30/09/2011 The Review Show

Tonight on the The Review Show, detectives, dancers, despots, death

and destruction. Fear not, it's a fabulous way to start the weekend.

Lars Von Trier's infamous comments at Cannes overshadowed his new film

Melancholia, did it deserve more attention? Is evil. We didn't need

to tpwreev for it. -- grieve for it. Bravura ballet on the stage at

Sadler's Wells in the latest work from La La La Human Steps, but is

there a concept behind the physical fireworks?

Tariq Godard's new novel explores a religious uprising in Africa, does

The Message show that timeliness is next to godliness?

Philip Glenister is back on the BBC for the first time since hanging up

his eighties car coat. Can Hidden bring him safely back to

Earth? There's one problem, the woman's dead.

MOBO Best Newcomer nominee Maverick Sabre plays us out, live in the

Joining me here in Glasgow to mull over everything from choreography

to calamity are: The writer and critic, Ekow Eshun.

The playwright and librettist, Mark Ravenhill.

The Daily Telegraph's Arts Editor, Sarah Crompton, and writer and

historian Professor Amanda Vickery. Remember you can always add your

thoughts to theirs on Twitter, we love it when they cascade in.

First up tonight, the new movie from the arthouse's middle-aged

enfant terrible, if that's not a contradiction in terms, Lars Von

Trier. His seriously injudicious remarks

about Hitler at the Cannes Film Festival rather overshadowed the

premiere of his film, for which Kirsten Dunst won Best Actress.

Opening here today, Melancholia is a vision of the end of the Earth.

Lars von Trier Melancholia dives into the family Dee namics of two

very different sisters played by Kirsten Dunst and Charlotte

Gainsbourg. Split into two parts the film's first section follows

Dunst dns as she navigates her way through her wedding reception and

spirals downwards in the face of tension between her divorced

parents played by John Hurt and Charlotte Rampling. I just have one

thing to say, enjoy it while it lasts. I, myself, hate marriages.

Gaby, please. Especially, when they involve some of my closest family

members. The parents don't help the situation at the wedding. They are

pretty horrible to her and, you know, she tries to rely on her

father towards the end when things are falling apart. The first part

of the film. He disappears. Yeah, I think, that Justine's parents are

irresponsible. So, what can I say? Without talking about your mother

was thrilled to do something in frobt front of the camera -- front

of the camera for last. I said, why is it that you always ask me to do

the voice. You never asked ask me to be in front of the cam rafplt he

called my bluff and asked me to be in it and I said yes.

Melancholia he reflects his own experience of depression on to the

big screen as portrayed by Dunst. It's not something that sin

mattically you see often because don't want to eat, they want to

sleep. It's very difficult to do. Lars really made it cinematic.

the wedding reception from hell isn't disastrous enough. In Act 2

we witness the looming end of the world as the plants Melancholia

continues on it's collision course with earth. Claire Claire, look at

me, you have to trust the scientists. They say that it will

hit - No, they don't. That's not true. Not the real scientists. Not

the prophets of doom. They will write whatever they can to attract

atenge of the the real scientists all of them agree Melancholia will

pass in front of us. It will be the most beautiful sight ever. They

contrast the mood of the two sister as Melancholia draws near. Claire's

his steer steer ya and Justine's calm or welcome aacceptance of the

end of the world. The earth is evil. We don't need to grieve for it.

What? Nobody will miss it. So, Lars von Trier's stock and trade is a

shock factor. This is all an altogether different mood. Did you

think it was convincing? Well, I think everything turns on whether

you can suspend your disbelief. For the fir haft half of the film when

Melancholia is claiming Kirsten Dunst for it is own you are with it.

