Friday 18th July 2025
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Prometheus Unbound – An ancient tragedy in open air performance

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A magical thing about ancient plays is how they break down temporal barricades surrounding us. We are teleported to a sanctuary, protected from the passage of time, from which we witness a story through the same eyes as the ancients. The actors’ voices we hear bouncing around the theatre steps could easily be the echoes of the original cast, ringing from the past and transcending eras. In that moment – an 85 minute-or-so-long moment – there is no difference between us and every generation stretching back to antiquity. Unified in this theatrical dimension, we share the same laughter, heart-wrenching pity, gasps, bittersweet tears and awe.

My August was idyllically spent in the Greek city of Thessaloniki for a summer course. As a student of Modern Greek seeking cultural immersion, upon hearing about a local summer theatre festival I unhesitatingly booked tickets. I settled on ΔΗ.ΠΕ.ΘΕ. Πάτρας’s production ofAeschylus’ timelessly exalted tragedy Prometheus Bound, somewhat dauntingly performed in Modern Greek. Having studied the language for a year, I was excited for this irresistible opportunity to test the limits of my listening ability. However, it is not renowned for being an easy language, hence the phrase “it’s all Greek to me”. Its vast array of synonyms, algebraic grammar and topsy-turvy alphabet (“ρ” counterintuitively makes an “r” sound) mean that fluency is still a distant ambition.

Arriving at the entrance out of breath as the result of a feta-fuelled run from a nearby taverna, I inhale my surroundings. The lantern-lit path to the open-air Forest Theatre (Θέατρο Δάσους), as the name suggests, winds through a shadowy hill-top forest. In the centre stands the 20th century concrete theatre construction, emblematic of the ancient model. The chattering audience, perched on flights of stairs, surround the semi-circle stage like the age-defining rings of a tree. My journey had involved a steep, bumpy ride up to the charming old town – the only surviving part of Thessaloniki that did not perish in the Great Fire of 1917. The lanterns dim, the starry, olive-black sky intensifies. The performance begins.

Prometheus, a Titan, is guilty of stealing fire from the gods and gifting it to mankind for their survival. As punishment, he is chained to a mountain and put on trial. Throughout, he endures tortures, shrilly laments his fate, and receives visitors including the mortal Io, a former lover of Zeus who has lost all grasp of sanity. Prometheus clings onto one consolation: only he holds knowledge of the fate that threatens to overhaul Zeus’ tyranny.

For a modern audience, Prometheus Bound isan incredibly difficult play to grasp: not only is Aeschylus’ text weighed down by its grave symbolism, it also references a plethora of background myths that are meaningless to us. Fortunately, this performance breathed a fresh, modern dynamic to an otherwise static play. Characters were split up over multiple actors ordressed in a way antithetical to their character; appearing as a jester was the personification of Strength and Violence. Often the tableau seemed more like a carnival than a solemn tragedy; yet precisely this ‘strangeness’ and contrast divested the play of its anachronisms. 

Without an interval, our eyes – much like Prometheus – were bound to the stage. This refusal to fragment the performance allowed immersive and unbroken continuity, anchoring us to the land of deities. I found myself leaning forward in my seat, as though those 20cm closer to the stage would give me any more leverage for understanding the lines. In an epoch where human achievement seems limitless, this journey back to a mythical past reminds us of the limits of our omnipotence, just as Prometheus reminds us of the need for basic compassion over authority. My mouth went dry – my jaw had unconsciously dropped in awe – leaving a sweet red wine residue of that evening’s carafe.

Rather than the language barrier detracting from the overall theatrical experience, I was contentedly surprised to find that it enriched it. When it comes to the latest opera, it is not only Italian speakers who flock to the box office. In the past, I have craned my neck to see the subtitles for a maximum of ten minutes before declaring the angle too obtuse to warrant bothering. This sacrifice has never compromised the beauty of the overall opera piece, as meaning is transmitted through lung-bursting melody. Similarly, during Prometheus BoundI was forced to embrace the entire sensory experience. The voices, though mere speech, to the untuned ear morphed into musical compositions through which emotions were channeled; my attention on the curvature of their bodies could not waver; in this way, a non-verbal meaning could be found.

At times, my hairs stood on end. For all I knew, Dionysus the ancient Greek god of theatre could have been purring down my neck – he too was marveling the performance.

Killer Queers

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Is it an indictment of where we are in 2019 that the past was the big winner at the 76th Venice International Film Festival?  

Whether it was Todd Phillips’ 1980s-set Joker, the World War II epic The Painted Bird, or Roman Polanski’s controversially included An Officer and a Spy, the silver screens of Venice were plastered with images of both factual and imagined histories this year. The winner of this year’s ‘Queer Lion’ – Venice’s award to the top LGBTQ+ film – is no exception. Sebastián Muñoz’s prison drama The Prince is set in early 1970s Chile and taps into a rich history of queer killers on screen. Perhaps less obvious or pervasive than other movie stereotypes (the effeminate and impotent gay best friend, the hypersexualised lesbian, etc.), the psychopathic LGBTQ+ maniac was a Hollywood trope which appeared frequently in the 1980s and 90s. Films like Cruising (1980), Windows (1980), The Silence of the Lambs (1991) and Basic Instinct (1992), all feature characters whose sexuality goes hand in hand with a murderous streak.

