This Week’s Nibbles

As Xmas lights were hung on Portobello and a cold front moved in we found some lovely events to warm and enliven anyone’s spirit. The fabulous launch of Absolutely Notting Hill saw fantastic frocks and a glittering crowd gather at Beach Blanket Babylon to welcome the new glossy.  It was a great night showcasing a wonderful magazine alongside a stylish and eclectic crowd.  If you’re looking for an art fix head to PayneShurvell for a smoking good show or the West-End offers some Hollywood glamour with Thandie Newton in Death and the Maiden.

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PayneShurvell Gallery: Your Garden is Looking a Mess Could You Please Tidy it up

Exploring print media through branding, notably via Phillip Morris’ classic Red Marlboro flip-top box, is a fantastic concept especially as once pervasive cigarette advertising now struggles to brand its own product. The current show at PayneShurvell owes its curious name to an anonymous note slipped through curator Andrew Curtis’ mail slot leading him to contemplate the relevance of “print” in the age of digital media.

Rudolf Reiber Where the flavor is - image courtesy PayneShurvell

Twenty artists offer original perspectives on the theme with half of the works created specifically for this exhibit.  Dominated by cigarette imagery the show’s introspective pieces extend beyond the realm of marketing into the personal notion of self.

Dick Jewell’s 300 American Tobacconists M-Z offers exactly what you’d expect; 300 Polaroid and black and white photos of industry leaders encased in a multi-cigarette border.  Found images of what once was “packaged” in a witty frame.

The distinctively colourful bottles of Jack Newling’s Management and Late Night Shoppers impressed me by melding the generic with the notion of successful totems (think Apple, VW bug and their ilk) whilst raising the spectre of Orwellian monitoring.

McLean's Their Grassy Places

Two personal favourites were Bruce McLean’s Their Grassy Places and Leon Chew’s The Crystal LandTheir Grassy Places inspired thoughts on the contemporary fad for personal branding and the eternal existence of vain follies.  The work showcases a Daily Mirror picture for which McLean purchased the rights and re-visits in several guises using levity to reflect the temporary nature and lack of grounding in egoism.  Chew’s The Crystal Land juxtaposes manmade versus nature in a series of close up images of J.G. Ballard’s car which spoke of desire and permanence in mirrored contrasts.

The sum of the exhibit left me feeling that the brand individuality once so imbued with physical “identity” has become increasingly ephemeral and internal in the digital media era… or has it? PayneShurvell serves up a contemporary exhibition with an enduring nature that offers great scope for contemplation and discussion.

Until 17 December 2011

PayneShurvell
16 Hewett Street
London, UK, EC2A 3NN

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This Week’s Nibbles…

Happy Halloween! There is much afoot in London… Increasingly determined protests in the shadow of St Paul’s move into their 3rd week . The new Harold Pinter Theatre launched its inaugural play “Death and the Maiden” with Thandie Newton at the helm while The Lyric’s Saved continues to receive rave reviews in broadsheets, tabloids and blogs alike.

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St Paul’s long shadow over Occupy London

St Paul’s remains occupied and the protest  is a moving, peaceful affair. Surprisingly small the tents are clustered to one side of the Cathedral leaving the entrances and steps fully accessible.

Limited access? Side view of St Paul's

Having worked for years in the shadow of St Paul’s I can confirm the camp causes no inconvenience to businesses nor limits accessibility of workers and tourists to the area.  I’ve seen more obstruction caused by local offices workers having lunch on the steps; afternoon sun-trap that they are. The only inaccessible area is in fact Paternostre Square closed by owners Mitsibushi Estate co.  Clearly businesses within the square: Corney&Barrow, The Paternostre Chophouse etc must be struggling but they need to talk to the landlord regarding sealed off access rather than blame the protest.

Closed for Business - Paternostre Square

Tonight, as the Cathedral prepares to take legal action to oust the protesters, the Rev. Giles Fraser resigned his post as Canon Chancellor. I have nothing but respect for Fraser and his commitment to his beliefs and faith.  Ten days ago he instinctively demonstrated leadership and compassion by inviting protesters to stay so long as they remained peaceful.

Having first visited St Paul’s two days before the Cathedral closed for preposterous health and safety reasons I can only imagine Fraser’s frustrations with his chosen organisation.  The situation at St Paul’s was far from a clear and present danger. The small encampment is well removed from access points, it has a pop-up library, a white-board listing the day’s events, and around the camp serious groups huddle together in intense discussions. Hardly the blitz.

