Friday Arts Diary

Our cultural picks for the week ahead.

Film

Les Misérables, released 11 January

After its extreme success on the stage – having been seen by more than 60 million people in 42 countries, and in 21 languages across the globe - Boublil and Schönberg’s Les Misérables finally hits our cinema screens this Friday.

With an impressive cast list including Hugh Jackman, Russell Crowe and Helena Bonham Carter, the film will deliver the epic story of ex-prisoner Jean Valijean in 19th century Paris, as he meets factory worker Fantine and agrees to care for her daughter whilst being tracked down by policeman Javert for breaking his parole. The film is released in cinemas on January 11th.

Circus

Kooza, Cirque du Soleil, Royal Albert Hall, Kensington Gore, London SW7 2AP, Jan 5 - Feb 10 2013

Cirque du Soleil brings their show Kooza to the UK for the first time this week at the Royal Albert Hall. The spectacle taps into their origins, combining a mix of the traditional acrobatics and clowning. The visuals have been described as ‘electrifying’ and ‘exotic’, while the show itself is to depict the story of The Innocent, a melancholy loner who strives to belong. All culminating in a spectacular display of contortionism, high wire and a rather ominous-sounding ‘Wheel of Death’.

Theatre

Old Times, Harold Pinter Theatre, 6 Panton Street SW1Y 4DN, Jan 12 – 6April 2013

This is the first Pinter play to be performed in the freshly-named Harold Pinter Theatre, previously known as the old Comedy Theatre. Actress Kristin Scott Thomas and director Ian Rickson join forces in the “seductive and compelling” drama, Old Times. The pair had previously collaborated in Betrayal, also written by the late playwrite.

Lia Williams and Rufus Sewell complete the minimal cast, with the two female actresses swapping between the roles of Anna and Kate from show to show. The play tells the story of three friends reminiscing over past times, which results in conflicting recollections and the reawakening of sexual tensions.

Opera

La Bohème, Royal Opera House, Bow Street, Covent Garden, London WC2E 9DD, 5 Jan – 12March 2013

The Royal Opera House opens its doors for John Copley’s production of Puccini’s La Bohème. The tear-jerker set in Paris in the 19th century sees Rodolfo, a meagre poet, meet Mimì, a seamstress, and fall passionately in love. Their happiness, however, is threatened when Rodolfo learns that Mimì is gravely ill. Reviews have deemed the Opera as “fresh and natural", and describe the singing as “beautifully shaped”.

Ballet

Tchaikovsky’s The Sleeping Beauty, London Coliseum, St Martin's Lane, London WC2N 4ES , 9-19 January 

The English National Ballet begin their tour of Tchaikovsky’s The Sleeping Beauty in London this week; with choreography from Kenneth Macmillan alongside Tchaikovsky’s best-loved ballet music, including the Rose Adagio, and the music that was used as the melody for Once Upon a Dream as featured in Disney’s Sleeping Beauty.

Extravagant costumes and detailed set design help to tell the legendary fairytale of Princess Aurora who must endure the curse of sleeping for a hundred years, after pricking her finger on a needle on her sixteenth birthday. The ballet has been described as a “triumph” that would “inspire not one but two generations”.

A previous performance of opera La Bohème. Photograph: Getty Images
Donmar Warehouse
Show Hide image

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