Issue 15, 2009
Prompt Corner
In recent years, journalists and politicians have plummeted to the bottom of the scale of professions trusted by the British public, overtaking even estate agents. We critics, of course, like to think that we don’t count as “journalists” for this purpose. But it’s amazing how much bile can be directed at us, not just as individuals but as a group.
Misinterpretation
In recent weeks, there have been a couple of instances of journalists making perhaps ill-advised comments. In one, Brian Logan – writing a feature on comedy in the Guardian – made references to parts of shows by comedians Richard Herring and Brendon Burns which, they and others felt, misrepresented the shows in question and perhaps even did so wilfully in order to shore up the thesis of the article (which was about the possible emergence of a “new offensiveness” in comedy). Herring and Burns got right-of-reply articles published in the Guardian and also complained to the paper’s readers’ editor, a kind of ombudswoman, who opined that Brian’s remarks were indeed open to misinterpretation. (She also laconically noted that, in defence, Brian and his arts editor cited the context of the article as a whole in almost exactly the same way as Herring and Burns had defended the individual lines alluded to in the context of their entire acts.)
All of which is well and good, and shows that the Guardian’s complaints mechanisms can work rather well. But, oh, see the comments in the blogosphere and you’d think Brian was the Son of Sam or some such. One comedian and blogger even titled an entry “Brian Logan is a rapist and paedophile”, acknowledging that this was factually untrue but arguing that this put it on exactly the same footing as Brian’s remarks in his article. Except that I wouldn’t have thought there was a lot of scope for modifying the meaning of that headline in context; nor did the blogger’s legal friends, on whose advice he changed it.
Tinkling
A more minor instance concerned Dominic Cavendish’s comment in his review of The Girlfriend Experience reprinted in this issue, that “Tubby Debbie Chazen as Tessa, the brothel’s perky pudding of a madam... can’t match Rachel Weisz in the looks department.” Cue, in the blogosphere, another hail of messages supportive of Debbie and, in common with those in l’affaire Logan, condemning not just Dominic but all reviewers, with remarks of the “typical critic” vein. (I couldn’t resist posting that I found it interesting nobody had passed similar comment on Lyn Gardner’s review, with its “obese”, “fully fleshed in every way” and a rating one star fewer than Dominic’s.)
And it’s this judgement of entire groups that… well, it doesn’t anger me so much as frighten me. Here are people who, on the one hand, are fervently backing the anti-right-wing stance of Richard Herring’s current show Hitler Moustache, yet on the other are decrying entire classes of people based only on one characteristic, which strikes me as falling pretty damn squarely within the category of extreme right-wing behaviour. And when I see the phrase “people like you”, which cropped up at one point in the Chazen comments, it’s hard not to hear in the distance the tinkling of windows being systematically shattered.
Duty
Even a Guardian blog about the early closure of Too Close To The Sun (or, as the West End Whingers immediately subbed it, “To Close Sun”) drew a comment without any reference to the show but feeling authorised to damn the “unpleasant[ness]” of the critics’ remarks and urging “some hint of regret or sympathy”. Which, as I remarked in response, seemed to be objecting to critics writing forcefully bad reviews. But why, if it’s a forcefully bad show, as Too Close To The Sun was? A reviewer’s primary duty is to their readership, not the show-makers.
I usually argue that it’s not part of a critic’s brief to recommend or discommend shows, but simply to inform readers what the shows are like and so enable them to make their own decisions. However, in extreme cases there is surely a duty to warn people off spending (here) up to £55 a ticket on a show that simply does not fulfil the basic requirements... such as, in this case, at least some songs with either tunes or rhymes or metre – that’s right, none of the three, ever (OK, one number had rhymes and a simple rhythm but still no tune – on one other occasion, I spotted an isolated rhyme, but I’m certain it was inadvertent). I don’t mean Robinson didn’t do these things well (except in that one number); I mean he didn’t do them at all. Again, it’s the difference between expressing an opinion and reporting a fact.
Whiffed
I’ve remarked here before about theatre-makers who say, “I’ve got no problems with constructive criticism, but this is just [insert condemnatory term of your choice]”. In practice, though, it’s a circular definition, and “constructive criticism” simply means “criticism I’m prepared to hear”. And frankly, sometimes the most constructive thing you can say is “Put the play down now and back away with all deliberate speed.” On a few rare occasions, it may even be, “Look, this career isn’t working out for either you, your financiers or the audience; best let it go and find something you can do.” That seems to me to be the case with John Robinson. (On my way out of the theatre I heard a couple discussing it: “What do you reckon: nought or one?” – “No stars.” But I’m a generous sort of chap, so I gave it one star in my unpublished Financial Times review.)
Regret or sympathy? No. I don’t regret saying that Too Close To The Sun whiffed, and I have no sympathy for Robinson for foisting it upon us even after the experience of Behind The Iron Mask. Can anyone explain why I should?
Ian Shuttleworth | ian@theatrerecord.comAt the Back
At the Back does not appear this issue.
