Saturday, 30 July 2011

HISTORICAL PERSPECTIVE

If you missed, 'Titus Discovers', the third part of my play cycle, The History of Titus Groan, based on the novels of Mervyn Peake, you can catch it tonight on BBC Radio 4 at 21:00.

And you can hear Part 4, 'Titus Departs', also on Radio 4, tomorrow, Sunday 31 July, at 15:00, described in the latest issue of Radio Times as: "An absolute triumph."

Here's another snap from the recording session with Luke Treadaway and Hugo Docking (left and right as grown up and young Titus) and David Warner who plays the Artist.

Instead of saying "Cheese!", the photographer asked us to say "Gormenghast!" which explains why three of us have rather strange expressions. Luke, however, was too smart to get caught like that!

Titus, Artist, Brian and Young Titus

Among the events that are chronicled in the fourth play tomorrow are the developments in the brother sister relationships between Titus and Fuchsia played by Olivia Hallinan...

Titus and Fuchsia

There is also a growing awareness of Steerpike's perfidy by Titus' mother, the Countess Gertrude, and Doctor Alfred Prunesquallor, played by Miranda Richardson and James Fleet...

Lady Gertrude and Dr Prunesquallor

And, lightening the mood, there are the comic events surrounding the courtship and marriage of Miss Irma Prunesquallor and Professor Bellgrove, played by Tamsin Greig and William Gaunt...

Irma and Bellgrove

All of the episodes, as they are broadcast, will remain accessible via the BBC iPlayer until the series is complete. Then, eight days later, it will be possible to download and purchase all six hours of drama.

Photos: David Hunter and Islay Bell-Webb


Thursday, 28 July 2011

SNOW IN JULY

Several years ago now, I posted on the subject of clowns and the not-entirely-irrational fear that they engender in some people.

Among those of the clowning profession whom I mentioned was the Russian genius, Vyacheslav Ivanovich Polunin or Slava (left), whose wonderfully bizarre, infinitely heartwarming entertainment, Slava's Snowshow will be touring the UK this autumn and returning to London in December.

Simon Callow, never an actor given to underemphasis, described Snow show as "The single most beautiful thing I have ever seen in a theatre in my life", and I couldn't agree more.

David and I saw Slava at the Old Vic many years go and it has remained with us both as one of the most astonishing, funny and moving experiences we have ever enjoyed.


Here's a film of part of Slava's Snowshow that captures something of what it was like to be in audience: but without the full shiver-making frisson as the furious tempo of Carl Orff's 'O Fortuna' from Carmina Burana mounts to its scorching crescendo as you are literally dazzled and blasted by a blinding blizzard of brilliant cold whiteness.

If you catch even a hint of Slava's magic here – go and see the real thing!




Tuesday, 26 July 2011

QUOTE UNQUOTED

During the edition of Quote... Unquote... on which I appeared last week, I quoted Robert Benchley's famous quip on Venice, and then went on to read a short, but highly evocative, passage from what is probably my favourite book written about the city: Watermark by Joseph Brodsky.

Sadly, it got edited out of the programme (though not too surprisingly since they recorded almost fifty minutes for what was, ultimately, only a half-hour show), so I thought I'd share it with you here.

A Russian-American poet and essayist, Joseph Brodsky (1940-1996) was expelled from the Soviet Union in 1972 for alleged "social parasitism".

With the help of W H Auden and others, he settled in the USA, taught at Yale and other universities, was awarded the Nobel Prize for Literature in 1987 "for an all-embracing authorship, imbued with clarity and poetic intensity", and was made American Poet Laureate in 1991.

Watermark is a long, discursive, essay, that describes the author's feelings about Venice. It would prove little or no use to those one-day tourists who throng the city, because it doesn't tell you even a fraction of what you need to know in order to point your camera in the right direction!

It is about the ideas and the emotions that Venice can arouse in the visitor with the temperament (and time) to watch and listen. It is also, and this is its quiet genius, about how the city shows the writer to himself.

This passage is from a section of the book that especially pleases me because most of our Venetian pilgrimages have been made in wintertime and because, like Brodsky, I am forced to greet each day with a heaped handful of pills!
In winter you wake up in this city, especially on Sundays, to the chiming of its innumerable bells, as though behind your gauze curtains a gigantic china tea-set were vibrating on a silver tray in the pearl-grey sky.