                Connections between queerness and pure evil predate any of these films, however. In The Homosexual Villain, written in 1954, writer Norman Mailer acknowledged that in his early novels, he often established an ‘intrinsic relation between homosexuality and evil’. For Mailer though, the relationship between the two had more to do with narrative convenience than morality: homosexuality functioned as a kind of shorthand, an invaluable tool to simplify motivation, a signifier of deviousness which readers would immediately recognise. Screenwriters and filmmakers have even less time than novelists when it comes to creating evil characters – the time constraints of a feature film dictate that their villains are instantly recognisable. Writing for The New York Times in 1992 (the year in which no less than three of the five nominees for Best Picture featured LGBTQ+ villains), American writer John Weir identified Hollywood’s bad habit: ‘since the death of Communism, homosexual villains are fast gaining on drug dealers and investors from Japan as the new bad guys’. In the same way that it had once been safe to assume that characters with foreign accents were hiding malevolent motives, the same is now true for gays and lesbians.

Set in the gay leather bar scene of 1970s New York, William Friedkin’s film Cruising uses this backdrop to denote not just sleaze, but sin. Al Pacino plays the young cop Steve Burns, who goes undercover as bait to attract a serial killer targeting gay men within this leather community, but quickly realises that his time spent sniffing poppers and go-go dancing is having an undesired effect. Steve is shown at the start of the film having very vanilla sex with his girlfriend Nancy, as classical music plays softly in the background, but after prolonged exposure to the leather scene, Steve’s coital thrusts become more forceful, and the classical music is replaced by the sound of pounding club music in his head. He is increasingly apathetic towards Nancy, something she notices and complains about, only for Steve to reply, “What I’m doing, it’s affecting me.” Friedkin makes it easy for the audience to piece the puzzle together – as he goes deeper undercover and prolongs his exposure to the debauched underbelly of fetish clubs, Steve’s heterosexuality diminishes.

This implication on its own is enough to make Cruising a violently offensive film. What really angered the gay community, however, was the film’s suggestion that there are multiple killers, encouraging the idea that the gay lifestyle depicted onscreen was inherently violent, and that the series of murders are a natural consequence of depraved sexual behaviour. During the first murder, images of gay pornography flicker as the victim is stabbed repeatedly in the back, explicitly linking gay sex with the penetration of the knife. As a piece of cinematic symbolism, it’s not exactly subtle.

Gay audiences were naturally appalled, forcing Friedkin to include a disclaimer in the opening credits: “This film is not intended as an indictment of the homosexual world. It is set in one small segment of that world, which is not meant to be representative of the whole.” Gay activists, such as Vito Russo, were quick to point out that this disclaimer was effectively an “admission of guilt” from Friedkin. The director knew full well, they asserted, how the film would be interpreted by naturally conservative audiences, and their fear was that it would fan the flames of anti-gay violence. These fears were rapidly proven justified: Ron Nyswaner, who ironically would later write the screenplay for Philadelphia, one of Hollywood’s most sensitive depictions of LGBTQ+ people, narrowly escaped getting beaten up by a group of college students, one of whom shouted at Nyswaner and his boyfriend, “If you saw the movie Cruising, you know what you deserve.”

                If one thing unites Hollywood’s psychotic queer killers, it is their voracious sexual appetite, an absolute requirement for the stereotype. In the erotic thriller Windows, released the same year as Cruising, Andrea forces Emily to take off her top whilst holding a knife to her throat. In Basic Instinct, Sharon Stone’s character is defined almost exclusively in terms of her sexual prowess, and performatively kisses a woman in front of Michael Douglas. The gay conspirators in Oliver Stone’s JFK engage in a sadomasochist orgy in one scene. For LGBTQ+ audiences experienced in the art of forensically analysing every film for the faintest reflection of themselves, the message from Hollywood was loud and clear: the only way in which we will acknowledge that you exist is by representing you as bloodthirsty, sexually insatiable monsters.

Largely, these monsters are now consigned to the past. Today, LGBTQ+ audiences have films like Love, Simon (2018), as well as various Netflix shows aimed at a younger demographic without the prejudices of previous generations, to confirm the validity of their experiences. Pitched firmly at a mainstream audience, Love, Simon is the polar opposite to the erotic thrillers of the previous century. In his review of the film, The Guardian’s Benjamin Lee praised the film as a ‘breakthrough moment for mainstream representation of same-sex romance’, which is undoubtedly true. To have a gay teenager as the protagonist of a major studio film would have been unthinkable up until shockingly recently. Yet I wonder whether LGBTQ+ cinema, having fought so long and hard for the license to be conventional, risks overprioritizing broad appeal. Occasionally, like Al Pacino in Cruising, you need to hear club music in your head rather than chamber music. The homicidal gays and lesbians of yesteryear are of course grotesque caricatures in one sense, but is the inoffensive blandness of Love, Simon really the preferred alternative? Whereas once queer characters were only allowed onscreen as villains, we are now free to be the good guys for a change. Yet everyone knows it’s always more fun to be the villain, especially if we’re in control of the screenplays for a change. For me, queer killers are due a comeback – surely it is better to reclaim this particular stereotype, rather than let it haunt us from the depths of history.

Antony Gormley at the RA

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A new-born baby is lying naked on the ground in the crisp September air. Some stride nonchalantly past her, while others stop and instinctively stroke her smooth body, as though trying to shield her from the elements. Iron Baby is a sculpture of Antony Gormley’s daughter, Paloma, captured at six days old. She is the mesmerising introduction to Gormley’s solo exhibition, now showing at the Royal Academy.