Reviewed
London |
||||
THE BLACK ALBUM New adaptation by Hanif Kureishi from his novel (NT/ Tara Arts) |
Cottesloe |
21 Jul |
7 Oct |
817 |
BLOOD WEDDING Revival of play by Federico Garcia Lorca (Metta Th) |
Southwark Playhouse |
24 Jul |
15 Aug |
808 |
THE CONTAINER Revival of play by Clare Bayley |
Young Vic |
16 Jul |
30 Jul |
805 |
DREAMBOATS AND PETTICOATS New compilation musical with book by Laurence Marks & Maurice Gran |
Savoy |
27 Jul |
12 Sep |
832 |
DREAMS OF VIOLENCE New play by Stella Feehily |
Soho |
17 Jul |
8 Aug |
809 |
4.48 PSYCHOSIS Revival of play by Sarah Kane |
Young Vic, Maria |
23 Jul |
1 Aug |
824 |
GHOSTS Revival of play by Henrik Ibsen in new version by Rebecca Lenkiewicz (ATC) |
Arcola |
24 Jul |
22 Aug |
834 |
THE GIRLFRIEND EXPERIENCE Return of verbatim piece by Alecky Blythe |
Young Vic |
29 Jul |
15 Aug |
836 |
IN BED WITH MESSALINA New play by Benjamin Askew (Eyestrings) |
Courtyard |
16 Jul |
2 Aug |
823 |
KISSED BY BREL New cabaret show by Claire Watling |
Jermyn Street |
23 Jul |
8 Aug |
825 |
KOOS SAS: LAST BUSHMAN OF MONTAGU New play by David Kramer |
Tricycle |
16 Jul |
1 Aug |
807 |
MAD FOREST Revival of play by Caryl Churchill (JMK Award) |
BAC |
22 Jul |
8 Aug |
811 |
THE MOUNTAINTOP Transfer of play by Katori Hall |
Trafalgar Studio 1 |
20 Jul |
5 Sep |
812 |
ONCE ON THIS ISLAND Revival of Stephen Flaherty/Lynn Ahrens musical |
Hackney Empire |
28 Jul |
16 Aug |
826 |
SPIKE MILLIGAN'S ADOLF HITLER: MY PART IN HIS DOWNFALL New adap’n by Ben Power & Tim Carroll |
Hampstead |
24 Jul |
22 Aug |
827 |
STOCKWELL: THE INQUEST INTO THE DEATH OF JEAN CHARLES DE MENEZES By Kieron Barry |
Landor |
22 Jul |
8 Aug |
815 |
A STREETCAR NAMED DESIRE Revival of play by Tennessee Williams |
Donmar Warehouse |
28 Jul |
3 Oct |
838 |
’TIS PITY SHE’S A WHORE Revival of play by John Ford (Baseless Fabric TC) |
White Bear |
21 Jul |
9 Aug |
820 |
TOO CLOSE TO THE SUN New musical by John Robinson and Roberto Trippini |
Comedy |
24 Jul |
8 Aug |
829 |
TROILUS AND CRESSIDA Revival of play by Shakespeare |
Globe |
22 Jul |
20 Sep |
821 |
THE WRONG SLEEP New play by Mary Mazzilli (Educated Guess) |
Cock Tavern |
17 Jul |
1 Aug |
806 |
Regions |
||||
ENRON New play by Lucy Prebble (Chichester / Royal Court / Headlong) |
Chichester, Minerva |
22 Jul |
29 Aug |
849 |
FOR ALL TIME New play by Rick Thomas |
Keswick, Theatre by the Lake |
24 Jul |
7 Nov |
846 |
THE GRAPES OF WRATH Revival of adaptation by Frank Galati from novel by John Steinbeck |
Chichester Festival |
16 Jul |
18 Aug |
847 |
Latitude festival See review pages for details of productions covered |
Henham Park |
16 Jul |
19 Jul |
846 |
MACBETH Revival of play by Shakespeare (Bard In The Botanics) |
Glasgow, Botanic Gardens |
17 Jul |
1 Aug |
853 |
THE MEMORY OF WATER Revival of play by Shelagh Stephenson |
Keswick, Theatre by the Lake |
12 Jun |
6 Nov |
846 |
RICHARD III Revival of play by Shakespeare (Bard In The Botanics) |
Glasgow, Botanic Gardens |
18 Jul |
1 Aug |
853 |
THE SERVANT O’ TWA MAISTERS Revival of play by Carlo Goldoni, adapted by Victor Carlin |
Pitlochry Festival |
16 Jul |
1 Oct |
852 |
SUMMER LIGHTNING Revival of adaptation by Giles Havergal from novel by P G Wodehouse |
Keswick, Theatre by the Lake |
5 Jun |
6 Nov |
845 |
SUS Revival of play by Barry Keeffe |
Bristol, Bridewell Island |
15 Jul |
26 Jul |
847 |