my mother was approached
by many organisations who wanted to obtain the
collection of his work (including
several American universities who were willing to pay) but she decided
that the collection had to go to the Theatre Museum
since my father held it, and its curators, in such high esteem and he had always wanted his work to be freely
available to anyone else interested in theatre architecture here in the
UK. For the exhibition of his work a few years ago much other material was
loaned and my mother was persuaded to add
this to the collection for, in the words of the official documents, "the benefit of the nation". If the
Theatre Museum should close and its
knowledgeable staff lost then this material will be hidden away in some back
catalogue of a nondescript subsection of
the V&A and will not be brought to the attention of the nation.
Robert Leacroft
I work in the
"present" Theatre but we must never forget our roots. The Theatre Museum provides invaluable
access to those roots for a worldwide
audience. Don't let us lose that facility.
Andrew Treagus
This seems the most inappropriate
moment to close down the national museum of theatre,
when interest in aspects of intangible heritage, including live performance, is
growing. I read of plans to move it to Blackpool - citing the number of people who visit Blackpool as evidence of potential research use. Who could believe that that is a
rational and positive plan?
Suzanne Keene
Every summer I lead a group of American theatre lovers to London, and the first place we visit is The
Theatre Museum. We love it and learn so much there. I
can't believe the V&A wants to close it. The educational, historical and
commercial value cannot be quantified. The location is perfect; the archives
priceless. Please save The Theatre Museum.
Toni Mester
The history of
British theatre is the richest in the world and must be preserved at all costs. The loss of the wealth of information and memorabilia available to both scholar and lover
of the theatre would be incalculable. If this were the USA. all these
riches would be valued and preserved. Why are we so intent on destroying
our heritage?
John Savident
The Theatre Museum
is a vital attraction in the heart of the West End, providing all theatrephiles with a tangible
repository of Britain's extraordinary
history of dramatic achievement. Its closure will be a blow to tourism as well as everyone's consciousness of
the artistic process.
Tracy C.
Davis, President, American Society for Theatre Research
How has the
expression of our theatre history suddenly become valueless?
As a footpath keeps open a public way if used just once a year, so, if one
person makes use of the museum just once a year it preserves that way of
remembering the live expression of our culture. There is no place for economic
rationalism in preserving history.
Carol Burns
I strongly urge That the Theatre Museum be
protected, saved, and allowed to continue
in its current location and with its current mission. I have visited the Museum on various occasions and
conducted research in its archives. It is one of the world's cultural
treasures and should be protected and
maintained.
Nancy
Lee Ruyter Professor of Dance
It is criminal that a Government can pour millions of pounds into an
upside down Wok called The Dome, that is now abandoned, yet let a museum that
celebrates hundreds of years of theatre heritage close. We cannot and must not
let this museum go under. It is great that this campaign is now under way.
Don
Smith
It seems that just because the HLF
refused a grant the Museum has to close. The building is a problem but it is
one that can be overcome. It is in the right place and
needs to be preserved not closed.
Kevin Rude
I volunteered for the British Theatre
Museum as a child in the seventies Men it was in Leighton House in Holland Park Road. To think that there will be no future display is criminal to the memory of the
great many who worked so valiantly to see this valued institution created in
the first place and then believed they had ensured its future with the move to
Covent Garden. Without a Theatre Museum London could no longer be rightly
hailed a capital of Theatre: perhaps the relevant authorities might care to
discuss this.
Bruce Wall, Director, London Shakespeare
Workout
I wholeheartedly support the campaign. Once lost this can never be fully
recovered. Another
case of saving money regardless of the cost?