Best known for The Angel of the North, the iconic giant steel sculpture in Gateshead, Gormley is one of Britain’s most loved – and recognisable – artists. Offering a number of attention-grabbing, big statement pieces, this exhibition is vibrant and pulsating. Much of the most exciting work is immersive, including Matrix III, comprising six tonnes of steel mesh hanging hypnotically like a menacing storm cloud above one’s head. This is followed by a gallery choked by four and a half miles of aluminium tubing which swirls around the room, pushing energetically against the walls and ceiling. The visitor is encouraged to clamber through this metal web, and touch the cool, hard surfaces, which resemble a 3D scribble. It is disturbing yet exciting, chaotic yet ordered. Perhaps the most dramatic piece in the exhibition is the gargantuan body that one can wrestle through, in pitch darkness, made from 100 tonnes of sheet steel. It feels unnerving, even intimidating but the sheer scale of the installation is astonishing. Gormley pulls off incredible feats of engineering.

In another room, Gormley’s familiar life-casts project from the floor, walls and ceilings, seemingly defying the laws of gravity. Their inscrutable, impenetrable faces still have the power to haunt. More spellbinding is Subject II, the single figure made from inter-crossed steel bars. Its bowed head suggests a human vulnerability equal to that of the infant exposed on the cobbles outside. This figure embodies the theme of the show: man is no more than a speck in Nature.

The most extraordinary exhibit is the room whose floor is submerged in salt-water and earth. Entitled Host, the cold sea air rising from the water is forbidding, yet its perfect, reflective surface is strangely inviting. Indeed, one hapless visitor waded straight into the water, mistaking it for a perfectly polished floor. Described by Gormley as “the world yet to be acted on”, it pertinently reminds the visitor of the catastrophe of climate change. Though first exhibited in Beijing, this is the first time it has been seen in this country. It encourages a moment of quiet contemplation, after the commotion of some of the earlier exhibits.

This a curious exhibition that merges abstract and figurative work, huge showstoppers with intimate pieces, including Gormley’s exquisite personal notebooks. The lack of colour makes it feel bleak at times and the huge variety of work gives the exhibition a slightly breathless feel, but it is well worth a visit. Even if only to give that baby some much needed warmth as the nights draw in.

The BNP Paribas AccessArt25 programme is also offering 3000 young people, aged 17 to 25, free access over the course of three specially-curated evening: Monday 14 October, Monday 18 November and Monday 25 November, 6.30-9.30pm.

Featured Image: Clearing V, 2009. Approximately 11 km of 12.7 mm aluminium tube. Installation view, Kunsthaus Bregenz, Austria © the Artist. Photo: Markus Tretter

Jungle Fever: Back to Apocalypse Now

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Very few films are as rewatchable as Apocalypse Now. Francis Ford Coppola’s tale of Martin Sheen’s Captain Willard travelling upriver and through war-torn Vietnam, to assassinate Marlon Brando’s once promising but now “completely insane” Colonel Kurtz, is surely one of the most memorable films ever made. If you’ve seen it, you might recall the hazy emergence of a face-painted, lightning-illuminated Martin Sheen from a dank jungle swamp. You’ll probably remember an elephantine, gibberish-muttering Marlon Brando brooding in the shadows of his temple-ruins. And who could forget (and yes, I cringed as I wrote that, but how else to put it?) the guiltily exhilarating, Ride of the Valkyries sound-tracked helicopter raid on a helpless Vietnamese village?

But do you remember Harrison Ford’s coughing, awkwardly punctuating his confessional revealing of Willard’s outrageous mission? What about the gloriously mish-mashed nonsense Dennis Hopper’s indoctrinated photojournalist spouts manically? How about the airlifted cows?

OK OK, enough with the details (and, please, enough with the lists and rhetorical questions). If you haven’t seen it, you’re probably still asking what it’s actually about.

Well, it’s difficult to say. But stop the eye-rolling, I’ll try.

It’s about obsession, for one thing. The narrative through-line of finding Colonel Kurtz is less backbone and more shattered ribcage, barely holding together Coppola’s boundlessly ambitious fictive energy, which supercharges every mammoth set-piece. But while these gargantuan, operatic sequences (hotel room, helicopters, temple etc.) burn into the viewer’s mind, they merely pass in and out of Willard’s peripheral vision. Finding Brando is the narrative cornerstone in a story that occasionally risks falling into the fractured state of Willard’s own mind.

So, what’s the big deal with Kurtz? Well, “it wasn’t just insanity and murder”. We only need Robert Duvall’s Colonel “I love the smell of napalm in the morning” Kilgore to show us that in this film these attributes are more than occupational hazards, and can be badges of honour. Kurtz has to mean more. If Willard- obsessive, tortured, made brutal by the brutality around him- is the logical extension of the American solider in this most traumatic of American wars, then perhaps Kurtz is supposed to embody the wider conflict itself. Idealising brutality and ruthlessness, he’s (pseudo)profoundly self-righteous with a barely repressed burden of guilt.

Still, I’m only theorising. I don’t know what the film ‘means’. I don’t actually know if the film itself knows its own ‘meaning’. But then this thematic uncertainty and indeed narrative contingency is entirely representative of the essence of the Vietnam War itself. In a very non-Hollywood way, the film represents an attempt to deal with the haze and confusion, the consummate otherness but also durable sympathetic humanity, of even recent history. Indeed, that noble ambition is reason enough for you to make a first, or return, trip up the river.

It: Chapter Two Review

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The much-anticipated sequel to IT (2017) finally saw its cinematic release last weekend as the all-grown-up Losers’ Club return home to take on Pennywise for a final showdown. Fans of the first installment might want to start cherishing those childhood memories because, while not a resounding disappointment, CHAPTER 2 does not reach the stellar heights set by its predecessor. Having made a pact at the end of the last film to return to their hometown of Derry if, and when, the nightmarish clown of their youth awakes to wreak its typical violent havoc once again, the gang (played by an ensemble cast that includes James McAvoy, Jessica Chastain, and Bill Hader) is forced to relive their forgotten collective terrors in an effort to finally put a stop to Pennywise once and for all.

