Shakespeare

Flight MH17: the unctuous Bishop James Jones shows off on ‘Thought for the Day’

Perhaps it’s my imagination, but every time the Rt Rev James Jones, former Bishop of Liverpool, pops up on Thought for the Day I hear an undertone of disappointed ambition. The same goes for Lord Harries, ex-Bishop of Oxford and, like Jones, once spoken of as a future Archbishop of Canterbury. It’s as if they’re saying: look how much poetry and gravitas I can pack into three minutes! I’d have been jolly good at Lambeth… listen to ‘Thought for the Day from the Rt Rev James Jones’ on Audioboo

Why it’s good to remember that Bach could be a tedious old windbag

When I was first learning about classical music, 50 years ago, the scene was more streamlined than it is now. Beethoven was king, with Brahms and Mozart next in line, and Haydn slowly establishing himself. Mahler was the new kid on the block; Bruckner was largely unknown and mistrusted. If one wanted the full symphony orchestra experience in late romantic music, it was to Tchaikovsky that most promoters turned. Tchaikovsky cycles, Beethoven cycles, Haydn’s ‘London’ symphonies, Mozart’s last three symphonies were the way to guarantee a crowd, with general knowledge of all Beethoven’s music — string quartets, piano trios, Lieder — at an all-time high. Now Bach is king. In

‘Basta’ must be the Queen’s English — a Queen used it

My chickens do not usually come home to roost so rapidly. Only a fortnight ago I wrote that ‘some people use basta in English, but to my ears it sounds like saying ciao — inauthentic’. Then I went back to reading Jane Ridley’s Bertie, the life of Edward VII (and how much I enjoyed it too). What should I find on page 357? I found Queen Alexandra writing about what she would wear at the coronation in 1901. ‘I know better than all the milliners and antiquaries,’ she wrote. ‘I shall wear exactly what I like, and so shall all my ladies — Basta!’ I can hardly accuse a queen of England of speaking

Paul Johnson’s diary: Boris would make a great PM – but he must strike now

I feel an intense antipathy for Vladimir Putin. No one on the international scene has aroused in me such dislike since Stalin died. Though not a mass killer on the Stalin scale, he has the same indifference to human life. There is a Stalinist streak of gangsterism too: his ‘loyalists’ wear masks as well as carry guns. Putin also resembles Hitler in his use of belligerent minorities to spread his power. Am I becoming paranoid about Putin? I hope not. But I am painfully aware that he would not matter if there was a strong man in Washington. As it is, President Obama is a feeble and cowardly man who

Shakespeare invented Britain. Now he can save it

[audioplayer src=”http://traffic.libsyn.com/spectator/TheViewFrom22_10_April_2014_v4.mp3″ title=”Fraser Nelson and Angus Robertson debate the shared values of the English and Scots” startat=32] Listen [/audioplayer]‘What country, friends, is this?’ We’ve been wrestling with Viola’s question almost from the moment she asked it. It was barely a year after Shakespeare had scribbled out those words, in the first Act of Twelfth Night, that James VI of Scotland inherited England’s throne, beginning a 400-year confusion over national identity that has led to the present referendum on partition. The new monarch wanted to amalgamate his two realms. In his first address to the House of Commons, James asked — in his noticeably Scottish accent — ‘Hath not God first united these

Michael Craig-Martin pokes a giant yellow pitchfork at the ordinary

Visitors to Chatsworth House this spring might wonder if they have stumbled through the looking-glass. The estate’s rolling parkland has been invaded by an army of vibrantly coloured, outsized garden tools, whose outlines seem to hover, mirage-like, over the landscape. These painted-steel 2D ‘sculptures of drawings’ are the brainchildren of the conceptual artist Michael Craig-Martin. Craig-Martin finds poetry in the everyday and here he has taken 12 commonplace objects — a wheelbarrow; a spade; a lightbulb — and transformed them into something extraordinary. He also believes that context is everything when it comes to art and the works have been carefully positioned. While ‘High Heel’ (above) speaks to the decadence

Radio that makes you feel the wind on your cheek

After a walk in Richmond Park beset by rush-hour traffic, the Heathrow flight path and a strange swarm of flying ants (strange because so early in the year), it was unsettling to come back in and switch on and listen to Kirsty Gunn’s spring walk for this week’s The Essay on Radio 3 (which I heard as a preview but you can now catch on iPlayer). Gunn lives in Sutherland in the far north of Scotland close to the River Brora, and has a view from her back windows that stretches for 500 square miles with no other house or sign of human life in sight. ‘There’s nothing out there,’

Why are Shakespeare’s women so feeble?