When the planet depression is coming. In they are in a fairytale

castle I was straining then to believe what was going on. By the

start we start thinking, why is one sister French and why is one

American? Why is nobody turning on the television? Once the doubts

creep in, I think you are rather lost. He had lost you at that

point? You weren't going with the whole idea this was - No, also you

have to believe. I suppose to be convinced by it you have to agree

with his ideological point of view, that life is hopeless. His own

views are put into the voice of Kirsten Dunst. It's not a film for

optimists. Only pessimistics are proved right. They seem the best

prepared for the end of life. Life is evil. At the beginning it laid

out in front of you a hyper real Sh re-rek meetsmelee at the start?

wasn't quite spoiler, it wasn't trailers. He laid out the menu.

They pair off during the film. There is that wit about Lars von

Trier. He is trying to take you to the heart of depression. The

keebgyness of the whole of the second half being about the world

being consumed by a planet called Melancholia, there is a naughtiness

and a wit about that that, I think, adds an extra dimension. Is it a

real world? No, it's Lars von Trier land. It's a metaphorcle space.

That metaphorical space encroachs until we are consumed by metaphor.

You go with. It people related and total different accents. You go

into his world. The whole idea and Ekow of exploring its own

depression was done m one way in anti-Christ, it was done in a

different way this time. Also, what Kirsten Dunst said was, she brought

elements of her own depression to it. I thought that her - the way

she handled the wedding sequence, where she was so up, was very, very

beautifully done? I mean, I think it's bizarre and also beautiful

film. It does - it plays by its own rules. It breaks a loft rules. It

is an end to the world apocalyse movie, the reverse of most of those.

Normally in an end of the world movie, the world is a beautiful

place and people are good to each other. At the start you don't know

the world with end. We know from the start that it will go very

badly wrong wrong. We are introDawesed by Kirsten Dunst that

the world is corrupt and evil and so on. The world isn't really evil.

We see it through her eyes. Through this amazing first half, the

wedding theme, we see all these people who should be joyious, we

see them through her eyes. What we see is that they are quite flawed.

They are quite corrupt in their own way. By the time that the world

comes to end, at the end, it's almost a relief because we've seen

this things aren't perfect. It's a traumatic end. We can go on to talk

about a beautiful nend one way. What did you make the notion that

Melancholia was a romantic view of depression in a way? I thought it

was the most wonderful fillment. It con found your expectations. You

never know what is going to happen. It starts as a social comedy with

the terrible family it has symbolic images going on. It looks amazing.

I felt the idea of Melancholia and the discussions about what role

does rationalism have in the world was fascinating. You have, you know,

you always do have in von Trier a scientists figure who believes

everything will be all right. He introduces this element of doubt

into it. The depressive is more prepared to cope with the ultimate

reality. I thought - A relief? relief. You do think about those

things. Well, for me, the planet couldn't have hit quick enough,

honestly. Get it over with. Put everybody out of their miseryy. For

the first half of the film I thought it enthralling. Not often

you see an unblinking account of depression. Also - interesting you

say that, I suppose a lot of films from the Viryin Suicides have dealt

with depression not in such a seering way? They have soft focused

and romanticised. Have you this plas Sid face of Kirsten Dunst she

is slowly cracking. Everybody is getting angry with her and wants

her to be happy. The way it pulls through. That wonderful change

where Kirsten Dunst who becomes the person who is accepting of the end

of the world, Charlotte Gainsbourg who is her tender sister, in an a

most unexpected way, becomes more hisster lcle. It's made in two half

that reverses the relationship between the two sisters. Gainsbourg

seems to be the person who is coping and looking after her, she

is not prepared for this event. Experience of depression that

prepared the Kirsten Dunst character for that. What is great

about this film, actually, movie by movie Lars von Trier is getting far

more sympathetic to his female characters. More optimistic film

for me. The women are right at the centre of his world. He has changed

his attitude to women. Kirsten Dunst has rarely been better. You

believe in them as women. It's rare to see two figure that is you do

utterly believe in. What is interesting, in the point of Lars

von Trier's career, maybe I made a mainstream American film, how awful

would that be? In doing so he put these two women together

beautifully? Again he has broken a set of rules here. We think of

these films - there should be hysteria and Mela drama. It gets

calmer and calmer and more naturalistic as it goes on. It

becomes very calm, very sur rein and beautiful. I love this notion

that you can face death and hor oor and look at it in the face.

