Friday Arts Diary

Our cultural picks for the week ahead.

Art

Bela Kolarova exhibition, 31 Jan – 7 April, Raven Row, London

A retrospective of the work of Czech artists Bela Kolarova (1923-2010). This is the first major survey of her work outside of her home country. Kolarova’s “light drawings” and “derealised portraits” pioneered an art based on objects associated with domesticity and the feminine, rooted in the context of Cold War and exile. The works on display will cover Kolarova’s career, including documentary photographs from the late fifties, camera-less experiments, “arranged” photographs of objects and assemblages from the sixties, as well as make-up drawings and assemblages from the seventies and eighties.

Opera

La Traviata, 2 Feb – 3 March 2013, London Coliseum

Verdi’s masterpiece will be staged at the Coliseum. One of the Verdi’s most moving and popular operas, La Traviata tells the story of a courtesan sacrificing her hopes for her lover’s reputation.

In a new production, acclaimed director Peter Konwitschny uses modern uncluttered staging to present the tragic and moving opera. Compelling characters and famed melodies make this an engaging and emotional performance. Starring American soprano Corinne Winters in her European debut, British lyric tenor Ben Johnson and internationally acclaimed baritone Anthony Michaels-Moore.

Classical Music

One Night in Vienna, 27 January, Royal Festival Hall, London

Johann Strauss Dancers present a combination of Viennese music, song and dance in glorious period costumes. Conductor Rainer Hersch guides performers through Radetzky March, The Blue Danube Waltz, The Laughing Song from Die Fledermaus, Thunder and Lightning Polka, and Voices Of Spring, as well as Tchaikovsky, Lehar and many more. The Johann Strauss Orchestra performs with guest soprano Charlotte Ellett.

Festival

Burns Night Celebrations, 25 January, Edinburgh

“Fair fa' your honest, sonsie face, Great chieftain o the puddin'-race!” Wrote the eminent Scot Rabbie Burns in “Address to a Haggis.” If you are in Edinburgh this weekend there myriad opportunities to raise a glass to the poet. According to robertburns.org “Burns Suppers range from stentoriously formal gatherings of esthetes and scholars to uproariously informal rave-ups of drunkards and louts,” so take your pick. The Whiski bar and restaurant in Edinburgh will be hosting an evening of traditional Scottish fiddle music, accompanied by haggis neeps and tatties.

Theatre

Count Magnus: Two Ghost Stories by M R James 05-09 Febuary, The Brewery, Bristol

As if South-West England wasn’t chilling enough, the Nunkie Theatre Company will be bringing ghost stories to Bristol in February. Two short stories by antiquarian ghost story master, Monague Rhodes James will be performed at the Brewery Theatre.

150 years since the birth of M R James, Robert Lloyd Parry will be retelling his stories as a one man show. The first of these tales, Count Magnus, is a thriller set in Sweden about the consequences of travel-writer’s over-inquisitiveness. Denmark is then the setting for Number 13, a tale of a haunted hotel room.

Celebrate the poetry of Robert Burns this Saturday (Getty Images)
BBC/ ITV Cradle Ltd/Matt Squire
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Is Danny Baker a “bona fide genius”? Not in his new show

The clichéd decade: Cradle to Grave and Danny and the Human Zoo reviewed.

I’m not qualified to rule on whether or not Danny Baker is, as the newspapers insist, a “bona fide genius”; I gave up listening to the ever more blokeish BBC Radio 5 Live a while ago, and I’m too young to remember the supposedly fantastic pieces he delivered to the NME back in the day (I read that they were even more amazing than those of Tony Parsons, which is saying something, isn’t it?). But I can tell you this: his new autobiographical comedy series, Cradle to Grave (Thursdays, BBC2, 9pm), displays no evidence at all of his talents, brilliant or otherwise. Anecdotes that just peter out. Jokes that fail to hit home. Misplaced nostalgia. Honestly, what’s the point? If you want 1974 – and quite a lot of us seem to, if the performance of Jeremy Corbyn is anything to judge by – you’d be better off treating yourself to a box set of the eternally satisfying Whatever Happened to the Likely Lads?.

The series, co-written with Jeff Pope, is based on Baker’s memoir Going to Sea in a Sieve. It’s 1974, and Danny (Laurie Kynaston) is a randy teenager who still lives at home in good old Bermondsey with his ducking and diving docker dad, Fred, aka Spud (Peter Kay), his kindly mum, Bet (Lucy Speed), and his older sister, Sharon (Alice Sykes). A voice-over tells us, in effect, to forget all about the nasty old three-day week and to consider instead the warmth of lovely south-east London. How decent its people are, how eager to try out newfangled consumer goods such as the continental quilts Spud has pilfered and which now fill the hall of his tiny house like clouds. (Correct: he’s basically Del Boy, minus the Robin Reliant, the cocktail bar and, fatally, the workmanlike jokes.)

The denizens of Bermondsey are not, you understand, quite ready for the new world. In this part of London, bomb sites remain, merrily sprouting buddleia and pink willow herb; men are men and women are women. Spud is horrified to discover that his daughter’s new boyfriend wears – wait for it – white plimsolls, though not quite so horrified as Danny is to find a stranger’s ­penis flapping exuberantly against his cheek when he goes up west to see Hair (needless to say, our Danny was in search of naked girls, not sweaty blokes). If you find this kind of thing funny and (I can hardly bear to write the words) “heart-warming”, then you have seven weeks of bliss ahead. Who knows? Perhaps the characters will go on to debate the virtues of the various flavours of Old English Spangles. But I can’t believe that many people will be so easily pleased. Those who are old enough to remember the Seventies will know that the best of the decade’s own comedy was ten times more sophisticated than this, and those who aren’t – those who have never had anything other than a duvet on their bed, and can locate a naked female or even a flapping male member with just one tap of their mobile – will simply watch something altogether more grown-up on Netflix.

Kascion Franklin (centre) on BBC1. Photo: BBC/RED

Unfathomable BBC scheduling (is it having some kind of John Whittingdale-induced nervous breakdown?) treated us to two doses of 1974 as the summer limped to an end. The second loving spoonful came in the form of Danny and the Human Zoo (31 August, BBC1, 9pm), an almost-biopic drama in which Lenny Henry told the story of his painful start in comedy.

My TV critic colleagues have all been most respectful but, lovely as Kascion Franklin’s performance in the lead role was, I couldn’t altogether get with the show. Unlike Baker, Henry certainly wiped the Vaseline from the lens: his version of the Seventies was clear-eyed, particularly in the matter of racism. But his tendency as a writer is to tell rather than show, which becomes wearying, and the narrative he offered us – success on the New Faces talent show, followed by the self-loathing that came of joining the Black and White Minstrels – wasn’t exactly unfamiliar. An unscrupulous manager with bad hair; parents who think their son should get a “proper” job but are secretly oh-so-proud; Mud’s “Tiger Feet” and Alice Cooper’s “School’s Out” on the soundtrack: such TV clichés really should be illegal by now.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 03 September 2015 issue of the New Statesman, Pope of the masses