With this delicious thought in mind dear reader I shan’t hold back with recommending a super satisfying option for this coming Friday evening’s (28 June) entertainment.

For if you haven’t managed it yet, manage it now and attend a LiveFriday event at the Ashmolean in Oxford.  I believe they have been rolling out the programme since the beginning of the year (well at least that is when I first attended), on the last Friday of each month from 7.00pm until 10.30pm.

Briefly, the focus of the event changes monthly so be prepared to take on the less than usual, though better than great, fun to be had. For instance:

January’s, An Evening with the Gods, was run by the Classics department, so in keeping with the theme, you could take in a little Ancient Greek tuition; play ‘authentic’ Roman board games; hang-out sipping wine in Hades; demonstrate your Greek dancing skill; and fill in the missing spots in your knowledge base in reference to what the Romans really ate.

April’s was marketed as China Night…which I was desperate to attend, however found myself detained elsewhere and have since discovered over 2,300 people passed through the doors that night, so the party excitement factor must have been pretty high.

Luckily, I returned for a fix in May for Wilderness in the City, where I not only revelled in the audience of my first philosophy slam (hopefully not my last); enjoyed the sound and spectacle of an exquisitely talented lady opera singer; floated around the exhibits in a state of excitement; smiled at some beautiful violins; but was also introduced (well not personally, rather was in the crowd listening to), some local live bands down in the basement café.

So, you are very right to deduce at this point the atmosphere on these evenings is buzzy and smiling faces abundant.

Additionally, a big YIPPEE for it’s back on this week and focusing on the creative (however when wasn’t it…).  Anyway, you’ll be entertained and educated by a talented bundle of artists, illustrators, poets and musicians at Come Draw with Me!

Please note, these evenings are best suited for people who love having fun and enjoy the unexpected.

Admission is free and to find out more please head to –www.ashmolean.org/LiveFriday

At the British Museum

Warning: As I write this, a couple of lines from Funky Cold Medina keep reoccurring in my thoroughly disjointed brain, specifically the lyrics about the dog doing the wild thing on his leg, so please forgive me if I occasionally go off track.

Before I do though, let me take you back two weeks in time, when dressed for a summery day which didn’t materialise, one catfish and her family headed down to London town.  First stop the British Museum.

What a super venue – not just for being blown away by the architectural impressive exterior and interior – but also to wander through Mummy gazing, Sutton Hoo object spying, huge marble and stone admiring and one of my personal favourite pastimes – Museum Shop shopping.

This visit however was all about Pompeii (and Herculaneum), though honestly I wasn’t aware of the in brackets mentioned until I arrived.  So yes, my learn curve was very steep on this particular occasion.

Luckily the information you soak-up as you walk, watch and read inside the exhibition is pitched to the right level, it’s not only interesting but clearly provides you with great take home facts, the kind you can let slip (very subtly) into conversation, over a coffee maybe, when you realise your friends haven’t thought you were bright for a while.

Additionally, the layout of the exhibition is thoughtfully planned and based on the Tragic Poet’s house. However before you make it in there are two areas/pieces I’d like to draw your attention to. First up, and just as you enter, a cast of a dog – unfortunately distorted in pain – though a pretty powerful way to impress upon the visitor the brutality inflicted by the erupting volcano. And secondly, I was naturally drawn to the ‘Street’ corner just outside the Tragic Poet’s home featuring ‘Tavern Life’ – and became quite fond of a fresco depicting two people kissing.

Now to the Atrium, where I took a fancy to an exquisite mosaic portrait of a woman and discovered in the Familia section that ‘The lady of the house is at the centre of things’. Nice.

We also managed to find some respite away from the children on a school excursion in the Cubiculum (bedroom), a place I dashed to the moment I heard their teacher stating “you can’t go in there”. Yes I still possess the juvenile tendency to go against authority – so rushed in to discover some artworks illustrating a little nudity and little bit of grown up behaviour.  Poor kids, how were they really going to come to grips with learning about the Romans if they weren’t allowed to appreciate that they were society not adverse to spreading their love…

We headed then into the Hortus, where you shan’t be let down if you love marble statutes. Further too, you might also find yourself lingering for a couple moments in the side room where I spotted an interesting sculpture of Pan sharing his physical feelings with a Goat.

Then I headed to the Living Room – maybe you could too – where you’ll find a mosaic of a skeleton which appears to have escaped from the pages of an Allan Alhberg book, Funny Bones to be precise. And in the Dining Area look for the notice (and chuckle), found on one the walls of someone’s home after excavation stating, ‘Don’t dirty the couch covers, keep your eyes off other people’s partners and take your quarrels home with you’.