If a dream-like state is where you want to be, or maybe you are

already, then Melancholia might fit your mood.

The film was released nationwide today.

Now, you'd have thought that melancholy might pervade a new

dance piece based on the tragic operas Dido and Aeneas and Orpheus

and Euridice. But with Montreal based La La La

Human Steps you never know what to expect, except frenetic pace and

the dancers' unbelievable fitness. One thing we definitely didn't

expect was that the choreographer, Eduoard Lock, would lose his voice

before we interviewed him, so listen carefully! So listen up. The

human body can only be push sod far. But for the dancers in Edouard

Lock's celebrated company, La La Human Steps that is further than

most of us. Entering it's 30 year, the group has collaborated with

some of the most stylishicons, from David Bowe. New work which opened

this week at Sadler's Wells theatre was choreographed by the company's

founder, Lock. The narrative itself is abstract. It's easy to imagine

you are last remaining thoughts of Dido as she dies. There are sub

text to these stories. You can assume there will be enough hooks

in these stories to take away a personal point of view on the part

of the person who created it and probably on the part of the people

who are coming to see it. La La Human Steps different choreography

has evolved since the day of itsmuse and their initial rise to

fame in the 1980s from the punk pioneers. I work with the ballet,

1997, so that idea of a flex and abstraction, in a way ballet fight

it is because it's a set of lines and portions. You end up seeing and

not seeing at the same time. Something I like. It's's hard to

describe a style with words. I think that there is a flex to one

in movement that's difficult to discuss or to define. Added to the

mix is a new score by Gavin Bryars. Set designed. There is a very old

concept to the idea of dance in theatre. You have essentially two

groups of strangers that have never met. That will meet for a short

period of time without officially meeting and without officially

saying goodbye. During that period of time there is going to be an

exchange of something. So can they bring fresh perspective to two of

These stories, essentially tragic stories. Is it a counterpoint, the

frenetic pace of the piece? thing about La La La Human Steps

and this piece, the dance is an expressive medium. And this is not

expressive at all. It has stripped out everything that is moving or

interesting, or dramatic or emotional about the stories, and

reduced it to a set of hyperkinetic movements. I used to love this

company and now I think they fall into my general rule of a void

Canadian contemporary dance. Because it is all about movement,

it is not about dance. It is not about emotion, feeling or sought.

His fetters isation... I think it has got stuck. He has got stuck. If

we were all more fit, we could do the movements that we do. Amanda...

It is three movements repeated for 85 minutes. I was quite reassured

by that. When I was told what was on the bill was modern dance, for

all I knew they were going to be naked. When they were running about

on there. Shoes, I thought, this is within the grammar that I

understand -- their point shoes. But apart from flicking and

pirouetting, there were not any elongation saw anything that might

have opened it out. As a spectacle, what did you make of it? I thought

it was stunning for at least the first half. We could not see the

way they into played with each other, and with the lights and the

sound. You get the hyperkinetic movement under these very harsh

spotlights, it suddenly becomes something else. You get an after

image of a physical movements, they appear to be blaring, or flattering.

The intensity of that, and the deconstructed nature of it...

Didn't you want to see them, and just to stop for a moment, so you

could have something different? They are wonderful dancers, dancers

are great and they do what they are told, but it didn't have anything

except the movement. I couldn't have done what they did with 1

million years rehearsal, but I thought the compulsive, repetitive

nature of what they were doing did have a real impact. What made the

evening for me was the incredible score. Although I think the piece

was too long, and the repetition and obsessive repetition was over-

extended, the score kept on giving me a new angle. It was an

incredibly eclectic score with the rock, jazz, minimalism. It had a

real integrity and it wasn't just a scrapbook. That kept on refracting

the experience of these same obsessive movements. In terms of

feelings, I agree that they were focused on the rage of loss,

whereas there wasn't much melancholy of loss. I thought the

melancholy came in the images, the video projection of the mothers and

daughters... That is a Freudian thing, I saw a youth and age. You

saw mother and daughter. I saw what was going out and as you got older.