Brian
Hutchings
Ian Herbert | Ian@herbertknott.com
Contents / Reviews
London |
||||
CATCH New play by April de Angelis, Stella Feehily, Tanika Gupta, Chloe Moss and Laura Wade |
Royal Court Upstairs |
5 Dec |
22 Dec |
1464 |
CINDERELLA Pantomime by Susie McKenna |
Hackney Empire |
7 Dec |
13 Jan |
1511 |
THE CLASS CLUB New entertainment by Duck's |
The Pit |
18 Dec |
7 Jan |
1495 |
CORAM BOY Return of adaptation by Helen Edmundson from book by Jamila Gavin (NT) |
Olivier |
7 Dec |
20 Jan |
1477 |
DICK WHITTINGTON AND HIS CAT New pantomime by Mark Ravenhill |
Barbican |
5 Dec |
20 Jan |
1503 |
DON JUAN IN SOHO New play by Patrick Mater, after Molière |
Donmar Warehouse |
6 Dec |
10 Feb |
1469 |
THE ENCHANTED PIG New musical by Jonathan Dove & Alasdair Middleton (Young Vic / The Opera Group) |
Young Vic |
14 Dec |
27 Jan |
1487 |
LES ENFANTS DU PARADIS New adaptation from screenplay by Jacques Preyed |
Arcola |
19 Dec |
30 Dec |
1498 |
A FAMILY AFFAIR Revival of play by Alexander Ostrovsky in adaptation by Nick Dear |
Arcola |
15 Dec |
13 Jan |
1491 |
GRIMM NIGHTS AND EVERAFTER DAYS New musical by David Carey after the Bros Grimm (Chickenshed) |
Rayne |
6 Dec |
13 Jan |
1508 |
GRIMMS - THE FINAL CHAPTER New adaptation (Hone; also New Wdon Studio 05-16.12.06) |
Trafalgar Studio 2 |
20 Dec |
6 Jan |
1522 |
HELLCAB UK première of play by Will Kern (Moonstick Th) |
Old Red Lion |
14 Dec |
31 Dec |
1499 |
ITS ONLY MAKE BELIEVE Revival of compilation musical by Chris Burgess |
Upstairs at the Gatehouse |
16 Dec |
28 Jan |
1475 |
JOURNEY TO THE RIVER SEA New adaptation by Carl Miller's from book by Eva Ibbotson |
Unicorn (Weston) |
8 Dec |
28 Jan |
1523 |
KIT AND THE WIDOW'S CHRISTMAS ROAST New cabaret by Kit Hesketh-Harvey and Richard Sissons |
Ads |
10 Dec |
12 Dec |
1463 |
LOVE SONG New play by John Kolvenbach |
New Ambassadors |
4 Dec |
|
1460 |
THE MERCHANTS OF BOLLYWOOD Compilation musical with the songs of Salim and Suleiman Merchant Hammersmith Apollo |
21 Dec |
31 Dec |
|
1482 |
THE MERMAID (HAVFRUEN) New piece by Circus CM& and Kaleidoscop |
Queen Elizabeth Hall |
23 Dec |
7 Jan |
1502 |
THE MOUSE QUEEN New musical by Ben Glasstone and Ti Kane (Little Angel: also Unicorn 2 Nov-3 Dec) Hampstead |
7 Dec |
6 Jan |
|
1507 |
MUCH ADO ABOUT NOTHING Revival of play by Shakespeare (RSC) |
Novella |
13 Dec |
6 Jan |
1483 |
THE MUSICAL OF MUSICALS (THE MUSICAL!) Return of new musical by Eric Rockwell and Joanne Bogart |
King's Head |
7 Dec |
28 Jan |
1480 |
ON RELIGION New play by Mick Gordon and AC Grayling (On Theatre) |
Soho |
5 Dec |
6 Jan |
1466 |
PETER PAN Revival of play by J M Barrie, adapted by Eric Potts |
New Wimbledon |
7 Dec |
14 Jan |
1513 |
PETER PAN Revival of play by J M Barrie, with première of full score by Leonard Bernstein |
King's Head |
15 Dec |
14 Jan |
1514 |
THE PIRATES OF PENZANCE Revival of Chris Monks adaptation from Gilbert & Sullivan |
Orange Tree |
22 Dec |
10 Feb |
1500 |
A PLEASING TERROR: TWO GHOST STORIES BY M R JAMES New adaptations by Richard Lloyd Parry New End |
18 Dec |
6 Jan |
|
1486 |
PRIDE AND PREJUDICE AND NIGGAS New comedy show by Reginald D Hunter |
Arts |
6 Dec |
23 Dec |
1476 |
THE PROMISE Revival of Alexei Arbuzov play in Ariadne Nicolas/ version |
Tabard |
19 Dec |
14 Jan |
1490 |
RAPUNZEL New play by Annie Siddons (BAC 1 Kneehigh) |
BAC |
13 Dec |
14 Jan |
1517 |
SLEEPING BEAUTY New adaptation by Andrew Pollard |
Greenwich |
8 Dec |
6 Jan |
1516 |
THE SNOW QUEEN Adaptation by Sian Jones from hens Christian Andersen |
Little Angel |
18 Nov |
28 Jan |
1510 |
THE SNOW QUEEN New pantomime by Hope Massiah, from story by Hans Christian Andersen |
T R Stratford E15 |
6 Dec |
13 Jan |
1509 |
SPANGLEGUTS New play by Jonathan Petherbridge based on an Italian folk tale (London Bubble) |
Albany |
8 Dec |
13 Jan |
1516 |
SPICE DRUM BEAT - GHOEMA New musical by David Kramer and Taliep Petersen |
Tricycle |
11 Dec |
27 Jan |
1481 |
THAT PESKY RAT New adaptation by Jonathan Lloyd from the book by Lauren Child |
Soho |
6 Dec |
7 Jan |
1506 |
WATERSHIP DOWN New adaptation by Rona Munro of novel by Richard Adams |
Lyric Hammersmith |
27 Nov |
13 Jan |
1457 |
YOUNG DICK BARTON: THE MAKING OF A LEGEND New musical by Duncan Wisbey I Stefan Bednarczyk |
Warehouse Croydon |
10 Dec |
18 Feb |
1501 |