However, despite a fantastically manic performance from Bill Skarsgård, the eponymous It fails to live up to form this time round. Much as the Losers’ Club are unable to escape their own childhood traumas, IT: CHAPTER TWO finds itself, for the most part, trapped in a singular, highly static, mode of horror for the entirety of the film that is more the fault of the film’s screenplay than its direction.

Relying heavily on jump scares in an extremely regularised form, IT CHAPTER: 2 finds it impossible to build tension for much longer than a single scene before it quickly dissipates, soon leading to an overwhelming sense of fatigue with the film’s horror elements.

Most egregiously, this manifests in one drawn out segment (clocking in at nearly forty minutes) in which each member of the group must return to and re-confront their own site of childhood terror. Rather than diversify this section of the film with a mixture of storytelling devices – potentially allowing for a greater exploration of this salient theme of unresolved trauma – the film regurgitates the same scene five times over without narrative consequence.

The ubiquity of this basic structure is a shame, given the creativity of the film’s visual horror. Screenplay choices needlessly dictate that Pennywise’s ability to take on endless forms works to the film’s disadvantage; more controlled writing would and should have reined it in rather than allowing what would otherwise have been very effective and imaginative visuals to become less and less impressive with every new manifestation.

It is, however, a testament to the film’s strengths that it remained an entertaining and watchable ride throughout. While IT: CHAPTER 2 could undoubtedly have done with some brutal editing down, its repetitiveness didn’t leave this film feeling particularly drawn-out. Despite a 170 minute run time, I never once felt compelled to check my watch.

This is mostly on account of some fantastic work by Chastain (on form as ever) and Hader. There’s something unbeatable about the group chemistry of the baby-faced cast of the first film but IT: CHAPTER 2’s ensemble certainly gives them a run for their money.

Given the inherent tension between a group of adult protagonists and the film’s axiomatic “friendship is magic” spiel, it’s remarkable how successfully the actors work to pull the film back off the cliffedge of schmaltz.

Fans of the first film shouldn’t despair. IT: CHAPTER 2 was disappointing, but disappointment is mostly the fault of raised expectations. The film is otherwise fun enough to warrant lowering those expectations and heading to the cinema for the story’s conclusion

Optimism and anxiety at the HS2 Economic Growth Conference

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Passing waves of military canon and eccentric Tudor war helmets, I entered the conference hall as Wagner’s Rise of the Valkyries boomed out of the sound system. The Royal Armouries in Leeds was the setting for this ‘HS2 Economic Growth Conference’, and the message from the get-go was bombastic enough to enough to match the slightly surreal surroundings: HS2 is happening (please).

Gathering over 250 attendees from local government, business and the project itself, here was a relentless onslaught of general optimism, with only occasional tempering to heed HS2 Ltd Chairman Alan Cook’s call for “the voice of optimism” being matched with “the voice of reason”. Jonathan Bretherton assured us that “planning and wider work is continuing regardless of threatened delays”, while Steve Hollis stressed that “world precedent shows that major infrastructure can be a transformative catalyst for economic growth”, but that “momentum was crucial” and the private sector wants to be planning and making investment proposals in the context of overall commitment and growth. “Not everything we do will have positive effects for everyone” conceded Bex Seeley, Commercial Finance Director at Lendlease, while Rob Valentine, Director of Bruntwood, admitted that the iconic but now often desperate Northern mill-towns were “not easily saveable”. These were, however, only minor bumps in the (rail)road of optimism.

And yet, through it all, there ran a parallel sense of private, foot-tapping anxiety, voiced more in the foyer during breaks for ‘networking’ than on the main stage. The independent review commissioned by the government less than a fortnight before the conference was regarded with a slightly combative enthusiasm- “We welcome the review!” exclaimed Alan Cook, prompting echoes of the same feeling throughout the day. Audience questions belied deeper worries, however. Again and again, questions were asked wondering what would happen to individual areas, development plans and already started projects, if the decision was made to end HS2, or part of it. By far the most popular question, as voted for by the audience, was “What would you say to Boris Johnson if you were stuck in a lift with him for twenty minutes?”. The people here had real influence but there was a basic acknowledgement that the ultimate, fate-deciding decisions about the project lay out of their hands.

There were also private laments for what was repeatedly stressed to me as “completely well-intentioned” mismanagement at every level. As I write, a quick Google of ‘HS2’ is telling. It brings up stories of “absurd” amounts being spent on security guards to protect a tiny plot of empty land in Birmingham, and “10 places in Aylesbury Vale” which would be irrevocably blighted if HS2 goes ahead, as well as a report reiterating that Douglas Oakervee, chair of the HS2 review committee, is quite prepared to cancel the entire project.

But then how many could deny the very real, economically unbalancing gravitational pull of London, siphoning students, graduates and powerful business investment away from the ‘provinces’. Infrastructure investment duly follows suit, with £2, 700 per capita in London contrasting shockingly with just £5 per capita in Hull. The tension between centre and regions was mentioned repeatedly, and brought home with thumping force by Kay Cutts, Leader of Nottinghamshire County Council, who announced, to the palpable enthusiasm of the Leeds-based audience, that “we [outside London] are the country!…We need you, Government, but you need us!”

