Theatre

One of the best things about The Spectator is that it has no party line. As its dauntless refusal to compromise on Leveson Inquiry has shown, it is incomparably committed to the free speech of its writers. So only here could a humble arts blogger announce that this magazine’s editor, Fraser Nelson, was riproaringly, doltheatedly, cloven-foot-in-mouth wrong in his post on arts funding last week. On pretty much everything. Fraser’s right about one thing: Sajid Javid will make a great culture secretary, because unlike most culture bureaucrats, he gives a toss about staying solvent. Running culture by committee has always been a problem: the Department of Culture, Media and Sport

Always try to get the worst seats for the opera. Upper circle. Foyer. Toilet. The nearest bus stop. The further back the better. You’ll regret it if you don’t. There really is nothing more off-putting than being able to see the singers. Opera up close, as Princess Margaret once said, is just two fat people shouting at each other in a large room. And then there’s the clown make-up and trannie costumes to deal with. It all makes much more sense from afar, where it assumes a lovely dreamy abstract fuzz. Was that a smile? Or a stroke? Who knows. The words and music will carry you along. But even ‘good’ theatrical

Opera seems almost always to have been acutely concerned with its own future. These days this is most often manifested in occasionally desperate, sometimes patronising attempts to entice new audiences to the art form. A new three-way initiative between Aldeburgh Music, the Royal Opera and Opera North takes a different tack by enabling a new generation of composers and librettists to try its hand in this most exacting art form. The initiative’s first fruit was a double bill premièred in Aldeburgh before being shown at Covent Garden’s Linbury Studio Theatre and Leeds’s Howard Assembly Room. That these two short pieces, about 45 minutes long each, should feel like studies for

It all started in 1971, when a group of physically and artistically talented youngsters decided to create a dance company and call it Pilobolus, after a fungus. Not unlike this barnyard micro-organism, which ‘propels its spores with extraordinary speed and accuracy’, the company was soon propelled to international success. But it was not an easy time to make ‘new dance’ in the US. On the one hand, living monuments such as Martha Graham, Merce Cunningham and Paul Taylor were still in full creative mode and dominated modern dance. On the other hand, the innovators of postmodern dance had given new meanings and directions to the art. Pilobolus took something from

The difference between lovable, likable and admirable is perhaps more significant in the operatic world than in other artistic spheres — and is often, alas, translatable directly into all-important box-office receipts. The most ambitious production in English Touring Opera’s spring season provides an opportunity to see where Michael Tippett’s second opera, King Priam, fits on the spectrum. Premièred in Coventry in 1962, one day before Britten’s War Requiem, it’s rarely staged but often spoken of in tones of hushed awe; and it is undoubtedly a remarkable work: spare, concise, fierce and often irresistible in its conviction. After the strange, sprawling, socks-and-sandals allegory of Tippett’s first opera The Midsummer Marriage, the

Sochi 2014 is the least wintry Winter Olympics ever. Yes, there’s a bit of downhill shimmying going on in the slalom. And a few figure skaters are pirouetting around the rink. Midair daredevils, with their feet lashed to planks of bendy plastic, are performing spectacular twirls and somersaults and crashes. And there are speed freaks on tea trays racing down ice-packed gulleys in tribute to the Hadron Collider. But the real action is off-piste and off-chute. It’s a political grudge match. Two implacable foes are angrily denouncing each other as shameful and perverted barbarians. The Hope Theatre’s verbatim drama, Sochi 2014, taps into this febrile mood with a documentary history

Why, oh why, the producers ask, are the national press so reluctant to cover the London fringe? The snag is that a national paper has to justify a report about a play produced in a Deptford yoga studio, or in a Wandsworth priest hole, to readers living in Liskeard, Inverness, Great Yarmouth and Carlisle. Rather than changing the habits of the newspapers, the producers might change the way they select plays. A few years ago, a modest little venue in Hoxton mounted a satire called The Death of Margaret Thatcher. The national papers dispatched their finest critics and they were joined by political commentators from around the world. The play