Venetian Dawn 2

You fling the window open and the room is instantly flooded with this outer, peal-laden haze, which is part damp oxygen, part coffee and prayers.

No matter what sort of pills, and how many, you've got to swallow this morning, you feel it's not over for you yet.
Superb!

On Quote... Unquote... I didn't go on to quote (but I can do so here!) a line by Brodsky that, when I read it, summed up – in one sentence – my own feelings about La Serenissima...
Because one is finite, a departure from this place always feels final: leaving it behind is leaving it forever.

Brodksy himself never left Venice 'forever': he rests at peace on the cemetery island of San Michele. Venice-lovers unlikely to be accorded a similar privilege can, instead, comfort themselves by reading Watermark


Image: 'Dawn on the Piazetta San Marco' by Brian Sibley, © 2000.
There are more of our photos of this wondrous city in our flickr collection Visions of Venice

Sunday, 24 July 2011

STAGECRAFTED

Just read Moira Petty's review of The History of Titus Groan in last week's The Stage:
The spare beauty of the Shipping Forecast; the Today Programme, especially when things get tetchy; the vicarious joys of mud, pricey strawberries and roving cameras fingering those taking time off work at Glastonbury and Wimbledon; the vast commitment to drama on radio - these are just some of the reasons I’m happy to pay the licence fee when the reminder arrives.

Now add to that list a sublime classic serial from R4. The History of Titus Groan, unfolding with luxurious detail yet imbued with a hypnotic narrative pace like a Gothic road movie, had the unmistakable stamp of excellence from the outset.

Producer Jeremy Mortimer, who directs alongside David Hunter and Gemma Jenkins, has achieved a coup in including the just-published fourth Gormenghast novel, Titus Awakes, in the adaptation of Mervyn Peake’s three previous mid-20th century classics. That Peake only wrote a few hundred words of the final volume, which was then finished by his widow Maeve Gilmore after his death in 1968, has disappointed book reviewers who have generally declared it flat and lacking his virtuoso talents.

Brian Sibley’s six-hour radio adaptation has neatly circumvented potential problems by beginning the epic where the new book ends. Titus, born heir to the Earl of Groan at Gormenghast Castle and the only one of his family to break free of its clammy hold, rows to an island where he meets an artist, clearly sometime Sark resident Peake himself - as gifted a painter and illustrator as he was a writer. The story then segues into Titus’ birth, a scene of exquisite comedy balanced with solemnity, and we are firmly back in true Peake territory.

Peake is everywhere at the moment as the centenary of his birth is marked, but it is my contention that many of those who have his trilogy on their bookshelves have failed to read it. This production does it the best possible service, conjuring incomparable atmosphere, assisted by Roger Goula’s ceremonial yet playful score and parading a range of characters the like of which you find only in Dickens, while preserving many of Peake’s indelible descriptions. The servant Flay (Adrian Scarborough) was ‘a statue of chiselled wood’. The Earl’s twin sisters (Fenella Woolgar and Claudie Blakley twittering in hilarious unison) had rather blank visages: ‘preliminary layouts for faces’.

The cast is a heady delight. Paul Rhys, as the Earl, has a wonderful languour, while Miranda Richardson is regal, dismissive and fabulous, surrounded by her birds and white cats. James Fleet’s Dr Prunesquallor is scholarly but unconfident, a dribble of mirthless cackling following his pronouncements. He calls Steerpike (Carl Prekopp), the boy who escapes the hell of the kitchen, his ‘diabolically clever little monster’, making me wonder if Lady Gaga is a Gormenghast fan. This serial will swell Peake’s followers and I intend to return to it here and the many cast members I have not had space to mention...

TITUS TIMES

The Radio Times are still making up for their earlier lack of coverage of The History of Titus Groan with wonderful, praise-laden coverage of the kind of which writer's dreams are made.

Here's their latest preview for this afternoon's broadcast on Radio 4 at 15:00...

Titus Today's Choice

In the third play, Titus – no longer an infant but now ten years old – is beginning to discover for himself the strange secrets of his ancestral home of Gormenghast.

The young Titus is played by Hugo Docking, seen here (right) with Luke Treadaway who plays the grown-up Titus and narrator of his history...

Titus x Two

We also follow the continued rise of Steerpike, played by Carl Prekopp, as (seen below) he arranges for the removal of the Gerard McDermott's Master of Ritual, Barquentine...

Steerpike and Barquentine

All of the episodes, as they are broadcast, will remain accessible via the BBC iPlayer until the series is complete. Then, eight days later, it will be possible to download and purchase all six hours of drama for limitless listening!

The Radio Times artwork of Steerpike is by the exciting illustrator, Kevin Hauff who writes of his picture:
...A gift of a project. I thought it best to concentrate on Steerpike and his murderous intent. For me, he's by far the most interesting character in the book(s) as he's so calculating and unrelentingly evil.


A true villain in the best theatrical sense. His ambition to be part of the castle life and hierarchy is all consuming and I thought it would be interesting to depict him overlapping into the walls of Gormenghast itself...

Read Kevin's full blog-post, here and be sure to check out his portfolios of illustrations on his web-site

And, if you haven't stumbled across it yet, here I am enthusing about radio drama...




Images: Art by Kevin Hauff, © 2011; Photos: Islay Bell-Webb

Saturday, 23 July 2011

HISTORY NOTES

'Titus Discovers', the third play in my The History of Titus Groan, based on the novels of Mervyn Peake, will be broadcast, on Radio 4, tomorrow, Sunday 24 July, at 15:00.

And if you missed the second part, 'Titus Inherits', you can catch it again tonight on Radio 4 at 21:00.

And two hours later (if you're still awake!) you can hear. a repeat of the panel game Quote... Unquote... again on Radio 4 at 23:00.

Nigel Rees is in the chair and my fellow contestants are Shelagh Fogarty, Ardel O'Hanlon and Martin Jarvis, but no prizes for guessing which of us quoted American New Yorker humorist, Robert Benchley, who, on visiting Venice for the first time, cabled home: STREETS FLOODED. PLEASE ADVISE!

Stillness

Image: Brian Sibley, © 2010. You'll find more of our photos of this most beguiling city in our flickr collection Visions of Venice


Friday, 22 July 2011

SOMETHING ABOUT MARY

Over on my Decidedly Disney blog, I have posted the film treatment I wrote in 1987 for Mary Poppins Comes Back, an unmade sequel to Walt Disney's 1964 classic movie musical, Mary Poppins.

There rather a lot to read – probably too much for a blog-post really – but it is (I think) a fascinating story of a piece of Almost-Nearly-Movie-History: one of those tales from Hollywoodland of a film that might have been made if the wind had, for a short while, been blowing in another direction...

Whether it would have been a good film if it had been made is altogether debatable and, of course, we will never know now, but, as I explain in my post, a small fragment of the story which I concocted with the book's original author, P L Travers, survives in the script for the stage musical of Mary Poppins.

Which prompts me to share with you a selection of short educational films centred on the stage show in which I make an occasional appearance...

Wednesday, 20 July 2011

TONE DEAF

Good to see that one of our former Prime Ministers is still gainfully employed...

Tony Blair's Other Job

Tuesday, 19 July 2011

A VISTA OF PEAKES

A new centenary celebration of the art of Mervyn Peake is currently on show at Chris Beetles Gallery

Here are just a few of his striking, poignant, disturbing, haunting images...

Young Boy

Bird Figure

Woodland Spirit

Christ and the Mockers

Mrs Pardiggle and Brood
from Bleak House by Charles Dickens

Glassblower

The Sphinx
Come forth my lovely languorous Sphinx! and
put your head upon my knee!
And let me stroke your throat and see your
body spotted like the Lynx!

- Oscar Wilde


The Genius of Mervyn Peake
exhibition can be viewed on line here and remains on show (Monday-Saturday, 10:00-17:30) until 13 August at

ChrisBeetles Gallery
8 & 10 Ryder Street
St James's
London SW1Y 6QB

Tel: 020 7839 7551

Images: The Estate of Mervyn Peake

Monday, 18 July 2011

FROM THE 'GROANIAD'

In today's Guardian, Sarah Crown writes in praise of Radio 4's 'Classic Serial':

Sunday afternoons on the sainted R4 are a booklover's pleasure garden. From 3 o'clock to 4, I listened to the second instalment of their classic serial, The History of Titus Groan, and was reminded of just how rich and alarming Mervyn Peake's Gormenghast trilogy is – I haven't read the books since my late teens, but this fine adaptation brought everything – Steerpike's chilly treachery, Flay's cracking knee-joints, the pitiful horror of Sepulchrave's descent into madness after his precious library is burnt – pouring back...