The media debate had, we were told, unfairly painted the project as being all about getting to London more quickly. In actual fact, all stages of new and improved rail services constituted the fullness of national “connectivity”- a word surely used over 100 times. Richard Gregory, Senior Advisor and Honorary Yorkshire Bank Chair at CYBG, made the project’s fundamental selling-point the ability “to build a career without having to move to London”. Companies lined up to describe their own projects, based on the presumption HS2 would be completed. All was in an attempt to undermine reports from the New Economics Foundation that 40% of the benefits of the project would go to London and that the £56bn budget would be better spent on upgrading the existing network and undertaking smaller-scale local projects. Arguments that the proposed railway network connecting northern cities and transport hubs, ‘Northern Powerhouse Rail’, would be a sounder investment were undercut with a demand for “both, not either/ or”.

The tension between thumping optimism and every-stage uncertainty is what makes HS2 such a divisive and fascinating issue, even in times as politically turbulent and soap-opera dramatic as these. On the other hand, it’s also an issue that has dragged on across decades, governments and fluctuating economic outlooks, and prompts as much frustration as it does enthusiasm. With the future so unclear, one of the few things we can do with much certainty is note, with irony, how patently the development of the country’s second high-speed rail network has failed to live up to its name.

FLEABAG – Triumphant return to where it all began

Phoebe Waller-Bridge was a joy to observe in her sold-out one-woman show, Fleabag, albeit via a National Theatre Live cinema screening from the West End. The audience (mainly women) was of a wide generational spectrum despite the often ripe language and filthy material, showing the wide appeal of Fleabag, at least among women. Entirely engrossed in the performance, and with much laughter, there was palpable disappointment at curtain-call. Quite an achievement for what was essentially a 90-minute monologue.

From stand-up to Fringe to Soho to the small screen, the history of Fleabag needn’t be rehearsed at length. Waller-Bridge, and Fleabag, are current-day icons. Combining techniques of meta-theatre with humour, she recalls Fleabag’s sister Claire saying, “don’t talk as though you’re always doing stand-up.” Is she addressing Fleabag or scolding Waller-Bridge?

Most will have come to the live-screening with the television series still fresh in the memory. Blunt, boisterous, hilarious, sad, sexy, on the edge – hers is a deeply personal character study and story told with perfect comic timing that the audience was very familiar with. We know that beneath her trademark chic bob, post-box red lipstick and sexy bravado there is a finely nuanced, self-obsessed, self-hating, woman on-the-edge; we know Fleabag’s use of sex to blunt emotional pain and trauma leaves her emotionally unfulfilled; we know the punchlines not only of betrayal of her best friend Boo but of individual stories she weaves. It was like meeting an old friend (if only!) for a catch up. The true pleasure is seeing Waller-Bridge at work.

The set was a tiny elevated square, the only prop the tall stool on which Fleabag largely sits. Being a sole performer, this heightens the sense of her loneliness and claustrophobia boxed in with worries about the past, present and the future. Her stasis is a reflection of her life at a metaphorical standstill. This contrasts with her wild stories of living life at a million miles an hour; she has more adventures in a couple of months than most people have in a lifetime. Waller-Bridge tells rather than shows. However, one scene where she stands up from the stool to re-enact taking sexually explicit photographs of herself is hilarious highlighting its tedium rather than eroticism.

Combining intensity, fragility, confidence and an uber-expressive face, her constant engagement and ownership of the stage was remarkable; the trademark conspiratorial side glances and raised eyebrow feature heavily. Fleabag’s intimate relationship with the audience – where everyone felt she was speaking directly to them – set the tone. On one singular occasion when an audience member failed to grasp the gravity of a pendulum swing from comedy to tragedy, her piercing side glance put them in their place. The close-up importance of facial expressions could be a rare time when attending a live-screening is preferable to being in the 700-seater theatre. The camera captures close-ups of split-second facial expressions that could be missed if you were sat up in the gods.

Comparison between the show and TV series was inevitable. Diehard Fleabag fans could no doubt recite verbatim some lines used both here and in the television series, such as her soliloquy on being a “greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist”. Quick profile portraits are a speciality of Waller-Bridge, sowing the seeds for Oliva Coleman and Sian Clifford’s roles as respectively the stepmother and Fleabag’s sister, Claire. It is important to bear in mind that this show was the jumping off point for the TV series and stands as a complete artistic statement in its own right. The desire to compare the versions was short-lived, however, as the audience became fully absorbed in Waller-Bridge’s performance.

The unique ticks and quirks of each character are brought to life with an array of accents, postures and facial expressions. Fleabag’s interactions with a character ‘Tube Rodent’ was a highlight, Waller-Bridge’s face expressing the comedy and disgust of this hook-up. Martin, Fleabag’s alcoholic and sexually inappropriate brother-in-law, is succinctly portrayed in a single anecdote conjuring his over-whelming sleaziness, despite his physical absence. 

Occasional pre-recorded conversations between Fleabag and characters worked less well than when she was in full flow alone; however, the scene when, being hot and flustered, she removed her jumper in an interview forgetting she didn’t have a on t-shirt underneath was still hilarious despite this issue.  The play has unfamiliar material of an equally high standard to that of the television series, including a particularly side-splitting anecdote involving Fleabag’s horrendously hung-over ex-boyfriend Harry’s tragic toilet trip in the middle of a business meeting. 

This is undeniably a stellar performance of excellent material. 

So, why was the audience largely female? It’s refreshing to hear unglamourised accounts of female sexuality from a woman’s perspective, even if Fleabag’s relationship with sex is complicated. Fleabag is unafraid to speak her mind and say/do things perhaps she shouldn’t. She makes mistakes but keeps going. Much of Fleabag’s self-worth is drawn from how she is perceived by men; she enjoys being watched by them.  At times she is ethically questionable, such as being disappointed when a stranger doesn’t attempt sex when she was off her head at a festival.