I hope that’s a sufficient taster…it  runs until 29 September 2013.

by Andrew Miller

Looking for a super satisfying read? Well here’s one to consider.

Really?… Why?

It’s plot driven and grips you from Chapter One.

And…Jean-Baptiste, (I’ll refer to him by his first name, as I feel I know him quite well now), is the protagonist and carries out his duty superbly.

He’s a chap taking on the difficult role of Project Manager – responsible for clearing a cemetery and church in central Paris, a couple of years prior to the French Revolution. Not nice, obviously, especially when he is confronted by direct opposition from within the house he lays his head.

Additionally, he’s a complex fellow, not one of those ‘crazy fun guys’, rather serious and unconventional, who’s grateful for his education and former training and desirous (initially at least), on making a sound impression professionally – with the latter, placed constantly under assault.

As you gobble down the pages, you’ll meet a fair variety of characters – no two the same. To illustrate:

• a 14 year old granddaughter of a sexton , with an excellent work ethic
• an organ-playing chap whom shares friendly relations with his landlady
• lots of Flemish grave-clearers who were formerly miners
• a tough mouthpiece for the Minister
• a maid who has a peep-hole in her floor
• a tailor who’s so good at his job that he can sell a pistachio suit to someone who’s had too much drink
• a shopkeeper who comes close to being taken down by a key

Furthermore dear reader, explore this novel and prepare yourself to experience.  For Mr Miller definitely places you in the action. He masterly fills your nostrils with the stench of the quarter (not nice again); makes you shiver in the cold; perspire in the heat; acquaint yourself with hardcore pity; and read past your bedtime.

It’s truly a good read.

Newsflash!

I’ve just arrived back in from a pole position placement down in the Norrington Room at Blackwell’s. For we have just returned from Rising Stars: Part III, the perfect opportunity to hear, learn and meet three highly engaging (though very different), bright sparks, ‘new’ on Literary Street.

Chaired by Dr Clare Morgan, the evening went from strength to strength. Not only as I had front row, less than 3 metres distance and guaranteed eye contact from published authors (please look at me, look at me) – however perhaps more so, for these talented story-tellers were incredibly different in terms of approach to writing and happy to share ‘their’ story with smiley lady (maybe too smiley lady) in front row and others in the room (less smiley, though keenly interested).

It was like heading to a Masterclass in how to write readable and sought after books. And also an ideal way to work out who’d you like to invite for dinner (all of them), so you could have their company and conversation for longer.

I found myself gripped by each question furnished by the Chair and each answer which was delivered thoughtfully, by the writers.

And what topped it off…each author, as well as their experience of the writing process, was incredibly unique. So, not so sadly – I can’t even provide you with a ‘my personal favourite’ recommendation.

Best thing to do in these circumstances, purchase all the books, look doe-eyed at the writers (including the Chair…she was great…and published), and stand even closer to these heros as they sign the title page.

And keep an eye out for:

The Last Hundred Days                                  Patrick McGuinness

Communion Town                                           Sam Thompson

The Gurkha’s Daughter Stories                    Prajwal Parajuly

And what happened 21 days ago.

Punished by the loss of our child to an adventure camp, my husband and I quickly rushed into juvenile delinquent mode, commencing a week’s long commitment to:

• little sleep
• lots of adult movies – but not those kind
• a huge breach of moderate alcohol consumption recommendations
• and a trip to Soho

And it was on the afternoon of our adventure to the latter, we introduced ourselves to Mr George Bellows, an American realist painter, currently being exhibited at the RA.

OK. We didn’t meet him as such as he did pass away almost 90 years ago, however we did manage to take in 71 examples of his creative talent.

And within five minutes of entering the show you will (I did), assert that this chap’s a highly accomplished all-rounder. For not only can he paint; he can draw; additionally, he is sharp in his observation and depiction of early 20^th century life, especially those less glamorous subjects whom find themselves either ring side at fights, working on the shore of the Hudson or swimming in the nude.

Let’s return to the paintings (38 in total), for these impressive works provide the viewer with reason enough to go see his artistic achievements in the raw. Especially, the first couple of rooms of the exhibition.

Be prepared to admire a mixture of cityscapes, views of the Hudson River, boxing fights, seascapes (and cliffs) and subjects whom appear a little less kept than your usual turn of the century folk whom tend to show up in portraits.

In addition – please note – he really knows how to paint snow.

Look out for – I promise I really tried to be concise here:

• Men of the Docks (1912)
• New York (1911)
• Summer Night Riverside Drive (1909) – receiving a highly commended for use and effect of light
• And, a snow painting (which is predominantly mauve and white – I think in the second room on the left of the entrance to the next room –if only I’d purchased the catalogue…it’s very, very good)

The show runs until 9 June 2013

Lichtenstein  – A Retrospective

There is something wonderful and fabulously reassuring about heading out to a take in a little art and being greeted by a seething mass of under 8s.