-- what was going to happen. I have seen this as part of a work in

progress, he is trying to work out a different form of physical

grammar. He has been stuck in that for a long time. No concession to

emotion. I disagree. The audience at one. Wanted to applaud

spontaneously after a particular point, accompanied by the most

emotional music. The other thing, there was a strange feeling of

jeopardy all night. The physical contortions were so extreme. At one

moment, the male dancer kind of slipped and seemed injured, and

said sorry. It was the most skin tingling moment. I wondered if that

was acted. Dance as a way of expressing emotion is what we think

about, and we think about traditional ballet as narrative. He

says it is not about narrative. You have to hang it on something.

think he has gone up a blind alley. I think he has done really

interesting work and it is very hard to keep renewing your ideas

over 30 years. What he has got stuck with, the score was fantastic,

full of rich things, yet his only response was essentially to repeat

the same thing over and over. It wasn't interesting. He added bits

around the edge like the bits of wood that kept coming up and down.

I thought what was really interesting was that the dancers

were almost entirely backlit, so it was about line and shape. And yet I

got really strong senses of their personality. I wanted to see their

faces, and I realised I was engaging with them, particularly

the small figure scuttling around and kind of picking men, emerged as

a real personality. It was about the ballerinas for me. The men were

very much in the supporting role. It was emphasised by the fact that

they were in suits, and the women were in black leotards. You can see

why you might want to be the star for the night. The performances of

La La La Human Steps, simply titled New Work, is one at Sadler's Wells

until Sunday. In a moment we will discuss Philip

Glenister's new drama. If you were imagine the underworld in which

Orpheus found you're DG, you could do worse than the new novel, The

Message. He has created a world that is a mixture of Apocalypse Now

and Carry On Up the Kaaba, except set in Africa, obviously.

The fictional acts -- African state of Shima is the setting for Tarik

Goddard's novel, The Message. It is about the search for the Mahdi, a

former warlord who has declared himself the leader of the Arab

They search for the erratic and elusive Mahdi. I wanted to write a

You look at what is happening in the world and what is happening at

the time of writing, and what will still be true in two ears. In my

book, that would be very generic, things like Africa will will still

be a violent country. This is Stoddart's 5th novel and was

written before the recent upheavals in the Arab world. Goddard takes a

Africa on the brink of civil unrest and takes a thriller to look at the

international reaction to the possibility, or threat of change.

If you are writing as a journalist, just before the Arab Spring there

was a massive piece in the Economist, and they predicted no

change in a generation, just because they were looking at the

facts. Imagination can make you appear ridiculous and as though you

have not been paying proper attention to the world, but it

liberates you to write what a delight, and you can anticipate and

right from hope. I hoped that there would be changed in the developing

world, or in North Africa. Might fall was precious and he had

to get away from humans to understand it properly. -- night

for was pressures. To search the strips of blackening cloud for

clues of why he was chosen and others were not. Impatience was the

essence of this particular night. The crack in the world was growing

larger and in days, his men would be in the capital. In weeks,

Tanzania, then Kenya, Africa, other continents. The culmination of a

journey through his life into All Whites lay ahead. His enemies

reduced to consenting be well don't. -- life into all lives. Can fiction

compete with real life that has been almost too hard to imagine.

