Shakespeare’s Philoctetes Burton Taylor Tuesday 21 – Saturday 25 October The blending of plays from such opposing poles of theatre as Greek tragedy and Elizabethan comedy requires a good deal of confidence and this combination of The Tempest and Sophocles’ Philoctetes may well have found a company fit to do it justice. Elizabeth Belcher has cooked up a melange that brings out new flavours in both. Superficially, the play follows The Tempest’s plot-line and uses Philoctetes’ setting, but this isn’t just Shakespeare in Greek buskins. Caliban has become Philoban (the altered element being Greek for ”love”), and Prospero Titas (“avenger”): the character of Philoctetes has been split between them, so that they act as the two lobes of one brain. Philoban, maimed by a snake-bite and abandoned by his comrades, takes solace in the pity of Titas’ daughter Miranda. Meanwhile, Titas, who has been exiled by his usurping brother Ptolemo, plots revenge, controlling the play’s events with his magic bow. But the division of the Philoctetean psyche is not quite that simple; Titas learns mercy, while Philoban’s suffering is turned to darkness by Miranda’s love for another. By the end of the play, when he crawls onto the stage he is fully capable of inspiring the pity and fear that Aristotle thought the essence of tragedy. The acting is uniformly good, particularly the leads, Raj Gathani and Tom Richards. The production is characterised by attention to detail: the spectrum of lighting used as the scenes progress is a nice touch. If the whole is equal to the sum of its parts, this play deserves every success.ARCHIVE: 1st Week MT2003 

What are you up to at the moment? I’m currently being mobbed by fans in a shopping centre! But apart from that, I’m touring with Mystique and promoting my new album, which is out on Monday 6 October. What is it that gets you out of bed every morning? What, apart from the 7 am wake-up call? My job. That sounds really sad! But when you get letters from fans telling you what your music means to them, it makes you want to go to work every day. What is your idea of success? To be in a position to make a difference. It is fulfilling to know that my music can touch people’s lives. What are your three most listened to CDs? Mary J Blige – I listen to her albums all of the time. 50 Cent is a current favourite. And The Darkness. I am really into them at the moment. You took a break at a crucial time in your career in order to become a Mum – what are the best and worst things about looking after your daughter? I love having someone to constantly make me laugh. There’s no downside to being a Mum – only being away from my daughter, given the demands of my job. Having done so much by the age of 23, where do you see yourself in another 20 years time? I hope I’ll still be singing and also writing for other people as well as myself. Mostly, I just hope my daughter is happy. What would you be in another life, if you had not being doing what you do now? Definitely something with kids – a child psychologist. As the winner of a MOBO award (in 2000), do you think white artists should be eligible for black music awards? I think there’s space for everyone to make good ‘black’ music. White acts like Justin Timberlake and Christina Aguilera who make great songs deserve their awards. What is more important, I think, is recognition of British artists at the awards, and not just Americans. Which superstar would you most like to be stuck in a lift with, and why? I think it would have to be Lamaar – he’d make good conversation!ARCHIVE: 1st Week MT2003 

Last chance to see Heroic Nakedness featuring a selection of male nude studies from the permanent collection at Christ Church picture gallery. Could be your only chance to see truly fit Oxford specimens. On until 23 October only. Also worth checking out is Lhasa; Depictions of the Tibetan Capital 1935 – 1947 for a rare glimpse of photos and previously unseen paintings offering a British insight to pre-Cultural Revolution Tibet. At Pitt Rivers Museum. For those who fancy a healthy injection of classical Celtic culture the New Theatre (formerly Apollo) hosts the Welsh National Opera showcasing The Marriage of Figaro and Il Travatore on Wednesday 22 October and Thursday 23 October respectivelyARCHIVE: 1st Week MT2003 

