Imago, Glyndebourne’s latest Community Opera exercise, putting the cap on 25 years of pioneering educational outreach, is one of those operas where you need to read the programme synopsis first.
As proof that the American cinema for the most part exists to waste its actresses, along comes Won't Back Down. A peculiarly reactionary piece of tosh, it masquerades as a crusading film in the spirit of Norma Rae, the Sally Field Oscar-winner from decades ago that in fact is snarkily referenced in passing.
There’s been a star-studded attack from leading figures in the arts on the decision by Michael Gove, the Secretary of State for Education, to exclude the performing arts from the English Baccalaureate, the planned replacement for the GCSE examination. To the Coalition’s credit, they've also published a National Plan for Music Education, “part of the Government’s aim to ensure that all pupils have rich cultural opportunities alongside their academic and vocational studies”. But this only makes the decision regarding the Ebacc even more disappointing and ill-advised.
Featuring a towering, Cannes-award-winning performance from Mads Mikkelsen, The Hunt (Jagten) is a humane and horrifying story of the power of accusation from Danish director Thomas Vinterberg (Festen).
In the debating chambers and committee rooms of the Conservative Associations of Oxford and Cambridge lurk the Children of Cameron. The current cabinet is to a large extent an Oxbridge Old Boys club and succeeding generations are already being fattened up for the fray. Young, Bright and on the Right - and what an aimless title that was - picked two candidates and sharpened the knives.
The lugubrious soulfulness of Adrien Brody is not to all tastes, and in many cases is wholly inappropriate, but his casting in Tony Kaye's downbeat meditation on education, or the lack of it, is masterly. Brody plays Henry Barthes, a substitute teacher drafted in to plug a temporary gap in a failing school in some unspecified American city. He has a natural gift for teaching, but by never taking up a permanent post he's able to avoid painful emotional attachments.
It's amazing what working on a masterpiece can do. Commissioned to write a companion piece to Terence Rattigan's magnificent one-act drama The Browning Version, David Hare has abandoned his journalistic tendencies and written a gently oblique play of controlled emotional eloquence.
A fired-up Maria Callas (Tyne Daly) is hectoring a student. “I don’t want it done like me, I want it done like Verdi!” “With music?” enquires the nervy pianist. “Yes,” she snaps, “With music: this isn’t a play.” Quite. What exactly is Terrence McNally’s Master Class? A classy version of “Tonight, Matthew, I’m going to be Maria Callas”? Yes, but no. There’s impersonation, but not of her singing.
This two-part documentary, which ended last night with teary recollections from a handful of well-known faces, wasn’t really a “secret history”. The history of grammar schools and their wholesale demolition by a Labour government is pretty widely known. But even that was fairly lightly skipped over. No, this was really a love letter, written to a long dead mistress who had served the writer well.
Risks are everywhere. Crossing the road, cycling, not handling food properly, leaving a car boot unlocked, grain pits, night-time darkness – they all bring risks. Thankfully, government agency The Central Office of Information helped make us aware of the hazards. This two-DVD set – the sixth in the BFI’s collection of COI films – is mind-boggling company. Dealing with the multifarious risks seen here would leave no time to get into danger. You’d have to live in a bubble.