His main aim is to make a political point, do you think that is the

role of popular fiction? I think it should be one of the Rolls and he

is trying to do this big picture think of looking at geopolitics,

off contemporary imperialism, of the developing world, and Cram

those in with a pulpy plot. It does not succeed because he can't quite

decide where the balance should fall. The plot is schematic, the

characters are sketched out rather than fleshed out, and they all

speak with the same boys, they have a tendency to stand back and the

loss of lies in his voice, not in their own voices. -- pick with the

same voice. In terms of the idea of turning something around fast and

responding to real events, and digging in and imagining what would

happen, I like that idea. character who was most convincing

for me was the Iranian intelligence officer character. He gives him an

interior life and a conflict. thought what was interesting about

that was one of the things the book questions is, is this a

continuation of small African states, a playground, a walled

ground between power blocs, or something fundamentally shifted now

that a fundamentalist religion is being fed into that mix. I thought

it was a fascinating question and that is why that character is

richer, because it is a fresher question. It is the kind of plot of

two power blocs being 100 years old, at 200 years old, and a lot of the

rest of it feels a bit hackneyed. That was the freshest element of it

for me. And relevant now. Although it was written two years ago and

very much about Iran, look at what is going on today in Yemen. I quite

agree that the Iranian experts going into it, having to cope with

this younger, more bureaucratic zealots that he has to cope with...

He has lived in London and he reads interesting fiction and different

kinds of things. He turns out to be an unreliable narrator, but I think

the character you are invited to identify with, but it seems as if

the author rather eights, is this posh Surrey girls, who would rather

be back in Surrey where it is raining, watching Ski Sunday.

seemed a bit like a graphic novel without the pictures. It feels like

a film script as well, you can imagine it in a different format. I

quite like the novels of car-hire son and I thought, it reminds me of

that. The idea of serious politics being treated in a mad, car to any

way. The difference that is that he builds the characters. Goddard

leaves them as cartoons, that is essentially the problem, so it is

hard to engage with them as they go through the book. You get slightly

irritated with them all. He is more interested in the idea of the

characters, and I actually suspect that although he is drawn to the

notion of fiction, I suspect he would be quite happy sitting back

I thought the most cartoonish were some of the better moments. I

thought he was trying to be a bit more weighty. The idea of the Mahdi

figure, there were so many different things going on. The idea

that there is this fanatical religious figure in the middle of

it, I suppose that would play with... It wants to be Conrad. At

the same time, there was an orientalist aspect which I was

uncomfortable about. He said, he doesn't just want to see Africa as

a place of violence, and then we have this strange... It is a place

of violence. Cannibalising pygmies with blow darts. It is a definite

generic African country that Biggles could have visited. There

was a weird thing where the bag was opened by the pygmies and penis is

and fingers dropped out. I wondered if that was deliberate. I think he

got seduced by some of those ideas. It was partly parodic, partly pulpy,

but he got into the pulpy element slightly too much and he lost touch

of some of the politics he was trying to cover. He makes his own

mission statement at the end of the book. But make sure hair curl. When

he says about... 0 books, they are supposed to be against the malls of

mass consumerism and mass culture, a thing, he is on the programme,

right enough. Against -- I think. Against mass culture on the one

hand and against the bureaucracy of academe on the other, and he is

supposed to be finding his place for debate between the two. This is

the place for the debate and The Message is in stores now.

Ronan Bennett's new BBC One drama has no shortage of plot strands.

Hidden is a new vehicle for one of TV's best-loved stars. Few

characters are as imprinted on the national psyche as life on Mars's

misanthropic detective, Gene Hunt. Now Philip Glenister, the actor who

made the role his own, is starring in a new conspiracy thriller,

Higdon, which has tended him back to BBC One for the first time since

It was the writing and the story. I met Ronan Bennett. We met and had a

drink and talked about. It it sounded very interesting. Very

intriguing. Something very of its time, now. Harry Venn is a small

time solicitor with a murky past much he comes face-to-face with his

history when lawyer Gina Hawkes, played by Thekla Reuten asks for

help in locating a witness. Drawn in by intrigue and money, Harry

agrees hooked with the possibility of investigating the violent death

of his brother 20 years before. saw Harry. There is one problem,

Stevie, he's dead. He has been for 20 years much my dad IDed his body.

