Friday Arts Diary

Our cultural picks for the week ahead.

Film

Returning to Oz. BFI, Southbank, London SE1, 1-14 March 

In anticipation of Sam Raimi’s soon-to-be-released Oz: The Great and Powerful, the BFI will be screening Victor Fleming’s 1939 classic film The wizard of Oz as well as two early film adaptations: The Patchwork Girl of Oz (1914) with live piano on 1 and 3 March, and The Wonderful Wizard of Oz (1910) which is the earliest surviving film of the Oz story.

Dance

Mise en Scene.  Barbican Centre, London EC2, until 9 June

Leading contemporary artist Philippe Parreno has devised this performance in conjunction with the Barbican’s featured exhibition- The Bride and Bachelors: Duchamp with Cage, Cunningham, Rauschenberg, and Johns. Inspired by the choreography of Cunningham and the music of John Cage, two Yamaha Disklavier pianos will be playing his scores during the dancers’ performances. Due to Cage’s fervent interest in soundscapes, Parreno has devised his own interpretation of Cage’s 4’33”

Live dance "Events"  will be performed on Thursday evenings and weekends throughout the duration of the exhibition by dancers from Richard Alston Dance Company and by students and graduates from London Contemporary Dance School
 

Theatre

The Captain of Kopenick. National Theatre, London SE1, until 4 April

“I used to think all the trouble in the world was caused by people giving orders. Now I reckon that it’s people being so willing to take them.”

Petty criminal Wilhelm Voigt has just been released from prison. He wanders 1910 Berlin in pursuit of his identity papers. When he picks up an abandoned military uniform in a fancy-dress shop, he finds the city ready to obey his every command. At the head of six soldiers, he heads to the Mayor’s office and confiscates the treasury with ease on the grounds of speculated corruption. However, what he seeks is official recognition of his existence. Ron Hutchinson’s humourous take on Carl Zuckmayer’s The Captain of Köpenick, first staged in Germany in 1931, sees Antony Sher starring in the title role.

 

Art

Art13 London. Olympia Grand Hall, London W14, 1–3 March

Art13 London is the capital’s brand new art fair for modern and contemporary art. The first edition will showcase 129 leading galleries from 30  countries and will exhibit thousands of artworks, including painting, sculpture, photography, prints and editions or multimedia, with prices ranging from £100- £500, 000. Sculptures by emerging and established sculptors will be on display outside the fair and a series of free tours, performances, talks and high-profile panel discussions will take place. In addition, 21 large scale sculptures by contemporary sculptors will be exhibited as "Art 13 Projects".

Photo: Getty Images
Ben Whishaw as Hamlet by Derry Moore, 2004 © Derry Moore
Show Hide image

The art of coming out: how the National Portrait Gallery depicts the big reveal

Portraits of gay celebrities, politicians and sports stars line the walls in a new exhibition called Speak Its Name!, marking 50 years of advances in gay rights.

I have a million questions for the doctor friend I’ve brought with me to the National Portrait Gallery. A million questions that, if I really think about it, boil down to: “Why were the Tudors so godforsakenly ugly?”

Inbreeding? Lead makeup? An all-peacock diet?

I don’t know why I assume she’ll know. She’s a neonatologist, not a historian. But I’m desperate for some of the science behind why these 500-year-old royals look, if these imposing paintings of them are anything to go by, like the sorts of creatures that – having spent millennia in pitch black caves – have evolved into off-white, scrotal blobs.

My friend talks about the importance of clean drinking water and the invention of hygiene. We move onto an extremely highbrow game I’ve invented, where – in rooms lined with paintings of bug-eyed, raw sausage-skinned men – we have to choose which one we’d bang. The fact we’re both gay women lends us a certain amount of objectivity, I think.


Alexander McQueen and Isabella Blow by David LaChapelle, 1996 © David LaChapelle Courtesy Fred Torres Collaborations

Our gayness, weirdly, is also the reason we’re at the gallery in the first place. We’re here to see the NPG’s Speak its Name! display; photographic portraits of a selection of out-and-proud celebrities, accompanied by inspirational quotes about coming out as gay or bi. The kind of thing irritating people share on Facebook as a substitute for having an opinion.

Managing to tear ourselves away from walls and walls of TILFs (Tudors I’d… you know the rest), we arrive at the recently more Angela Eagle-ish part of the gallery. Eagle, the second ever British MP to come out as lesbian, occupies a wall in the NPG, along with Will Young, Tom Daley, Jackie Kay, Ben Whishaw, Saffron Burrows and Alexander McQueen.

Speak its Name!, referring to what was described by Oscar Wilde’s lover Lord Alfred Douglas as “the love that dare not speak its name”, commemorates 50 years (in 2017) since the partial decriminalisation of male homosexuality in England and Wales.

“Exhibition” is maybe a grandiose term for a little queer wall in an old building full, for the most part, of paintings of probably bigoted straight white guys who are turning like skeletal rotisserie chickens in their graves at the thought of their portraits inhabiting the same space as known homosexual diver Tom Daley.


Tom Daley By Bettina von Zwehl, 2010 © Bettina von Zwehl

When you’re gay, or LBTQ, you make little pilgrimages to “exhibitions” like this. You probably don’t expect anything mind-blowing or world-changing, but you appreciate the effort. Unless you’re one of those “fuck The Establishment and literally everything to do with it” queers. In which case, fair. Don’t come to this exhibition. You’ll hate it. But you probably know that already.

But I think I like having Tudors and known homosexuals in the same hallowed space. Of course, Angela Eagle et al aren’t the NPG’s first queer inhabitants. Being non-hetero, you see, isn’t a modern invention. From David Hockney to Radclyffe Hall, the NPG’s collection is not entirely devoid of Gay. But sometimes context is important. Albeit one rather tiny wall dedicated to the bravery of coming out is – I hate to say it – sort of heart-warming.


Angela Eagle by Victoria Carew Hunt, 1998 © Victoria Carew Hunt / National Portrait Gallery, London

Plus, look at Eagle up there on the “yay for gay” wall. All smiley like that whole “running for Labour leader and getting called a treacherous dyke by zealots” thing never happened.

I can’t say I feel particularly inspired. The quotes are mostly the usual “coming out was scary”-type fare, which people like me have read, lived and continue to live almost every day. This is all quite mundane to queers, but you can pretty much guarantee that some straight visitors to the NPG will be scandalised by Speak its Name! And I guess that’s the whole point.

Eleanor Margolis is a freelance journalist, whose "Lez Miserable" column appears weekly on the New Statesman website.