There’s a problem, as we all know, with female roles in the theatrical canon, and it reaches all the way back to the Bard. Shakespeare’s women lack the richness and variety of his male characters. Modern theatre practitioners have tried all kinds of ploys to correct this imbalance. Next month the RSC launches a season of dramas, Roaring Girls, written during Shakespeare’s lifetime and featuring women in pivotal roles. This is bound to reopen the question of Shakespeare’s approach to women and their subordinate position in his work. It’s easy to argue that Shakespeare’s art simply reflects his habitat. Wealth, freedom and influence were the preserve of men, so he

Letters | 7 November 2013

Counting on the country Sir: I spent many hours helping to canvas for local Conservative candidates before the last two elections (‘The countryside revolts’, 2 November). I was motivated to do so because of the Labour government’s prejudice against the rural community. The Conservative party offered a chance to redress this prejudice through repealing or amending legislation on small employers, hunting, communication, transport, fuel, immigration and the EU. But progress on these issues has been negligible. We see no action on the Hunting Act, and no action to stop the harassment of country people by vigilante pressure groups, despite managing a more robust reaction to anti-fracking campaigners. Huge effort has

James Delingpole

James Delingpole: I’m in love with Shakespeare — and with David Tennant’s Richard II

‘Dad, it’s three hours long,’ says Boy, worriedly. ‘Yeah. And whose bloody fault is it we’re going?’ I want to reply but don’t because I know, as a dad, you’re not supposed to say discouraging things when your child has asked you to take him to see his first ever Shakespeare play at the RSC. Still, I can’t pretend I’m happy with the arrangement. Partly it’s the cost of the tickets: £50-plus each, with no student discount for Boy because the show has long since sold out and you don’t get special deals on last-minute returns. Partly it’s just that, well, it’s the theatre and I’m not that keen on

Alexander Waugh’s diary: Shakespeare was a nom de plume — get over it

Researching a new book on Shakespeare’s sonnets, I stumbled upon an astonishing piece of hitherto unnoticed evidence in a 16th-century book by a sex-maniac clergyman from Cambridge. I shall not bore you with the details; suffice it to say that William Covell (the author and S-MC in question) revealed in words not especially ambiguous by Elizabethan standards that ‘Shakespeare’ was a nom de plume used by the courtier poet Edward de Vere. Now a lot of people have been saying this for a very long time — so stale buns to that, you may think — except that no one has yet noticed that the matter was revealed in a

David Tennant plays Richard II like a casual hippie

Gregory Doran, now in command at Stratford in succession to Sir Michael Boyd, launches his regime with Richard II, intending to stage the complete Shakespearean canon over the next six years, ‘making every play an event’. What’s really good is that the plays will also be seen on tour, in London, online and ‘live on screen in cinemas and classrooms nationwide’. It’s taken too long for the publically funded RSC to put live ‘streaming’ in place; Richard II, broadcast on 13 November, will be the first play so honoured. With David Tennant in the title role this may already be a sell-out, but encore screenings are already planned in many

It’s time England asserted its modern national identity

Taking tea at four, strawberries and cream, Wimbledon on a hot summer’s day, Christmas carols round the tree, street parties for a Queen’s Jubilee: the images of England are often nostalgic and middle class. To some, England, our England, is summed up in the poems of Rupert Brooke, and turned into childhood mystery in the sympathetic portrait of the Shire in The Hobbit. England is The Wind in the Willows, kindness to animals, appreciation of nature’s rich and gentle abundance in a rain swept temperature island.  It is Alice in Wonderland, tales that recognise children are on their own important journey in their own right. We are seafarers and stay at

Spectator Play: The highs and the lows of what’s going on in arts this week | 13 September 2013