KILL BILL VOLUME 1Odeon George StreetFriday 17 – Thursday 23 October Quentin Tarantino, the undisputed “daddy” of retro-cool, has made a blistering return to form after a lengthy absence. Kill Bill, his fourth outing as director, sees Uma Thurman play The Bride, an expert female assassin who, upon awaking from a four-year coma, sets out to avenge herself of the wedding-day massacre that she barely survived. To this effect, she resolves to cripple, maim, disfigure, brutalise and generally kill all five members of the Deadly Viper Assassination Squad, (DIVAS, for short) at the head of which presides the eponymous Bill, played by David Carradine of Sixties Kung Fu fame. Similar to The Bride, Tarantino himself seems to have been in hibernation for a few years, dithering intermittently with second-world war epics and family comedies. So, now that he seems back on track, what can you expect from Mr T’s latest adrenaline-fuelled offering? Kill Bill is what I would term a “movie-movie” replete with references to films of the director’s youth, and too lavish in its cartoonish excesses to be taken seriously. The story is divided into five chapters, giving Tarantino free rein to indulge his penchant for achronological exposition. He effortlessly blends multiple genres, from Hong Kong action flicks to spaghetti westerns, via blaxploitation films of the Seventies, in a hip seamless style with a lethal injection of violence. Those familiar with Peter Jackson’s pre-Lord Of The Rings efforts, such as Braindead, will feel instantly at home with the over-the-top gore and splatter. For the more sensitive types, the majority of the climactic showdown (in which The Bride smoothly dispatches 88 yakuza henchmen) is shot in black-and-white, to lessen the shock. Undoubtedly a masterpiece, Kill Bill is not without flaws and some mild criticism is certainly in order. To begin with, the achingly hip and oft-quoted dialogue from Tarantino’s previous features is all but absent in Kill Bill. This vital missing ingredient leaves the characterisation grossly underdeveloped, and the plot, somewhat on the thin side. Furthermore, the martial arts scenes are not quite as spectacular as you might expect, presumably owing to the director’s inexperience in this field. The controversial decision to chop the film in two might also be seen as irksome and unnecessary, although the second volume (out in February) could potentially make up for aforementioned quibbles. And quibbles they are: as a film which, from the outset, devotes itself unashamedly to style over substance, it scores top marks. There is also a considerable dose of humour (albeit mostly jet black); a particular scene in a Japanese sushi bar had me in stitches. Mention must also go to Ms. Thurman, who performs the role of an browbeaten killer on a vengeful suicide mission with steely resolve. Ultimately, a movie with an entire sequence in Japanese anime, samurai swords and a soundtrack that is guaranteed to stay in your CD player longer even than that of Pulp Fiction, cannot fail to impress. Go tonight for a bloody, but brilliant kitsch thrill.ARCHIVE: 1st Week MT2003 

OdeonFriday 17 – Thursday 23 October In Eastwood’s latest directorial outing, a child playing with two friends is abducted but subsequently escapes. A few decades later the three are brought back together by the death of one of their daughters’ and a murder mystery cum suspense thriller ensues. The ensemble cast display some solid acting. Sean Penn is the characteristically troubled ringleader and produces a strong performance, but Kevin Bacon steals the limelight as a dysfunctional police detective. Tim Robbins also excells as the “basket case” object of suspicion. The outstanding ensemble is, however, let down by an overly-complex script. The film tries to deal with the relationship between victims and perpetrators, but tosses aside these themes without warning, leaving and a muddled viewer withtoo many unresolved loose ends. The intervening two hours flow like the Mystic River itself, with currents only occasionaly convening in their progression towards the conclusion.ARCHIVE: 1st Week MT2003 

OdeonFriday 17 – Thursday 23 October Cabin Fever is a welcome return to the format of the much loved traditional horror movie. The story centres on five kids who decide to stay in a secluded cabin, for a week of fun, frolics and all things foresty. In true horror movie style this teenage utopia deteriorates when a wandering vagrant infects them with a deadly, flesh-eating virus. Cue the race against time to get out of the woods and find help, with all the classic horror elements – old, dilapidated wooden cabin, creepy skeletal trees and gun-toting yokels. In his directoral debut, Eli Roth is saving the horror genre from disappearing into the realms of the “stalk-and-slash”and psychological thrillers that we’ve seen a little too much of recently. Roth has brought blood, sex and gore back to the horror-loving public and has done it with great panache. If you fancy a seemingly low-budget, blood soaked, bizarrely comedic tale of a road trip gone terribly wrong then Cabin Fever definitely delivers the goods.ARCHIVE: 1st Week MT2003 