As anyone who has seen the series 2 finale of the TV show Fleabag will be aware, Waller-Bridge is unafraid of closure, bringing down the guillotine on one of the most promising comedic scenarios in recent memory.  The end of this play feels equally brutal. Fans of Hilary, steel yourself for a nasty surprise… 

Dominic Cummings: The genius in Number 10?

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Dominic Cummings – pictured entering Downing Street looking like the kind of man who wears three-quarter-lengths to work – is a genius maverick. We know this because Channel 4 roped in Benedict Cumberbatch to go full skittish detective mode to portray Cummings in ‘Brexit: The Uncivil War.’ If that’s not evidence enough, he also has a suspiciously large head. 

In fact, Cummings has shot right to the top of the Men Who Wear Trainers To Work and Swear at People Because They Are So Clever rankings. If Armando Iannucci and Aaron Sorkin were tasked with writing a crossover of The Thick Of It and Steve Jobs, Cummings would be their sweary Silicon-Whitehall brainchild. The confrontational dismissal of Sonia Khan – a Treasury media advisor accused of consorting with anti-no-deal figures – would be their opening scene: it was a paranoid act directed by Cummings, suitably ‘redolent of the ways of a hard-hitting technology CEO, such as Musk or Steve Jobs, rage-firing employees suspected of not being committed enough to his vision.’ 

It is little surprise, then, that a quick Google search of Cummings yields a trio of recycled terms: articles debate among themselves about the extent of his ‘guru’, ‘maverick’, and ‘genius’ properties. Yet amid all the media furore exalting and fearing him in equal measure, it is difficult to discern from where the ‘genius’ label actually derives. Surely to earn the title of an erratic but brilliant mastermind it is not enough to simply create a ‘culture of fear’ in the workspace. No one hails Alan Sugar as Da Vinci incarnate for firing everyone. 

Shedding light on the issue, Cummings provides a window into his thoughts in the form of a blog that amasses, by one Guardian article’s calculation, a greater word count than Ulysses. It is with thanks to this that we don’t have to try and infer the complex inner workings of a mind that once declared, in 2017, that ‘Tory MPs largely do not care about poorer people’, yet currently sits inside Johnson’s Number 10 pulling the strings. His ideas, interests, and visions have already been laid out on the page, ranging from a few brief sentences to vast extended essays.

In Some Thoughts on Education and Political Priorities (and by ‘some’ he means 237 pages), his essential thesis is that the globe is rapidly changing, but Western politics aren’t keeping apace; if children are to thrive in this big new world, our schools must undergo a profound shift to an ‘Odyssean’ education – one that begins with the biggest questions and problems. The author notes that less than 10 percent of children leave school with sufficient tuition ‘in basics such as exponential functions, normal distributions (‘the bell curve’), and conditional probability’, normalising the fact that ‘most politicians, officials, and advisers operate with…little knowledge of maths or science (few MPs can answer even simple probability questions yet most are confident in their judgement).’ To overhaul rule by the ‘incompetents’, we need an education system that, from the bottom-up, spawns ‘leaders with an understanding of Thucydides and statistical modelling, who have read The Brothers Karamazov and The Quark and the Jaguar, who can feel Kipling’s Kim and succeed in Tetlock’s Good Judgement Project.’ 

For a young person like me with a pitiful grasp of anything resembling statistical modelling, it’s comforting to be told that you might not actually be, to use Cummings’ own phrase, ‘thick as mince’, but just another casualty of a decaying system that will eventually send us all hurtling towards our own extinction. 

Amid the urgent tone, it’s hard to doubt that the thrust of Cummings’ thesis is compelling. But it strikes me that I don’t know just how compelling it really is, because I am unequipped to assess how pressing the issues he presents are. I may be proving his point. It’s also hard to doubt that – considering a formal education in ancient and modern history – Cummings’ ability to meander from energy technology, space science, genetic engineering, machine intelligence, cognitive science and on to cyberwar indicates some big brain energy. It almost makes you forget that the sum total of his ideas probably amounts to some sort of grand technopolis of Renaissance polymaths that understand data and listen to rationality podcasts. 

But even when dealing with the authors of eccentric and eclectic blogs, how useful really is it to throw around the term ‘genius’ in politics? Certainly by the metric of his own intellectual mentors, talk of genius seems fruitless. 

The intellectual milieu that Cummings associates with are referred to as the ‘Rationalists’ – a corner of the internet that concerns itself with thinking accurately, making precise predictions, overcoming biases, and, among other issues, the menacing capacity of AI. His page is littered with links and references to Rationalist blogs such as Slate Star Codex and LessWrong. But as this great article demonstrates, judging by Cummings’ willingness to ‘eat away at the various little conventions and traditions which underpin British public life’, it is not clear that he totally grasps the fundamental objectives of his peers. Cummings is a disruptor – a man in a hurry, advancing his ideas with vigour because he knows that he is right. 

But the Rationalist movement – no matter how exceptional or urgent the idea – is not about bulldozing through reform in pursuit of a short term goal, nor is it about proving you’re the smartest guy in the room. It is about being introspective, taking stock of your own errors, and implementing ‘steps to make sure that you’re not going to accidentally blow everything up with your brilliant ideas.’ Many Rationalist thinkers even object to being called as such, preferring the term ‘aspiring rationalist’ to signal humility. Perhaps Cummings’ erosion of constitutional convention and his rash removal of the whip may disqualify him from the halls of careful brilliance among his own keyboard ‘gurus’. 