Yes kind reader, I have mellowed in my latter years and find this soft change not as uncomfortable as I’d presumed it would be.

Rather, I find these days, children lying on floors in galleries, armed with sketchbooks and colouring pencils at the ready, exactly the kind of behaviour which should be encouraged. Even if these same small darlings find it necessary to pencil roll the whole ramp of the ground floor of the museum between taking in the talents of the modern day master and eating their organic rice cakes (and leaving crumbs).

To my feedback then and what was hanging on the walls of Level 2, at the Tate Modern, Sunday 17 March.

Lots and lots of glorious Roy Lichtenstein.

A chap I knew next to nothing about however wished to explore.

Let’s look at Room 3 of the exhibition to start with what pleased me the most:

• Alka Seltzer (1966)
  an impressive black and white with a mermaid like pound coin fizzying in the centre.
• And head to Magnifying Glass (1963, I think)
  to be grabbed by Mr Lichtenstein’s ability to illustrate the difference between magnified and not magnified

Either head now to Room 4 or 5 – I chose 5 purely by accident though happily didn’t suffer for my silliness.

There are two Seascape paintings in this room, both interestingly painted in 1965, which are worth a little standing in front of and enjoying. The first (the smaller of the two) on your left as you enter, is a wacky pearly blue and incredibly unique when compared to his other works in terms of texture and appearance. Then, cast your eyes to the right (if you are facing the first) and you’ll find the other Seascape , grab the closest child’s ipod or iphone, switch to lego photo app and upload an image…see…very similar.

Now return to Room 4 – War and Romance.
This is the room that will bring joy to any pop art admirer or male child.

My personal favourites:

• Masterpiece – 1962
  (and I had to buy the postcard)
• Takka Takka – 1962
  for this lifted the amusement factor further with ‘The exhausted soldiers…always hungry for decent chow, suffering from the tropical fungus infections, kept fighting.’
• And M-Maybe – 1965
  ‘M-Maybe he became ill and couldn’t leave the Studio’, for it’s reassuring that other women have cut ungrateful, user types too much slack like I have in the long decent past.

Now find yourself Room 7 – Art about Art.
It’s like the Lichenstein App, featuring some pretty persuasive reasons why Roy was (and is) such a legend.

Look out for:

• Cubist Still Life – 1974
• Frolic – 1977
• Washington Crossing the Delaware 1 – 1951
  this one made me chuckle in a most unladylike fashion

Then, I found myself wishing it was the Summer Exhibition where I could position a little red sticker against the glass cabinet that protected Reclining Nude in Brushstroke Landscape (study) – 1986

This was a really good room.

But wait there’s more. Yes, it’s Room 8 Artist’s Studio where you can play, spot the lemon and a special call out to:

• Still Life of Goldfish – 1972

I could go on, though that might spoil your experience…it’s on until 27 May 2013.

One man’s struggle against sporting hysteria
Nicholas Lezard

If you enjoy reading Nicholas Lezard in the New Statesman this just might be for you, for it’s pretty much like buying the extended or dance mix of an old favourite.

Something that’s guaranteed to give you entertainment…your dependable go to which happily doesn’t fail you.

And whilst heralding the bonuses, his kindness in producing a 164 page column means you can enjoy him for a little longer than you usually would.

And… as you’d expect, he’s witty, forthright and clearly funny. But not too funny thankfully as I find that kind of behaviour a little tiresome.

So, Nolympics??? There must be something in the title and you are right, just think back to London 2012 and that special 16 Day period where sport mattered and people started smiling and engaging strangers in light banter.

Well, this is the focus of the commentary, which Mr Lezard carefully weaves intelligence, humour and personal experience into.

The end result – a publication peppered with amusing illustrations (thanks Mr Shrigley), opinion on judo and boxing; collected thoughts on the discus; the surprising effects of synchronized swimming; and a fair bit of chat about horsey dancing…and more.

It’s just like reading a diary so you shan’t struggle – instead you’ll breeze through reading, reminiscing and chuckling intermittently.

By Bertolt Brecht. Translated by Mark Ravenhill
9 February 2013

Standing to applaud – I grinned madly – for this production ticks the boxes.

And it’s not just a couple of things that make it work, it’s the complete package.

