What London can learn from the Parisian version of All Points East
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Channel 4
24 minutes ago
- Channel 4
Millions needed to keep famous works of Barbara Hepworth in UK
The government has temporarily blocked the export of a sculpture by the artist Dame Barbara Hepworth in order to allow a British museum to try and keep it in the country. 'Sculpture with colour, oval form, pale blue and red' is one of the artist's most famous works. It's due to be exported overseas, unless £3.8 million can be raised by the end of the month to buy it for public display. We were in Wakefield, where Hepworth grew up, to meet the museum campaigning to keep it. Producer: Vik Patel Camera/Editor: Justin Oliver
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Scotsman
an hour ago
- Scotsman
Fringe theatre reviews: ALTAR I Was A German
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... ALTAR ★★★★ Underbelly, George Square (Venue 300) until 25 August From the particular shade of napkin to the hang of the organza drapes, everything has to be spot-on for Sutton's long-planned-for wedding to reformed school bad boy Ethan. That even extends to ensuring an invite for Sutton's old flame Dana - who in the intervening years has transformed into Dan. There's a danger that writer Em Tambree's heart-on-sleeve two-hander bites off more than it can realistically chew, tackling not only casual transphobia but also blind religious belief and scientific certainty. And there's a nagging question of how and why a neurotic bride would spend an hour away from the scene of the action. But suspend your disbelief, and Tambree navigates a persuasively smooth course through her panoply of issues, while also refusing to paint butter-wouldn't-melt Sutton or more progressive Dan as the show's particular goodie or baddie. Advertisement Hide Ad Advertisement Hide Ad They're rounded characters, too, struggling with their evident deep love for each other while sometimes being appalled by one another's beliefs. Evie Korver fractures Sutton's stiff reserve with glimpses of emotion, while Eddie Pattison's Dan hints at a vein of vulnerability under their know-it-all assuredness. Director Kathryn Yate makes the most of the venue's intimate space, and ensures time and space for Tambree's observations to make their mark. It's a poignant, provocative, quietly heartbreaking gem of a show. David Kettle Lioness ★★★ Greenside @ Riddles Court (Venue 16) until 23 August Every woman who pulls on a strip to play football is a Lioness, according to this new solo play by its performer Kate Coulson, and not just the recent English Euro-winners who enjoy the official nickname. Her character Marnie Cole, a fictional goalkeeper for the real-life London City Lionesses, goes on to illustrate why that's the case, by playing out a sporting life which is as much about the off-field trials a male footballer will never experience as it is the pride, pressure and emotional onslaught of keeping things together on the pitch. Coulson is constantly moving on a stage layered with green astroturf, in front of a goal frame which appears specially constructed to fit precisely this compact space. The effect of this and the strip she wears is to place Marnie within the identity of a footballer 24/7, even when a scene change takes us off the pitch and into, for example, her relationship with her dismissive professional footballer boyfriend or her day job as a PE teacher at a private school. Marnie is played surly and businesslike by Coulson, but her pain at being dismissed or having to play on through an endometriosis flare-up feels convincing. There is no glory on the international stage for her, just the hard-fought satisfaction of staying in the game and competing. David Pollock I Was A German ★★★ Zoo Southside (Venue 82) until 24 August Advertisement Hide Ad Advertisement Hide Ad Like many people in the run-up to Brexit, Clare Fraenkel was looking for a way to apply for a European passport. She could, of course, because her grandfather was German, a Jewish journalist who escaped Berlin in 1933. But this knowledge sparked an internal crisis: how could she apply for German citizenship when her grandfather had had his citizenship revoked on account of his Jewishness? The focus of the play then shifts to her grandfather, Heinz Fraenkel, who counted the days of exile away from his native land, and later found himself interred as an enemy alien in the country where he had found asylum. He intended to return to Germany after the war, but, after numerous visits and extensive research, including an interview with a former SS man in a POW camp in Wales, he decided to renounce his country for good and wrote a book detailing his reasons. Clare works hard to find the drama in the story, playing herself, Heinz and a range of other characters, even performing an interlude of Weimar-style cabaret. But, ultimately, she has to tell more than show in order to communicate the complexities of this interesting but not especially theatrical story. Susan Mansfield An Ode to the Casting Director ★★★ Gilded Balloon Patter Hoose (Venue 24) until 25 August If you are an actor trying to get work, here's a possible way forward: make a play for the Fringe about an actor trying to get work. In the sub-genre of Fringe shows about the difficulties of the acting