The English National Opera company is having a tough old time. Its personnel keep changing, its huge building, the London Coliseum is a headache to maintain and fill, and its audience is too old. It has resorted to cast list handouts whose reverse patronises newcomers by telling them how to behave at the opera. And its big problem is its bone-head commitment to singing in English. With the … [Read more...]
Archives for February 2020
From caftan to opera hat: the greatest living playwright takes on the Jewish bourgeoisie and its destruction
There’s something a bit ho-hum, mean and pinched about the reception of Sir Tom Stoppard’s new (and, he says, perhaps final play), Leopoldstadt. A minority has treated its opening this February in the 1899 Wyndham’s Theatre as a perfectly ordinary event, nothing special in the long history of the British theatre or, indeed, in the chronicles of theatre. This misses the significance, not of the … [Read more...]
Beckett: A bit of Rough at the Old Vic
For one reason or another, we hadn’t been to the Old Vic since the daft unisex loos were installed, and, said my wife, “Something else has changed.” It was very noticeable that the press night audience for the Samuel Beckett double-bill was much younger than when I last reviewed a production here: it is, of course, the “Harry Potter” effect. I am a Harry Potter virgin; but I can understand why the … [Read more...]
The Mystery/History of the Bottle in the Box
On Thursday, 23rd January, we had a small party at Millwood Farm. Though as it happened all our guests had our recovered good health to celebrate, that was not the reason for the gathering. Our excuse to dine on foie gras, tomato salad and burrata, and long-cooked shoulder of salt marsh lamb with borlotti beans from the garden, was to drink a special bottle, one that had been in my cellar for a … [Read more...]