OdeonFriday 17 – Thursday 23 October Thirteen year olds spelling excessively long words is not standard material for an edge of your seat thriller, but director Jeff Blitz is able to muster at least as much tension as any Stephen King flick. The film follows eight hopefuls in their attempts to take the title and the $10,000 prize in the American national spelling contest. The subjects come from a variety of backgrounds, from inner city ghettoes to upmarket suburbs. Some are more charismatic than others, but all have very different reasons for entering a competition of gladiatorial proportions. The format of the events is excruciating; the kids’ faces contort bizarrely as they attempt to spell such monsters as “Logorrhoea”, and “Pococurante”, and any error is immediately punished by the ringing of a little bell and a “walk of shame”. The various mentor figures on the sidelines add another dimension to the film, which highlights America’s viciously competitive culture. By the time the gloves come off, you empathise so much with the kids that you find yourself willing them on in this geeky equivalent to a beauty pageant. Through luck or some genius editing, Blitz is able to count the winner amongst his eight subjects.ARCHIVE: 1st Week MT2003 

OdeonFriday 17 – Thursday 23 October 1899. The world is on the brink of war as a villain calling himself Phantom reaps doom and destruction across Europe. In response, a mysterious M decides to bring together a group of exceptional men and women that just might have a chance at restoring peace to the world. The troubled production of this film has received much bad publicity, but the plot moves quickly and the action scenes are fast-paced and well coordinated. The film also has some interesting twists. Prepare to be disappointed and be surprised.ARCHIVE: 1st Week MT2003 

Despite the release of two singles ‘Overrated’ and ‘Twist Of Fate’ (both included here), Ms Donaghy is probably still best known as the Sugababe who quit just as the band went massive. However, whereas the rest of the Sugababes have taken advantage of the split to make some of the most hook-ridden, catchy pop music of their career, Siobhan has made the decision to make what is being promoted as a more serious, mature album. Despite the production talents of Cameron McVey (Massive Attack, Portishead) and a clutch of young supporting musicians, her “fresh new direction” for the most part translates as sub-Dido indie-lite. Part of the problem is certainly the lyrics – clumsy rhymes and levels of wishy-washy abstraction last heard on Oasis’ ‘Be Here Now’ abound, along with risible non sequiturs such as “Here’s the paradox / We’re like presents all wrapped up” on obligatory anti-war number ‘Iodine’. In fact the only line to stand out first listen was “For every turd / There’s a turning point.” The fact that I was disappointed that I’d actually misheard a certain word (“turn”) in those lines says a lot about how much my interest was held. Musically she can certainly sing in a competent, ethereal, if non-distinctive way. McVey’s efforts, mostly drum machines, fine guitars with a dose of synths often add up to a pleasant enough track. If ‘Twist Of Fate’ (her most recent single, bordering on the engaging) left you wanting more though, you should beware as it’s the exception rather than the rule. Maybe one for those who have worn out their copy of ‘Life For Rent’ and like inoffensive pop-indie. Just don’t expect to be moved…ARCHIVE: 1st Week MT2003 

The 22-20s:05/03Out next week ‘05/03’ is a modern rarity: a live album that does full justice to a very good live act. From the first wails of feedback on the opening track, you know you’re in for a sizzling, full-fat rock feast. The vocals rasp and writhe, cutting deeper with each repetition; slide solos are executed with ear-splitting vigour, and the bass riffs are so slick that you half-expect to find Brylcreem oozing from the CD player. Take for instance ‘Such a Fool’, a 4-minute pounding of blues-rock gristle, which could easily be a passionate Starsailor. Except that it sounds good. Sure, there are a few quibbles. The endless riffs at times start to wear thin, while some of the lyrics seem painfully contrived. But these boys are young, and if this taster is anything to go by, it’s the White Stripes who should be getting worried and the general public who should be excited. 22-20s play The Zodiac, Oxford on 29 October.ARCHIVE: 1st Week MT2003