I think the performances reflected is in the tiet until that thing of

having a number of skeletons in your cupboard. As I say, through

his journey we see points where we wonder, you know, what he's going

to giveaway. What's going to be revealed. How he's going to cope

with it. Set against a back drop of political scandal and corruption,

with London's streets alive with familiar sites sights of riots and

protests, Harry sinked deeper into a hidden conspiracy he can't begin

to understand. Ronan Bennett whose writing credits include Public

Enemies wrote the script with producer Walter Bernstein best-

known for films such as Fail Safe. With the plots twists and dissolute

her eowe be enough to grip viewers? Will Harry shoulder Gene Hunt aside

in the public imagination? Actions have consequences. That's just the

law of nature. I'll need to find out who killed Mark and why. Mark,

Philip Glenister is in the hands of a well established brilliant writer.

Does he relish the challenge in the portrayal? He's a generous actor.

What a lot of people do is try and make the script more interesting

because -- by doing quirky things. Glenister is neutral, almost bland

in the part much he allows himself to be a vehicle for the 120y. It's

a great story. We saw part one I'm going to tune in. There are all

sorts of plot questions I want the answer to. At the beginning I

thought, am I going to engage with this guy? He almost runs the risk

of being bland. This a brave thing for the actor to do. I think he is

brilliant. He gives it a force field in the middle. I really did

love it. There are things about it that slightly annoy me, certainly

at the start. It's sub Chandleresque and slightly knowing

in that sense. Glenister has lines like, "I knew you were smart

because you didn't drink the coffee" it take as good actor to

pull those off. He does. As it went on that it was overcome -

settled down. You start to be very interested. You said that, I

enjoyed that because it's very knowing production. Knowing in the

best way. In as much as it takes for granted that the audience will

know a lot about the genre wants to get into it. It starts really fast.

It starts with a flashback. You don't know where you are for the

first ten minutes. It takes you along. It assumes that, because you

- because we have been watching great dramas on TV over the last

few years - Everybody is upping their game, the Wire State of Play

and The Killing it will be on BBC One at 9.00pm where Spooks played

well. It's challenging entertainment for the audience.

agree about Glenister. The audience has come to love and trust him so

much, even though he seems to be Gene Hunt on prosaic - Cocaine

actually. It's Mel kol ya. He is slightly sedated through it. Ronan

Bennett loves those flawed heroes? Doesn't he just. This is where I

disagree with you. There is knowing we could say it's tired because I

think everything that you would expect from the genre is absolutely

there. You know, have you a rumbled hero, check. His marriage is on the

rocks. Check. Disfaebted - all that LA gum shoe - The question is what

you do with that though? That is exciting to me. That is the good

frustrations of only seeing the first part. There is a massive

conspiracy thing going on. Political. You know there's -

think the women were fantastic. Glenister is a magnetic force field.

Have you glamorous mysterious lawyer who comes in. His wife is

not depicted as the traditional wife. They are divorced but they

have a relationship that works. You know that she will be involved in

the conspiracy. It had a richness that took me by surprised and

undermined the ideaed that it would be genre. The idea of the under

arching political story the riots as well. It didn't feel like it was

shoe horned in anyway. It felt like we are dealing with a contemporary

drama. The glitter drama of London and that world was fantastic. The

flaw for me was that political strand. Those characters, the

coalition government, which isn't quite the same. That felt a little

bit more - It tried to be. Generic, in a bad way. A state of play

really. What I think it doesn't do is it doesn't manage to break frame

in the way that, say, The Killing did, that is what it will be judged

against. We don't know yet. It takes its psych psychic energy from

the crazy state of our real world at the moment. From the fact that,

you know, we are living in a time of 13y. When politicians and

governments are lying to us. We are living in a time of riots and

uncertainty and economic downfall. All of that is going on in the

background maybe explicitly or inexplicitly. They have taken all

of those elements and formed them into sl something here. I don't

think it's that heavy-handed. I think there is a lot - Very modern.

It was using all the elements, tick, tick of a genre it felt like a

breath of fresh air. Tkwhren glen - - Glenister really. It's unfolding,

you have no - It's not helping you. Not helping you in anyway. You have

to go with it. You know what happens, don't you? Yeah. I watched

Tinker Taylor Soldier Spy the night before, I found this very easy to

read. If you are ready to get your teeth

into a fast paced piece of modern drama, Hidden will be on very

public display at 9.00pm next Thursday on BBC One.