As the new artistic director of the Royal Shakespeare Company, Gregory Doran might be expected to lie low as he settles into his new role. But on the contrary – Doran is full of ideas about how to develop the company, as Robert Gore-Langton finds when he interviews him in this week’s Spectator. As well as a plan ‘to stage every play Shakespeare wrote over the next six years’ – that is between now and 2018 – he has also banned Shakespeare from Stratford’s Swan theatre, deciding instead to put on plays ‘by his contemporaries’. Top actors and top ideas are all part of his plan – which you can

Spectator Play: The highs and the lows of what’s going on in arts this week | 3 August 2013

‘Shakespeare’s Globe’, as the theatre has been called since it was founded in 1997, is unusual for a theatre in that it makes a large annual profit, without receiving public funding. How? Its unique angle means it has no need to market itself – what’s more attractive to an American audience than Shakespeare, in London, in a reconstructed Shakespearean theatre? But its decision to put all Shakespearean productions on hold to make way for another dramatist is a decision which Lloyd Evans isn’t too sure about. Samuel Adamson’s Gabriel may be accompanied by some lovely Purcell music, but the actual play’s content leaves much to be desired. Theoretically, there’s nothing

Mind your language: Who says there’s a ‘correct name’ for the penis?

In a very rum letter to the Daily Telegraph, the Mother’s Union of all people joined with some other bodies to demand that ‘primary schools should teach the correct names for genitalia’. What can they mean? A confederate of the Mother’s Union in this campaign, the Sex Education Forum, says that by the age of seven, children should name ‘external genitalia’. From examples supplied, it seems to want us all to speak Latin. It’s as if we should no longer say womb but uterus, not skull but cranium, not big toe but hallux. By using Latin names for genitalia, the campaigners hope to avoid ‘perpetuating shame’. I wonder whether they

Josie Rourke has a hit at last with The Weir, The Tempest: a karaoke version of all

The Weir is the ultimate hit-from-nowhere. It was written in 1997 by the 26-year-old Conor McPherson. It opened at the Royal Court Upstairs and glided over to Broadway and then toured America. The script defies every rule of theatrical physics. It’s wordy and static, it’s entirely devoid of action or spectacle, and the atmosphere is mired in gloom. Four morose drinkers, stuck in a pub in the west of Ireland, try to impress a pretty incomer from Dublin by telling her ghost stories. Nothing else happens. The faint stirring of a romance between the Dublin girl and the handsome deadbeat behind the bar provides a tiny note of optimism at

The Ize Have It

She divided us in life, she’s dividing us in death. Baroness Thatcher was so controversial that a single letter in a single word in the subtitle of a book that someone else has written about her and is being published after her funeral can get people’s backs up. Charles Moore’s biography is, according to its cover, ‘authorized’. Iain Dale isn’t happy (and I’m sure he’s not alone). ‘I am appalled,’ he writes on his blog, ‘that they have used the American spelling … It’s certainly not what she would have wanted and it grates. Penguin ought to remember its British roots.’ Good news, Iain – it turns out ‘-ize’ isn’t

William Shakespeare and the pursuit of human happiness

‘Under the greenwood tree’ from As You Like It AMIENS: Under the greenwood tree Who loves to lies with me, And turn his merry note Uno the sweet bird’s throat, Come hither, come hither, come hither. Here shall he see No enemy, But winter and rough weather. Who doth ambition shun, And loves to live i’th’ sun, Seeking the food he eats, And pleased with what he gets ALL: Come hither, come hither, come hither. Here shall he see No enemy, But winter and rough weather. In As You Like It, a French duke has been usurped by his brother. He lives now in exile with his followers in the Forest of

All the world’s a stage

In Translations, Brian Friel’s play about English military and cultural imperialism, the frustrated teacher Manus explains how he uses ‘the wrong gesture in the wrong language’ to insult in Gaelic an English soldier. In Shakespeare in Kabul, Stephen Landrigan and Qais Akbar Omar’s account of the first production of Shakespeare in Afghanistan since before the Soviet invasion in the 1970s, an Afghan theatre group, led by the French director Corinne Jaber, attempt the ‘right’ gestures in their own language as they perform Love’s Labour’s Lost. Following the initial 2005 performance in Kabul, the actors are now trying to do the same in London, re-importing Shakespeare to the UK by putting