As for other names in politics, even by Cummings’ very own metric of a proficient mind (a dense amalgam of literature and science), many figures that might come close are rarely awarded the title of genius. Angela Merkel is a doctor of quantum chemistry, and was recently pictured on her South Tyrol hike digging into Shakespearean scholar Stephen Greenblatt’s analysis of the playwright’s villains. Whether she’s a genius, however, is a question hardly asked. Maybe if she spends her last few years in office lurking in the shadows and telling civil servants to piss off more people will remember her for her intellect. 

Similarly, Democratic candidate Pete Buttigieg is said to speak eight languages and managed to bag a first during his time as a Rhodes scholar, but there appears to be (to my knowledge across the pond) no dominant narrative labelling him a great mastermind. And perhaps it’s all the better for it: a President who enjoys the odd book wouldn’t go amiss, but buying into the cult of the Guy With the Impeccable CV may not be entirely helpful, either. There can be no escaping the fact that leadership races are largely about the character and credentials of the candidates, but it is not immediately clear what effect a beefy academic record has on advancing good policy – especially in the wake of recent news reminding us that elite university admissions can be based on factors independent of talent.

Of course, neither Merkel nor Buttigieg have asked that we refer to them as brilliant geniuses. If someone actively demands to be regarded as a brilliant genius, as Mr Trump so gracefully demonstrates, they most likely are not. Yet Cummings has never outright laid claim to any sort of distinction, either. He remarks that he is ‘not clever’, but rather succeeds on account of a ‘demented focus’; perhaps, for this reason, he is not to blame when the media decides to pounce on his unorthodoxy and dishevelment and brand him a maverick, or when babbling students like me decide to question his status having read only a fraction of his writings. 

But this misses the point slightly. Intended or not, the ‘erratic genius’ label Cummings has acquired has helped to explain away many eccentric, and sometimes outright poor, behaviours – his unceremonious firing of Sonia Khan being one. What’s more, a media preoccupation with character over record helps to detract from the issues that ought to warrant greater attention, like the small indiscretion of Cummings’ Vote Leave campaign breaking electoral law, for instance. 

Indeed, in the long term, whether his branding as a scruffy genius is the product of studied behaviours or media sensationalism is hardly consequential. Cummings’ popular image will now provide him with a buffer, regardless of whether his time puppeteering in government is a success or a failure for his cause. If his strategising works, the label will stick. If it crashes and burns, then he may nonetheless leave Number 10 as the unorthodox genius who ran into a burning building of ‘grotesque incompetents’ that just would not listen. 

Stonewall: 50 years on

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Earlier this summer, on Saturday 6th June, as it is at least once a year, London was adorned with LGBT flags. Around a million people joined celebrations of London Pride, an event which has been part of the city’s official calendar since 1972. Undeniably, the rights of LGBT+ people have since then expanded – both through the law and through social changes the UK and dozens of other countries globally have seen.

But in the 50 years since the first brick was thrown at the Stonewall Inn in Lower Manhattan, the world and the United Kingdom have seen serious fluctuations in the status of LGBT+ people. Many see the legacy of Stonewall as a progressive increase in the rights of LGBT+ people, but are we being too quick in making such a statement?

It was only in 1987, fifteen years on from the Stonewall Riots that then-British Prime Minister Margaret Thatcher stood behind a podium in Blackpool, declaring that hard-left teachers had imbued children with the idea that they had an “inalienable right to be gay”. Her speech stains both her historical reputation and this country’s recent history and was shortly followed by the enactment of the Local Government Act. It was Section 28 of this which infamously stated that local authorities must not “intentionally promote homosexuality”.

Such legislation is irrefutable proof that every time Pride is celebrated, it reinforces its primary purpose as a protest. In 2003, Thatcher’s legislation was repealed after a long struggle; this was shortly followed by legislation enabling civil partnerships in 2004. That gay marriage was not granted then, but only in 2014, is another failure that can be looked back on with deep regret. As a consequence of the intractable influence of right-wing newspapers and unreconstructed public opinion, the Labour government was not as bold as it should, and most likely would, have been.

Despite this, we have seen a huge increase in positive public perceptions of the LGBT+ community. According to the Telegraph, the shift in public attitudes to homosexuality has been the most dramatic change of views in a generation. Whilst only 30 years ago two thirds of Brits viewed same-sex relationships as immoral, such numbers had dropped to only one in five by 2013, and continued to fall. All members of the LGBT+ community should welcome such social changes but should also work to ensure progress does not slow. All too often, there is still bias towards focusing on the cisgender, masculine, and white. We should never stop being allies to the trans community, especially those facing intersectional discrimination.

Looking forwards, there is still an incredible amount of work that needs to be done. Fourteen countries still punish homosexuality with the death penalty. Even in countries which have legal same-sex marriage, like the United States, it is still possible in this very year for eleven trans-women – all of colour – to be murdered simply for being who they are. In the US, black transgender women have a life expectancy of 35 years. Such statistics are horrifying, and should appal us all. The UK government should wholeheartedly condemn and act against the rollbacks in protections for LGBT+ people in the US that are taking place at the behest of the fundamentalist religious right. It should continue to work with organisations such as Stonewall UK, which does incredible work in the UK and abroad. This includes, for example, working with LGBT+ people of faith and religious institutions to help bring about progressive change. In 2015, the Equalities Minister of the then Coalition, Jo Swinson, wrote to 70 countries asking about the status of LGBT+ rights. This was a positive move, but not enough. The UK should use its status as a soft power powerhouse globally to push for stronger rights for members of the LGBT+ community, not just make inquiries.