In a moment, Maverick Sabre will be here to get you into the mood for

Later with Jools Holland, which tonight features Kasabian and Wilko

Johnson. But first, on Tuesday we heard of

the loss of one of the BBC's great comedy legends, David Croft, and we

couldn't finish tonight without a taste of what made him so famous.

Any man who can't attend on Saturday, take one pace forward.

Your name will also go on the list. What is it? Don't tell him Pike.

Pike. I'm free. I'm afraid the whole occasion overcame us. One of

my assistants who used to say that our material was self-cleaning

pornography. We always clean it up in the end, if you listen long

enough, it was in your mind, not in ours. Good morning. Good morning.

One minute late. You're lucky to have me at all Captain Peacock, I

had to sort my pussy out before I came! What is it Sergeant Major.

Get your head down! You can rely on me, Sergeant Major. The only thing

I can rely on you is to pounce about like an old tart. Hello,

campers, Hi-de-Hi!. I just want you to know I'm not going to give up.

I'll keep on trying. I'll be wearing that yellow coat one day,

you'll see. Hi-de-Hi!. Ho-de-ho. seems so very long. What does?

morning. Listen very carefully, I shall say this only once.

# There's no business like... # I always try to send to the public

away happy if I could. Where is that voice coming from? I dread to

think, sir. Wonderful. Did he send you to bed

happy? Those shows were part of my chooldhood. Mr Humphreys from Are

You Being Served? Is the character I have aspired to be at various

points of my life. The most enduring relationship is the

captain relationship. What is fascinating about this, maybe urban

legend, maybe truth, the cast was reversed. They realised that the da

Natic was more interesting if it was reversed. That sustained that

show for 20 years and is still being repeated today. The magic of

it all lay in having the patrician Wilson being bossed around by the

Sergeant Major type. The the most successful British comedies were

about class and authority really that struggle. That is what we

relate to. David Croft, the world will be a

less funny place without him. That's it for tonight, thanks to my

guests, Amanda Vickery, Mark Ravenhill, Sarah Crompton and Ekow

Eshun. Remember, you can find out more

details on all of tonight's items on our website, and can keep in

touch on Twitter. It's amazing how much criticism,

cultural or otherwise, you can fit in 140 characters.

Next week, I'll be joined by guests including Ian Rankin and Olivia

Williams to discuss Woody Allen's latest film, a brand new episode of

The Comic Strip Presents and the Tate's new Gerhard Richter

exhibition. Jools Holland is up next, but first

joining us in the studio to play you into the weekend is Maverick

Sabre with, I need. Good Night.

# I need sunshine # I need angels

# I need # Something good

# Yeah, I need # Blue skies

# I need them old times # I need

# Something good # Yeah, something good

# Something tkwood good # Yeah, something good

# Oh oh oh oh # All these days seem so far away

# And I went too far enough to wait # I've come

# Way back then wh I hadn't seen # Half them things I never thought

I'd see # Become someone I'd never thought

I'd be$$NEWLINE# Oh oh oh oh # Cause there's something good

# Yeah, I need sunshine # I need angels

# I need # Something good

# Yeah, I need # Blue skies

# I need them old times # I need

# Something good # Yeah, something good

# Something good # Yeah, something good

# Oh oh oh oh # All these days seem to fade away

# As I lost faith in the myself # Questioned everything I stood for

# No, in I ain't more left to look for in life

# I began to lose all # Found it harder to cope

# With everything around me # And them people that would doubt

# Oh, I, I was in a place that I didn't wanna be

# Seeing face after face I didn't wanna see

# I, I, I didn't go out of my mind # Only God knows and all them girls

that I used to see running around # Was like the rain this that I

used to see pouring down # They did nothing for me

# I need sunshine # I need angels

# I need something good # Yeah, I need them blue skies