Certain big dramas can work really well in small places. Sophocles’s revenge play Electra (end of the fifth century BC) is as consequential, and influential, as they come; the Gate Theatre one of the smallest spaces in London. It continually produces sparky, original productions of old and new work.
Wars have no end. Soldiers may come home, battlefields may be vacated, peace treaties signed, but scars remain. The violence of combat has a way of revisiting itself on the victors and vanquished and ravaging soul and state.
A maypole greets you on entry to the Serpentine Gallery; don’t expect a cheery celebration of spring, though. Nancy Spero’s installation Maypole: Take No Prisoners II (2008) is a scream of rage against violence and its hapless victims. Dangling from coloured ribbons, dozens of decapitated heads hang in the air like an explosion of shrapnel. Mouths gape open in pain and terror - or is it hatred? One can’t be sure, since some seem to be spitting venom from bloody tongues as though, even in their death throws, they are intent on spreading a gospel of vengeance and destruction.
I’m in an exhibition of ancient artefacts from Afghanistan, all from the National Museum at Kabul, but I may well have stumbled into the wrong room at the British Museum. I could be in the BM’s Hellenic section of Greek art, or, taking a few steps to my left, the Egyptian rooms. But then again… here are some sensual sculptures of curvaceous semi-clad women from India (main picture), while a little further on there’s a Chinese hand mirror and some boot buckles, the latter with Chinese dragons whose wings are of turquoise.
The Blitz wartime version of Ovid’s Metamorphoses that David Nice was raving about is New York-bound now, after winning one of the Edinburgh Fringe Festival’s most generous awards, the Carol Tambor Best of Edinburgh Award. This, set up in 2004 in perpetuity, gives the winning production an all-expenses paid trip to New York’s Off-Off-Broadway to stage the show for a run of up to a month (and to keep the net box office receipts).
David McVicar's revival production of Handel's oratorio-cum-opera Semele isn't terribly clever or beautiful or impressive, or fecund with ideas or detail or emotion. But it does work. It does tell the story. And what brings colour to its initially rather pasty, unappealing face, and fire and heft to its anaemic belly, is sex and - best of all for those of you who will only be able to catch it in concert at the Barbican next week - one of the most impressive Handel casts I've heard for years.
I came to Medea because 26 years back, the Field Day Theatre Company in Derry - started by Brian Friel and Stephen Rea - asked me to a version of Antigone. Entitled The Riot Act, it was staged in the Guildhall in Derry in September 1984 and toured Ireland after that. It has been produced several times since then, most recently at the Gate Theatre in London.