profession, Sophie Fisher's An Ode to the Casting Director is smarter and funnier than many. Advertisement Hide Ad Advertisement Hide Ad Sophie never misses an audition, whether she's being asked to be 'orgasmic' while eating crisps, sliding down a rainbow for a kids' commercial or just giving a blood-curdling scream. She's relentlessly positive, holding on to the notion that she nailed the next step of her career, while encountering directors who think they're Marlon Brando and casting directors who never fail to sound bored. Fisher is a likeable performer who invites empathy without ever sounding sorry for herself, even when dumped by her boyfriend in the middle of a four-day wedding photoshoot. While her delivery rattles along a little too fast and too uniformly, she masters a range of tones, playing the ridiculous anecdotes for laughs while anchoring the more serious moments in authentic emotions. Susan Mansfield Sandbox: Saining ★★★ 42 Dundas (Venue 473) until 22 August At just 25 minutes in length, held in a basement studio on Edinburgh's Dundas Street, Sandbox: Saining promises a refreshing and thought-provoking departure from the busy city centre. Created by local film/makers Kerry Mullaney and Kris Bird, the piece considers themes of memory, consciousness and subjectivity through a fusion of the ancient Scottish Rite and a near-future world. The waiting room functions as a monument to the past, perhaps the infancy of time itself, as it teems with analogue paraphernalia like books and unblinking dolls. There is no computer technology to be seen, save the television on the wall (that we are soon guided to the other side of), showing a girl playing with her toys in woodland. There is snow on the ground, and as she animates her dolls, the saining (a Scots word for blessing) is invoked. Advertisement Hide Ad Advertisement Hide Ad A contrasting and intimate cinema space offers a powerful audio-visual experience. Led by a faceless, synthetically intelligent narrator, images of trees in the wind, a girl in shallow water, a shadow in the half-light, and a shell on the sand, are made sinister over the deep, resonant soundtrack. The story itself may not be straightforward; however, the richness of the film experience is plenty. Jospehine Balfour-Oatts Do Zombies Dream of Undead Sheep? ★★ ZOO Playground (Venue 186) until 24 August Do Zombies Dream of Undead Sheep? is notable for its inventive, brilliantly detailed animation reminiscent of Quentin Blake. There is little else to recommend this production, however, which is strangely upbeat given its angsty subject matter. The protagonist, played by the Woodlouse (aka John Butler), valiantly navigates the sudden emergence of zombies and the politics of the undead, all whilst ventriloquising a 2D puppet, playing the ukulele, singing, and leading the audience in a series of sing-alongs. It is an admirable endeavour; unfortunately, these theatrical elements refuse to come together in any coherent or satisfying way.
Leader Live
an hour ago
- Leader Live
Jeremy Clarkson slammed by fans for controversial pub change
In the latest season of Clarkson's Farm on Amazon Prime Video, the main focus for Mr Clarkson and co was getting his pub - The Farmer's Dog - up and running. Clarkson announced last August that his pub would be all British, but admitted he was struggling to find certain ingredients. Despite the initial quick turnaround of getting his pub up and running, his attempts to go "all British" hit a wall. It looks like this year's harvest will be catastrophic. That should be a worry for anyone who eats food. If a disaster on this scale had befallen any other industry, there would be a lot of wailing and gnashing of teeth. He posted on X, formerly known as Twitter: "We are attempting to go all British for the food at my pub. But we are struggling to find black pepper grown here. Can anyone help?" Following this, the latest series depicts signs up in the pub declaring that the pub is 100% British, which means there is no ketchup served there. However, Condimaniac took up the challenge to create a 100% British ketchup and then aimed to get it stocked at the Farmer's Dog. The condiment company behind the creation of a 100% British-sourced ketchup has declared victory in its bid to provide a ketchup for Jeremy Clarkson's pub. On Instagram, co-founder Kier Kemp said he was really impressed by the pub. "It is not just a gimmick for them they do really live and breathe this 100% British thing," he said. Mr Kemp also added it was one of the 'best wholesale clients I have ever dealt with'. "The team there, the Diddly Squat farm shop that's on site and the pub, everyone I have met is super lovely," he said. "I am glad that I can report they are actually nice people. It is not always like that." However, fans took issue with the fact that the Diddly Squat seemingly made them relabel their product to include their own brand. Recommended reading: On a recent TikTok showing the creation of the sauce and bottle, fans blasted the decision. One said: "Hate that they made you get a new label for it". Another commented: "As if they made you relabel it" Whilst someone else replied: "I don't think it's right to make the label change, it's YOUR sauce promoting HIS business, he doesn't need to be on the label that big anyway. Newsquest has approached Diddly Squat Farm for comment.