Rev Dr Giles Fraser - Photo courtesy The Guardian

The Cathedral’s overreaction and now pending legal action is simply another nail in the coffin for organised religion while Fraser demonstrates perhaps the only viable option for believers – follow your conscience.  Shame on the Cathedral for not seizing an obvious opportunity to cast itself in a new light as an all-embracing authority willing to back the populace. I certainly found it touching to see protest taking place in the shadow of this iconic building. After Fraser’s initial welcoming statement I felt renewed respect for the history and present incarnation of this place. Without getting in to the thorny “What would Jesus do?” debate it certainly seems clear that concerns about tourist revenue, health & safety and litigation wouldn’t be top of the list.

View from steps of St Paul's

The ground-breaking exposé that most protesters go home at night also hit this week. Given that this is purportedly the 99% should I be shocked to find they have jobs, families and other responsibilities?  That they are taking time from full lives to show their protest? The protesters that I spoke with were employed, some working via wi-fi while others juggled diaries to put in an appearance. Certain tents are occupied by hard-core protesters that stay nightly while others offer accommodation for a rotating populace. The camp runs a check-in process and are able to provide details of nightly occupancy.

Finally to say that the protesters don’t know what they want belies the truth.  The consistent answer given to the question “what do you want” was a return to the regulations that provided economic stability for 50years until they were slowly removed in the 1980’s. This was the proposed “solution” to how to separate government from corporate pressure.

This protest, unlike say the riots, is conducted peacefully not by a marginalised group but by employed contributing members of society demonstrating genuine outrage over financial inequities and sincere concern over growing economic instability.  It doesn’t feel like a protest down there in the shadow of St Paul’s, it feels like a movement.

Update 2 Nov 2011:  A further resignation came from the Cathedral’s Dean Rev Graeme Knowles while the Archbishop of Canterbury acknowledged the Cathedrals’ faux-pas in closing and backed the protesters’ position.  As a result the City of London withdrew plans to issue an eviction notice.

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Death and The Maiden @ The Harold Pinter Theatre 3*

In 1991 London hosted the world première of Death and The Maiden so twenty years on it’s fitting that this be the inaugural play at the theatre named for its champion, Harold Pinter. Alex Dorfman’s tale of government atrocities against activists explores the legacy left by a Pinochet-style regime while tackling the opposing natures of retribution and healing.

Newton & Calf - photo Alastair Muir for The Evening Standard

Showcasing Thandie Newton in her west end debut, the play’s chronology is simple but the themes are complex; the cyclical nature of violence, the essential need for forgiveness, proof, and the responsibility of individuals and authorities to banish the spectre of ongoing societal aggression.

Newton is chic in the pivotal role of Paulina Salas who believes that husband Gerardo (Tom Goodman-Hill) has invited her former torturer, Dr Roberto Miranda (Anthony Calf), in to their home.

Hell-bent on revenge Paulina is convinced of Roberto’s guilt despite having never seen his face.  Her husband – recently named as head of the Truth Commission – is wary of pinning a 15 year old crime based on voice and quirks alone.  As a human rights lawyer he seeks structure believing the previously absent judicial process is essential in the move to democracy.

Jeremy Herrin’s production is a subtle pressure cooker.  From the outset Newton skitters about arming herself as a strange car approaches and tension delicately builds from eavesdropping to fierce debate and confrontation.

The cast are efficient; Newton, despite a slight shrillness, transitions believably from victim to arbitrator, Goodman-Hill is torn between legal beliefs and passion, while Calf leaves us with doubts. Yet overall this production lacks the primitive stamp demanded by the subject matter.  This telling is overly polished; Newton is forever in flattering neutrals and too slight for the assault scene while Calf seems vaguely impotent as a threat. The nuanced story asks the audience to consider the transition from totalitarianism to social equality, the needs of the few versus many and the role of compassion in banishing brutality. Yet this production is too streamlined for post Abu Gharib consciousness; leaving the sum of the evening lacking the visceral strength to elevate it from “who-dunnit” to provocative political narrative echoing the horrors of torture, and of personal and collective demons.

Until 12 January 2012
The Harold Pinter Theatre (formerly The Comedy)
Panton Street
London, UK, SW1Y 4DN

http://www.deathandthemaidentheplay.com/

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“Saved” @The Lyric – 4*

An edited version of this review has appeared on London24 and MyVillage
Brace yourself for one hell of a ride.  Banned, prosecuted and vilified when premiered in the ‘60s Edward Bond’s “Saved”, is the first previously-banned production to leave me short of breath. This production is certain to offend although the sum of this work extends far beyond any shock-value.

