Friday Arts Diary

Our cultural picks for the week ahead.

Art

From Death to Death and Other Small Tales, Scottish National Gallery of Modern Art, Edinburgh 15 Dec-8 Sept 2013

Presenting masterpieces from the Scottish National Gallery of Modern Art and the D Daskalopoulos Collection, one of the most private important collections of modern and contemporary art, this exhibition offers the visitor 130 works.

The focus of the exhibition is the importance of the body as a theme in 20th and 21st century art practice. Visitors will be able to see works that have not previously been available to view in Scotland. The D.Daskalopoulos Collection has developed since 1994 and artists include Marcel Duchamp, Tracey Emin and Marina Abramovic.

Comedy

Josie Long, Romance and Adventure, BAC, London SW11, 19-21 December

The comedian is on tour with her sixth comedy solo show, Romance and Adventure, which was also nominated for the Edinburgh comedy award for best show (the third year in a row she's received that nomination). The show promises high-end adventure pursuits and even a moment when Josie will pretend to be some kind of posh Godzilla on the rampage. Focusing on the issues facing those turning 30, including the struggle to keep going when you are tired and the myriad doubts one faces.

Theatre

Privates on Parade, Noel Coward Theatre, London WC2, until 2 March 2013

Having opened in the West End a few days ago, this production has already received rave reviews in the national newspapers for the star performance from Simon Russell Beale. The play, directed here by Michael Grandage, is a comedy set against the murderous backdrop of the Malaysian campaign at the end of the Second World War. Private Steven Flowers is sent to the Song and Dance Unit in South East Asia where he meets Captain Terri Dennis, played by Russell Beale. Private Flowers soon learns from the flamboyant captain that becoming a man is more than just the uniform.

Julius Caesar, Donmar Warehouse, London WC2, until 9 February

This all-female production of one of history’s most prominent figures in Shakespeare’s play has likewise been successful among critics. It is Phyllida Lloyd’s first appearance as director since the Thatcher biopic The Iron Lady, and it is a return that is certainly lauded. Although Mark Rylance and Stephen Fry’s casting in Twelfth Night in an all-male production appears to have gained more headlines, the Donmar’s show is set to be a hit with the focus on the all-important issues of power and corruption.

Music

London Symphony Orchestra/Valery Gergiev, Barbican Centre, London EC2, 19 December

As part of UBS Soundscapes, the London Symphony of Orchestra will be performing next weekin the Barbican Hall. They will perform Szymanowski’s Symphony No 4 ("Symphonie Concertante"), his Violin Concerto No 2 and Brahms's Symphony No 4, conducted by Russian conductor, Valery Gergiev. Gergiev will be conducting several performances between 19 December and 31 March 2013.

Tracey Emin, whose work will feature in the Scottish National Gallery of Modern Art's latest exhibition on 15 December onwards. Photograph: Peter Macdiarmid/Getty Images
Donmar Warehouse
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Limehouse raises the question of when party loyalty becomes political irresponsibility

Labour's “Gang of Four” are brought to life brilliantly at the Donmar Warehouse.

A star of the Labour Party right wing, exiled from the shadow cabinet for deviating from the dominant orthodoxy, rants about how a decent but weak Labour leader, with an election-losing anti-European, anti-nuclear manifesto, risks letting the prime minister get away with whatever she wants.

Laughter shows that the audience gets what the dramatist Steve Waters is up to. Limehouse takes place on 25 January 1981, when a gentle veteran, Michael Foot, seems to be leading Labour to such sure oblivion at the next election that Dr David Owen has summoned his fellow moderates Shirley Williams, Bill Rodgers and (just back from a stint running Europe) Roy Jenkins to Sunday lunch in his kitchen in east London. This meeting led the “Gang of Four”, as they became known, to make a statement of estrangement from Labour that heralded the creation of the Social Democratic Party.

Waters was inspired by a New Statesman interview in which Rodgers wondered if the left-right divide under Jeremy Corbyn might justify a similar evacuation of the pragmatists now. The debates that the play stages – fidelity to party and national tribes against a fear of political and historical irrelevance – feel hotly topical.

Williams, considering an offer to abandon Labour and teach at Harvard, faced then the dilemma of an Ed Balls or Tristram Hunt now. And Labour members today who fantasise about a new progressive grouping might reflect that, while the SDP briefly seemed a plausible alternative to Thatcherism (winning 7.8 million votes at the 1983 election), the middle-class revolution was squeezed externally by two-party domination and internally by disputes over leadership and direction.

But, for all the parallel relevance, the success of Limehouse ultimately depends on the convincing re-creation of an era and its people. Enjoyable period details include the luxury macaroni cheese to a recipe by Delia Smith that Debbie Owen, Delia’s literary agent, chops and fries on stage to fuel her husband’s discussions with his three wary comrades. Waters also skilfully uses the mechanics of a pre-digital world – having to go out for newspapers, going upstairs to answer a phone – to get one character out of the way to allow others to talk about them.

As a good playwright should, Waters votes for each character in turn. Owen, though teased for vanity and temper, is allowed a long speech that honours his status as one of the most memorable orators in modern British politics. Tom Goodman-Hill samples Owen’s confident baritone without going the whole Rory Bremner.

Playing Jenkins, a man celebrated for both a speech defect and rococo cadences, Roger Allam has no choice but to deliver the voice perfectly, which he does. Waters carefully gives the character an early riff about the “crepuscular greyness” of Brussels, allowing Allam to establish the w-sounds and extravagant adjectives. Actor and playwright also challenge the assumption that for Jenkins both to love fine wine and to advocate social justice was inevitably a contradiction.

Debra Gillett refreshingly avoids the scattiness that caricaturists attribute to Williams, stressing instead her large brain and deep soul, in a portrayal that increases the sense of shame that the Tories should lead Labour 2-0 in the score of female prime ministers. As Rodgers (in Beatles terms, the Ringo of the confab four), Paul Chahidi touchingly suggests a politician who knows that he will always be a bag-man but still agonises over whose luggage to carry.

Unfolding over 100 minutes, Polly Findlay’s production has a lovely rhythm, staging the delayed entrances of Jenkins and Williams for maximum impact. Biodramas about the living or recently dead can be hobbled by a need to negotiate objections of tact or fact. Politicians, however, often purchase even the rudest cartoons of themselves for the loo wall, and the real Owen, Williams and Rodgers laughed warmly during, and strongly applauded after, the first night.

At an impromptu press conference afterwards, a genial and generous Owen astutely observed that what at the time was “a very happy day in our house” has been dramatised as tragicomedy. But, regardless of whether Marx was right about history repeating itself the second time as farce, the possibility that farce is being repeated in Labour Party history has encouraged a compelling play that is sublimely enjoyable but also deeply serious – on the question of when loyalty to party can become disloyalty to political responsibility.

“Limehouse” runs until 15 April

Mark Lawson is a journalist and broadcaster, best known for presenting Front Row on Radio 4 for 16 years. He writes a weekly column in the critics section of the New Statesman.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution