Race

A vital piece of theatre: Royal Court’s For Black Boys reviewed

The psychiatrist and political philosopher Franz Fanon published the book Black Skin, White Masks in 1952. With chapter titles such as ‘The Black Man and Language’, ‘The Black Man and The White Woman’, and ‘The Black Man and Psychopathology’, the book remains a rigorous and unflinching dissection of the psychology of race from a black perspective. The play For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy takes inspiration from Ntozake Shange’s 1976 theatre piece, For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf. Fanon is however, an equally important reference when thinking about the staging of this work at the Royal Court.  Written and directed by

Kemi Badenoch: the curriculum does not need ‘decolonising’

When the government published a report last year by the Commission on Race and Ethnic Disparities (CRED) into racism in the UK, it was the subject of controversy. The report concluded the UK does not have a systemic problem with racism (while accepting there are issues), and a number of charities dubbed it ‘deeply troubling’. A year later and the government finally set out its response to the report and how it intends to deal with the inequalities highlighted in it.  Taking its founding principles from the original report, it essentially accepts the chair Tony Sewell’s logic that the different outcomes for different minority groups means that it is the wrong approach to attribute every problem to racism.

Were old children’s history books racist?

If Brighton and Hove Council has its way, children as young as seven are to be taught about the ‘white privilege’ supposedly derived from 500 years of colonialism. But is it true that the history we have been learning from childhood has been infused with the great isms of our day – colonialism, imperialism and racism? I thought I would test this on a small scale by going back to the first history books I read. H.E. Marshall, who wrote Our Island Story, was also the author of the knockabout book Kings and Things. She knew all about trigger warnings: ‘The story of England,’ she proclaimed, ‘is thought to be

Labour’s obsession with race shows no signs of fading

After a relatively successful spell attempting to side itself with ordinary folk, Labour has lurched back into hardline identity politics with a particular focus on the issue of race. Over recent days some of the party’s leading figures have stoked up the idea of Tory Britain being a hotbed of discrimination. Shadow foreign secretary David Lammy is leading the way with a call for a posthumous royal pardon of those who took part in an anti-slavery uprising in Guyana in 1823. According to Lammy, the pardon would help Britain find a ‘path to repair’ in regard to its ‘acknowledgment of its role in the history of slavery’. Yet given that

Kamala Harris and the problem of affirmative action

In lauding Joe Biden’s promise to fill the upcoming vacancy on the US Supreme Court with a black woman, last week the commentator Jonathan Capehart effused on PBS NewsHour that any black woman was bound to duplicate the retiring Justice Stephen Breyer’s famous pragmatism, because ‘there is no more pragmatic people in the world, of necessity, than a black woman (sic)’. With no other knowledge of the prospective nominee beyond her race and sex, Capehart trotted out confidently that she will ‘probably be more impressive, have more qualifications, be more brilliant than the folks who have come in before her, because people used her race to downgrade and belittle and

Borderline soft porn but thrilling: Moulin Rouge! The Musical at Piccadilly Theatre reviewed

Moulin Rouge wins no marks for its storyline. A struggling Parisian theatre is bought out by an evil financier who wants to marry the venue’s star, Satine, whose heart belongs elsewhere. The show opens like a pantomime with a bantering style and cheesy jokes. And there are passages of physical comedy that look weird amid the glamour of fin-de-siècle Paris. But the slapstick is crisply acted and well directed. And the comic scenes are balanced by full-throttle dance routines played by strutting hunks and twerking lovelies in black fishnet stockings. Every bodice is wound tight enough to ping open at any second. It’s borderline soft-porn but it’s delivered with thrilling

One of the best nights of my life: Hampstead Theatre’s Peggy For You reviewed

Hampstead Theatre has revived a play about Peggy Ramsay, the legendary West End agent who shaped the careers of Joe Orton, Robert Bolt, David Hare and others. We first meet her on the phone to a dramatist whose new script is good but, warns Peggy, it must not be produced because it will damage his career. She hates ‘fine writing’ and she knows how easily a scribbler can be corrupted by praise, awards and cash. Peggy is one of those rare creatures whom everyone wants to please and whose faults are considered charming oddities. Some might find her maddeningly fey but this show, directed by Richard Wilson, is part of

The mind virus killing academia

We lost a giant last month with E.O. Wilson’s passing. A man who stood on Darwin’s shoulders, Wilson had that rare distinction of inspiring a whole discipline in the form of evolutionary psychology. The great sense of loss did not seem to be shared by Scientific American, however, which soon afterwards put out a piece reflecting on the ‘complicated legacies of scientists whose works are built on racist ideas’. Among the ‘problematic’ aspects of Wilson’s work, the author argued, was the ‘descriptions and importance of ant societies existing as colonies’. This was ‘a component of Wilson’s work that should have been critiqued’ because ‘context matters’. Scientific American is not Teen

Why? Spielberg’s remake of West Side Story reviewed

When you first hear that a remake of West Side Story is on the cards, it’s: God, why? Why would anyone look at West Side Story, which won ten Oscars in 1961, and think: that needs doing again? Who would do that? Steven Spielberg, that’s who, and as it had garnered mostly five-star reviews before I’d had a chance to watch, the question became: how? What wonders might he have brought to a film that was great and beautiful in the first instance? Not much. It is more authentic. The back stories are more substantial. The singing and dance numbers are bigger. There’s a part for Rita Moreno, which is

Lloyd Evans

An amazing technical achievement: Life of Pi at Wyndham’s Theatre reviewed

Yann Martel’s novel Life of Pi is a complicated organism. The action starts in southern India where we meet a precocious teenager, Piscine, who tells his parents that he wants to be known as Pi. The family own a failing zoo and they buy a Bengal tiger to attract fresh customers. The new arrival promptly rips the head off Pi’s pet goat and eats it. Next they take a ship to Canada, with the zoo stowed in the luggage hold, but the vessel hits stormy weather. The beasts break out of their cages and start to eat each other. And when the ship sinks, Pi finds himself on a life

The joy of being cancelled

New York I’ve never met anyone called Othello, certainly not in Venice nor in Cyprus, but perhaps there are men by that name in Africa. Someone who was referred to as Othello, but always behind his back, was the greatest of all Russians, Alexander Pushkin: a ‘raging Othello’ was how les mauvaises langues in court described the great poet. Pushkin’s great-grandfather, General A.P. Gannibal, was Ethiopian. I’ll get back to Othello in a jiffy, but first a few words about marital jealousy and Pushkin. The poet got a bee in his bonnet soon after marrying the beautiful but coquettish Natalia because she flirted, harmlessly but nevertheless disastrously. Innocent flirtation might

What’s the truth about Kyle Rittenhouse?

On the night of 25 August 2020, Richie McGinniss, a somewhat gonzo video journalist, interviewed Kyle Rittenhouse for the right-wing Daily Caller website. Rittenhouse wore his cap backwards, had rubbery purple medical gloves on and an assault rifle dangling between his legs. He had decided for some reason that he, a 17-year-old boy, had to help the forces of law and order during the Black Lives Matter riots in Kenosha, Wisconsin. ‘People are getting injured,’ he said. ‘If there’s somebody hurt, I’m running into harm’s way. That’s why I have my rifle because I need to protect myself, obviously. I also have my med kit.’ Around two hours later, the reporter McGinniss

I’ve been back one week and the good old US of A has never seemed more depressing

New York Don’t let anyone tell you the Bagel is worse off than Kabul, where three people were recently shot dead by Islamist gunmen for playing music at a wedding. No siree, people over here are shot every day and night but not for playing music at a wedding. Give New York credit where it’s due. The city is a bloody horror if you’re living way uptown, way downtown, or in the Bronx, with the rest of Gotham experiencing a level of street crime not seen in a decade. Robberies and felonious assaults are up 15 per cent in a year and gun arrests by a whopping 20 per cent.

Exquisite to look at, strangely tense and wholly riveting: Netflix’s Passing reviewed

Passing is Rebecca Hall’s adaptation of the Nella Larsen novella (1929) about two biracial women, one of whom chooses to pass for white, and one who does not, and the effect they have on each other, and it’s superbly done. It’s tightly made, exquisite to look at, strangely tense, wholly riveting and it’s also, let’s be honest, just the right length for a film (90 minutes). Hall — who wrote the screenplay and directs, and is otherwise an actress — is the daughter of theatre director Peter Hall and opera singer Maria Ewing and you could say she has skin in the game. When she was growing up, she has

How the culture wars are killing Western classical music

Musicology may appear an esoteric profession. But several events in the past few years have pushed musicological debates into the columns of national newspapers, from the American academic who claimed that music theory was a ‘racial ideology’ and should be dismantled, to the Oxford professor who allegedly suggested that studying ‘white European music’ caused ‘students of colour great distress’, to the high-profile resignation of a professor at Royal Holloway, University of London, reportedly in response to academic ‘cancel culture’. These disputes have not emerged from nowhere. They are the result of longer processes that have forced serious questions about the very place of music, and above all the Western classical

Lloyd Evans

A well-meaning but dull Official History: Olivier’s Normal Heart reviewed

The Normal Heart is not about Aids. Larry Kramer’s play is set in New York in 1981 at a time when clinicians were struggling to find a link between a handful of rare diseases that struck only gay men and heroin addicts. The term ‘Aids’ wasn’t adopted until late in 1982. And this dampens the wheels of Dominic Cooke’s production. A playgoer is likely to stifle a yawn as the characters on stage try to discover medical facts that have been common knowledge for decades. There are other problems with Kramer’s ageing script. The story follows an indignant activist, Ned, who has to persuade the city authorities to take the

Political arguments are now over words, not things

There is a picture book, by the excellent David McKee, of which my youngest child was very fond. It’s called Two Monsters, and its protagonists are, as promised, two monsters. The blue one lives on the west side of a mountain, and the red one lives on the east side of the mountain. They communicate verbally but never see each other. It all kicks off when one evening the blue monster calls: ‘Can you see how beautiful it is? Day is departing.’ The red monster shouts back: ‘Day departing? You mean night arriving, you twit!’ Cantankerous words are exchanged before bedtime and both sleep badly. The following morning the blue

Hugely pleasurable – a vision of summer: Jennifer Packer at the Serpentine Gallery reviewed

We need to talk about Eric. In Jennifer Packer’s portrait of her friend and fellow artist, Eric N. Mack sits on a yellow chair that might have been borrowed from Van Gogh’s bedroom. He’s wearing excellent odd socks, one pink to rhyme with his shoes, the other yellow matching his trousers and chair. But it’s Eric’s face that’s most compelling. Like the ‘Mona Lisa’, Eric’s expression is inscrutable. He might be thinking about what’s for tea, the crisis in pictorial representation or, quite likely, nodding off. This enigmatic quality is intentional. ‘When I painted Eric, I wanted accuracy, but I also wanted to privilege his subjectivity and privacy,’ says Packer.

Britain is a tolerant country and a few football racists don’t change that

The racist messages sent to England football players in recent days are shameful, but to suggest that the UK is a festering hotbed overflowing with racist thugs is a step too far. Out of the hundreds of thousands of social media posts about the Euro 2020 final, only a tiny number contained racist words. Of course, this doesn’t mean we shouldn’t speak out against such abuse. What happened is indefensible and the culprits should be dealt with by the police. But the frenzied debate the messages have generated risk giving those responsible the attention they crave and which they do not deserve. As well as failing to see the bigger picture here – that Britain, generally

Why do those who abuse Priti Patel get a free pass?

Remember when Labour MP Clive Lewis got into trouble for saying, ‘On your knees, bitch’? It was at a fringe event hosted by Momentum during the Labour conference in Brighton in 2017. Lewis uttered the line as a joke to the actress Sam Swann. People went nuts. Labour bigwigs accused Lewis of misogyny. He eventually ‘apologised unreservedly’ for his ‘offensive’ language. That phrase — ‘On your knees, bitch’ — sprung back into my mind this week as I read an exchange between Alastair Campbell and Priti Patel. No, Campbell did not use the B-word. He is far too civilised for that. But he did tell Patel to get on her