Saved: Fred (Calum Callaghan) photo by Simon Kane

An apt selection in today’s economic climate, “Saved” paints an uncompromising picture of modern city living – deprived and depraved that resonates as though written today. In a society short of work and money resentment simmers, anger is turned inward and, once boiling, the very weakest in society is victimised.

Len (Morgan Watkins) and Pam (Lia Saville) Photo Simon Kane

From a drab family in which nary is a word passes between husband and wife springs only daughter Pam (Lia Saville): promiscuous, needy and masochistic. A lascivious encounter with Len (Morgan Watkins) turns to romance, the hollow promise of better times, and he becomes entrenched as the lodger in this strange household. As romance sours Pam rejects Len’s devotion falling amorous of his dismissive mate Fred (Calum Callaghan).  A baby ensues that is neglected, unnamed and studiously ignored. In a disturbing scene, foreshadowing worse to come, the baby wails inconsolably as a heedless Pam coldly preens for a date.  Fred’s callous nature becomes clear as he abandons Pam for nights out with his hooligan mates.  Len stands by Pam throughout becoming her punching-bag unwilling to remove himself from this situation.

When the ultimate depravity occurs in the park and the baby is attacked we see how Len is incapable of extricating himself and how responsibility extends beyond the aggressors. With only a brief internment for the accused life continues with little change. Despite being the only character to strive for some shred of decency Len in particular is powerless to disentangle himself from this quagmire of his own making.

Harry (Michael Feast) Photo by Tristram Kenton courtesy The Guardian

Sean Holmes’ production sends a chilling message that the society portrayed is one for which all are responsible. His stellar cast deliver unshakeable performances; alongside the doggedly loyal Len, the flinty Pam and cruel Fred shine the mother and father team brilliantly portrayed by Susan Brown and Michael Feast.

It is unclear in the final sequence as Len mends a chair and Pam thumbs the Radio Times if redemption will be found yet, as clearly as the words unspoken, if anyone is to be “Saved” it is not by silent acceptance.

Until November 5th 2011

Lyric Hammersmith
Lyric Square, King Street
London, UK, W6 0QL

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This Week’s Nibbles

Get ready for the week that is Frieze by kicking off a day early with the excellent East Pop exhibit re-homed from 12-18 Oct at London’s Red Gallery.
And for hard-hitting drama check out doomed love and star-crossed politics in “Mixed Marriage“.

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Mixed Marriage @ Finborough Theatre – Star Crossed Lovers & Political Strife – 3.5*

An edited version of this review has appeared on London24
A full century since it was first staged in Dublin Mixed Marriage, centred on a Protestant family in Belfast, resonates as clearly as any modern day socio-political drama.

Daragh O'Malley as the steadfast unyielding John Rainey with the conflicted Nora (Noone)

The script and Sam Yate’s production are emboldened by powerhouse performances from a superb ensemble cast of five. Respected Protestant John Rainey (Daragh O’Malley) is propelled by his son Hugh and Hugh’s Catholic friend Michael to the role of community spokesman.  Rainey unites striking sectarian workers only to find his own bigotry ignited when religious acceptance strikes closer to home.

Staging is simple – the tired interior of a working man’s home; a rustic table, a few chairs, an exterior door leading to a darkened misty street. As personal prejudices inflame sectarian violence outside and emotions rise the homely atmosphere turns claustrophobic.  The audience never sees beyond the door yet hear speeches delivered, temperatures rising and brutality reigning down.

Political idealists Hugh (Christopher Brandon) and Michael (Damien Hannaway) bring a youthful urgency and momentum to the cause of class unity over religious division.  Hannaway, in particular, brings such intensity to the stage that he is a virtual beacon of righteousness perfectly countering O’Malley’s obstinate Rainey.  The impatient unheeded nature of the youngest Rainey (Joel Ormsby) further heightens the edginess as he irritably stalks the small set.

Brandon & Noone: Star-crossed

O’Malley’s Rainey fills the set with a larger than life character infused with emotional immaturity. As peacemaker quelling the religious divide between striking workers Rainey is renewed and revitalised. His chest puffed with pride he finds a purpose which is all too soon threatened by the discovery that Hugh has taken up with Catholic Nora (Nora-Jane Noone).

Written in the advent of suffragettes Ervine weaves the influence of women as a secondary theme. Mrs Rainey (Fiona Victory) a humanitarian in housewife’s clothing tries to diffuse rising prejudices.  Her character progressing from stereotypically maternal – forcing tea down the throats of all that cross her threshold – to reveal a deeper compassion and understanding of society that extends beyond her household.  Victory is in fact present on stage throughout almost the entire production. Despite some heavy-handed clichés these roles demonstrate scope and struggles recognisable in the present day.