• It’s the decision to utilise vertical light signs in the staging – thank you Mr Fisher
• It’s Matthew Aubrey wonderful welsh voice
• It’s Ian McDiarmid’s Galileo Galilei  (he’s so faultless)
• It’s the script
• It’s the examination of power, politics and advancement
• It’s the thinking it fosters
• It’s the musicians
• It’s also the fact that I sat in similar seats a couple weeks earlier and watched a fair few of these same actors in The Orphan of Zhao – be let down by a too simple in language script, so I was doubly pleased to find them shine through triumphantly this time
• It’s Roxana Silbert super direction
• It’s the titles given to some of the roles, like Very Thin Monk, Very Old Cardinal
• It’s the perfect purple plastic evangelical bracelet (a pure treasure), which I purchased for £2.00, at Shop during the interval
• It’s the conversation it stimulated for our car ride home
• In fact the impact of this production was so intensely pleasurable – forty hours later – at the precise moment the box office opened for sales for the Winter Season 2013/2014, I was online and ready for ticket purchasing action.

Try get tickets, it runs until 30 March 2013

Alfred Jarry      Produced by Cheek by Jowl
@ The Oxford Playhouse – 8 February 2013

Goaded on by the reassurance that this was a ‘must see’ and desirous to take my first experimental steps in seeking out artistic entertainment in a language which is not my own, I purchased a medium sized plastic cup of French Sauvignon Blanc; found our seats; opened the chocolates and located the subtitles equipment.  Yeh! Let the play begin. And it did…

Admittedly, I was a little misplaced for the first ten minutes, (perhaps as I’d just heard that the show was recommended for 16+ and my 12 yr old was looking vacant…then grinned), however past this initial stage of finding my bearings, my enjoyment levels shifted to fifth.

It was kooky, it was wacky, it was very dissimilar to anything I’ve been party to before and I’m so relieved that I was part of the audience.

The actors are skilled, really skilled and the tale telling not your usual. For it’s a mix of hand held video recorder; squeezed tomato ketchup; kitchen blender device; great stage rolling; passion – fiery passion; fine costumes which work well with the interior design; and sensational STOP-and-Go acting.

You feel the performance intensely and the execution of the drama is only enhanced by the surly teenage son; the power-hungry Pere Ubu; and the nice, then not so nice Mere Ubu.

There is humour, however dark. There is shameless desire for power, at any cost. There is ardour for Mummy and total revulsion for Daddy (I think…well that’s how I understood it at least). And there are some great, well-tailored outfits.

The play has unfortunately moved on from Oxford though – however it’s currently playing in Paris until 3 March @ Sceaux, Les Gémeaux/Scène Nationale

Heading to:
Béthune, Comédie de Béthune, France
5 – 8 March
Bordeaux, Théâtre National de Bordeaux en Aquitaine, France
26 – 29 March
Marseille, Théâtre National de Marseille La Criée, France
3 – 6 April
And thankfully returning to the UK:
London, Barbican, UK
10 – 20 April

Please go see it and also, go find out mORE about this wonderfully innovative theatre company @ http://www.cheekbyjowl.com

At the APOLLO THEATRE
26 January 2013

Bloody Loved It!

I could stop there as this pretty much sums up my epic experience. However, I feel I might be robbing you dear reader, so let’s turn our attention immediately to feeding the beast of cultural interest.

Going against my nature… I arrived to take my seat with some simple understanding of the plot and characters involved in this Shakespearean jewel.

Why this decidedly unusual approach? Well… I’ve been playing a little Duke Orsino around the homestead as my 12 year practises his Viola – which is delivered at times, uncomfortably well – in preparation for a school production going ahead in a couple of months.

So, flying the flag of ‘learn from others…that will lift your game’, we happily headed down to London to watch some top shelf actors tread the boards.

I don’t use top shelf lightly.  Actually I’m finding it really hard to discuss the features that worked, for all I keep thinking about is…Mark Rylance….Mark Rylance….Mark Rylance.

The way he glides across stage, lifting his skirts ever so slightly. His diction. His composure. His talent. I’ve never had the pleasure of seeing him on stage before and can’t wait to track him down again.

Then there is Paul Chahidi. His Maria was delivered superbly. She was fabulous, a little fleshy and convincing.

And Stephen Fry – as Malvolio. A character whom previously I had little regard for, his portrayal left me feeling for ‘poor Malvolio’, rather than experiencing an uncomfortable sensation in the tummy each time he came on set..  And with further focus on Mr Fry, (and with stars in my eyes), I was really in the same room as him, not just reading him on twitter or watching him on the telly. He was there!

Ahh and Colin Hurley, playing Sir Toby Belch and Roger Lloyd Pack’s Sir Andrew Aguecheek, what a treat. They make learning lines and staying up late 6 nights a week, look like tonnes of fun.

A one line conclusion then???
This production exemplifies why Live Theatre Rules!