Whether it means changing trading relationships with countries which kill gay people, or those which refuse to grant basic protections of human rights based on sexual-orientation and gender identity, there is absolutely no excuse for the UK not to be at the forefront of the fight for LGBT+ rights – focussing both domestically, and to tackle the huge but not insurmountable challenges worldwide.

Many members of the LGBT+ community will at least be familiar with the most popular contemporary account of what happened at the Stonewall Inn in 1969 – commencing when the “first brick was thrown at Stonewall”. This is a story which, while never concluding on one version of events, has set the scene for contemporary LGBT+ struggles. But personally, I don’t really care for the particulars of that night. Whether it was a stone, a brick, a shot glass, a stiletto, a handbag, or whether it was Stormé DeLarverie, or Marty Robinson, or Marsha P Johnson – none of that truly matters, as long as none of their names are forgotten. What matters is that Stonewall marks a seminal turning point in our history. Stonewall represents a group which had been sidelined throughout history making itself heard and accepted, and steeping out of the shadows, as a group whose history is so often absent from  archives across the world.

On the 50th anniversary of Stonewall, members of the LGBT+ community need to remember that our rights have been won thanks to the hard and determined struggle. We cannot stay complacent. We must continue fighting to ensure that there is not one inch of regression. The legacy of Stonewall should not be forgotten.

We must never forget – Pride is a protest.

Festival Review: We Out Here

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We woke on Saturday morning creaking and happy. It had rained biblically for most of the day before – mud-caking our wellies, plastering macs to aching legs, dampening the bread rolls – but somehow, between Yazmin Lacey’s early evening neo-soul and Auntie Flo’s arm-raising midnight set, the halfway point of We Out Here trembled through us. It was joyful.

The festival promised a lot. A product of Gilles Peterson’s own taste and his label Brownswood Recordings, the inaugural We Out Here pitched itself as “joining the musical dots” between jazz, soul, hip hop, afro, electronica, and house – everything that slots into Peterson’s Saturday afternoon radio show on 6 Music. An album of the same name was released last year featuring the musicians who were to form the basis ofthe summer line-up.

Keyboardist and composer Joe Armon-Jones is one of these artists, whose second album ‘Turn To Clear View’ is released this Friday, 20th September. He is known for his part in explosive London jazz group Ezra Collective, and the style carries over into his solo work. His music is galactic, and quivers with momentum; the set’s solos were fiery burst of notes sparking their way through the melody in precise hits, deliberate and individual compared to the psycho-smooth blissiness of the chords. This contrast is the point: his ghosty, warped organ at once set off the other band-members and bared his talent. As a performer, he was colourful andstreamlined; his notes bent round, bloated, and diffused as they filled in the gaps where dub, funk, and Herbie Hancock’s legacy meet.

Armon-Jones slinked in for an appearance in Nubya Garcia’s set. Tenor saxophonist and composer Garcia is of a spirited and spiritual mould, and her solos had catchy melodies with all the elasticity to showcase her improvisational skill. ‘Lost Kingdoms’ was a Coltrane-esque slow-build, and she bloomed in freer compositions like the ‘When We Are’. Cool and magnetic enthusiasm made for wide-eyed, glistening tracks, and she deserved longer than the half an hour she was given – perhaps true for a few artists, who could have been enjoyed for two or three times as long as their sets permitted.

Garcia’s versatility was characteristic of most of the jazz musicians, both in style and material, as they consistently cropped up in others’ sets. They are the product of the same scene. Like Armon-Jones, Theon Cross plays with Garcia, himself the tuba-player in Sons of Kemet (winners of a MOBO for Best Jazz Act in 2013). Cross was bone-shaking: the blistering Sunday afternoon heat dried the mud beneath our feet; his playing cracked the ground right open. Lips of raspberry steel made for near-beatboxing into his tuba, his encore feeding from the crowd’s astonishment at the sheer strength of it all.

In spite of – perhaps because thanks to – the threat of dampness on Friday night, the crowd at the Main Stage received Kojey Radical with feverish excitement. The weekend’s mode was one of vitality, and, simply, he bled life – a mercurial blend of rap, spoken word and occasionally raw-edge funk. His performance was a succession of lightning flashes, as he zig-zagged across the stage with sweating, sinewy virtuosity. Infectiously honest about both composing and battling depression, he streaked through the line-up as the most vibrant of highlights.

Elsewhere in the area surrounding ‘The Forest’ were DJs playing through the night; wandering between them was like the same approach you have between floors in a club – without the aimlessness, and with the confidence that there’d be something good. This ‘something for everyone’ refraction sometimes felt too decentred, but it did account for the inevitable proliferation of music taste, like one of the most inexplicable but gold-miney Discover Weeklys. I swerved the eye-popping DnB/jungle of DJ Randall, but sets as varied as Tenderlonius’ jazz-laced house to Malfada’s disco-y Brazil were scattered around the site and across the weekend. 

Abbots Rippon, old home to the Secret Garden Party, is in the heart of Cambridgeshire and had room for outdoor lake swimming, yoga (if so inclined), and films and talks. The Sunday headliner, Gary Bartz, gave an interview for Worldwide FM in an outdoor tent, during which he talked about the advice passed down from Miles Davis, and what it was like to play with Charlie Parker.

Like the name of his radio station, Peterson pushed for his festival to be a “worldwide family gathering”. Clearly, this meant drawing out the resemblances between different music genres, celebrating the closeness of the current scene, and bringing fans into the fold. Performers and campers alike simply roamed and savoured. It all seemed a bit more than “joining the dots”: this was musical pointillism; sharp, bright individuals creating patterned, vivid blur.