Nora-Jane Noone

Nora’s role is limited despite its pivotal nature and an unfortunate lack of chemistry between the star-crossed lovebirds Noone creates a potent portrait of a young girl torn between religion, respectfulness and love. Noone has an extensive television and film portfolio yet in this her professional stage début she is assured and convincing.

Moving delicately from the specific to the general Mixed Marriage offers strong commentary on personal choice, self-thwarted ambitions, division of wealth, the role of religion and the power of bigotry in a thoughtfully nuanced and inarguably genuine tale.  A sledge hammer of a production that reverberates over time.

Until October 29 2011
Finborough Theatre
118 Finboroough Road
London, UK, SW10 9ED

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Summer setting on Portobello Pop Up Cinema

Tucked beneath the Westway this Pop-Up cinema will never be the first word in luxury and comfort but excels at ingenuity, and community spirit.  The programmes of films screened outdoor are thoughtfully chosen, many evenings held in support of a neighbourhood initiative and frequently directors and filmmakers offer Q&A sessions on their work.  Last season the Banksy film “Exit via the Gift Shop” screening was an excellent, fun and informative night.

The cluster of locals gathered around the makeshift bar and surrounding tables enjoy coming together in this one-off unique environment; a particularly “village-y” sight on a balmy evening.

The “interior” – the screen & seating located literally under the fly-over – has seen improvement this year.  Gone are the benches and in their place are a reclaimed comfy cinema and office chairs. The folding chairs on the aisle have been replaced by home-made cinema-style wooden seats.  The dim space is warmly lit by hanging cardboard Lanterns created by A.B.Mill.

The non-profit cinema typically charges a 4£ admission (at the “box”-office) though many nights are fundraising efforts where donations are requested.

This week’s offerings are Notting Hill carnival film”Ah we Ting” on Thursday while Friday offers a documentary in celebration of the legendary Gate Cinema. Finally on Saturday explore Iran’s recent uprising, the green revolution, in “Green Wave” the 2010 film that uses animation, real-footage, blogs and even twitter to tell a story of great unrest.

Grungy? Sure.  Refreshing and stimulating? Without a doubt.  Check it out before this summer’s season ends.

Portobello Pop-Up Cinema
Under the Westway Flyover @ the junction of Portobello & Ackalm Road, London

http://www.portobellopopup.com

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East Pop West: An Art Story 4*

As the Frieze Art Fair arrives in London this moving showcase re-opens as “East Pop Red“.  Catch it while you can: 12-18 Oct. 
The Shoreditch/East-end art scene has decamped for a few days to West London.

East Pop is a touring showcase of East End artistic creativity.  The brainchild of Red Gallery, producers of “East End Promise” an exhibition recording the transformative work s of 1985-2000, the current show explores today’s art scene. Opened yesterday in West London it is only here a few days before moving to Edinburgh, Berlin and beyond.

This west-side story is an all encompassing event bringing together every form of artist and designer imaginable in a sprawling industrial warehouse.  Performance artists, films, an interactive art disco, furniture, installations, prints, painting, musicians, photographs, educational activism, video specs, found art and more including a six-foot orange jumpsuited rabbit “walking the plank”.

My visit began tentatively gathering a sense of the exhibit then transforming in to an extraordinary evening. Most artists are on hand and the works are so disparate and well spaced that conversations occur naturally and even privately.  It’s a strange almost organic and highly personal event that echoes each visitor’s engagement.

I particularly enjoyed the video-eyeglasses that I wore throughout recording my every glance and conversation including a discussion about the role of activism in education – damn did I remove them for bio breaks!   Dancing at the art disco, discovering strangely set rooms, curtained off films and provocative installations made for a stimulating time while the banquettes, outdoor seating and even children’s paint area provided ample space and the right atmosphere to digest and rehash.

Too many individual works to cover but participating artists include: Hackney WickEd, RAX, Carl Burgess, Browse, Pure Evil, The Dark Times, Adam Dant, Le Gun and Metric Collective amongst others. Red Gallery London successfully deliver a challenging venture transplanting a cavalcade of East End creative talents in a new milieu: the sum of which is more than an exhibit it’s a proper one-off experience.

EastPopWest
Unit 1 – Formerly Innocent Smoothy HQs
Vinery way (Off Brackenbury Road)
W6 0BE
Until 2st October

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