15/06/2012 The Review Show

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Martha Kearney and guests discuss Tom Cruise's new film, Rock of Ages, improvised drama True Love and an exhibition of invisible art at the Hayward Gallery.

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On the review show tonight. He's got the hair and the axe, but


can Tom Cruise cut it as a guitar legend in Rock of Ages.


There is Invisible Art at the Hayward Gallery, is there more to


it than meets the eye. A starry cast finds true love in an


improvised drama on BBC One. And Frances Osborne goes upstairs


Downton Abbey in her new novel, Park Lane. We will have live music


from Amy McDonald. My guests tonight are Sarah


Crompton arts editor of the Telegraph, the broadcaster, Mark


Forrest, and writer and comedian, David Schneider. We begin with a


jukebox musical, Rock of Ages like Mahmood and We Will Rock You, has a


plot wrapped around existing songs, from bands such as Def Leppard,


Foreigner and Journey. It opened in the West End last year, and a movie


version was almost inevitable. Ladies and gentlemen, the icon of


rock. He may not get top billing, but Tom Cruise steals the show,


playing Stacey Jacks, the front man of hair rockers Arsenal, he owes


more than a little to Axl Rose of guns and Roses. Hey man? No, this


is Hayman! The plot revolves around sherry, played by Julian Huffa


small town girl from Oklahoma, who jump ones a bus to LA, and gets off


at SunSet Strip. What about Drew? Very expensive. Not drool, Drew.


She gets a job as a waitress at the Bush Bonn Rooms a club on a


downward slide, run by rock dinosaur, Dennis, Alec Baldwin, and


his side kick, Lonny, yes, it is Russell Brand. OK, call your band.


Guys, we're opening up for Arsenal. Owen Jones, in her first movie


musical since Chicago, leads an overzealous family values club that


wants to close down the club. But it seems she knows more about the


rock scene that she's railing on than she's letting on. # You're a


real tough cookie # With a long histor


# Of breaking little hearts # That's OK


# Let's see how you do it # Put up your Dukes


# Let's get down to it # Hit me with your best shot


# Why don't you hit me with your best shot


Reviveing the styles and sounds of the 80s, Rock of Ages tries to


recreate the magic of stadium rock on film. Are plot and character


neglect glegted in favour of a pumping soundtrack.


Are you playing air guitar here, not?! Rock of Ages, did it rock


you? It rocked. For me, it totally rocked, and listen, I know that the


plot is not exactly the Usual Suspects, the characterisation


would, it was far worse than in a Scooby Doo episode. I mean, there


is so many things wrong with it. But, it worked for me. I think


maybe it was the music, that I would be going, God those leads are


so shallow, it is ridiculous, and then it is I Love Rock and Roll,


there was a sense where I was aware that my critical faculties were


being removed. But I loved the music, even though I hated it in


the 80s. I loved the remember formances, I -


- performances, and Tom Cruise was great. I can't believe he was


saying, I thought it was purgatorial. I didn't hate the


music. But I thought, the trouble was, the music had all the energy


sucked out of it, by these incredibly self-conscious,


unattractive performance, in an incredibly unattractive film. I


have never felt rarely in the presence of so much horror. And Tom


Cruise, I mean, uh. Really, the torso didn't do it for


you. That torso didn't do it for you? Did it do it for you?


Cruise wasn't bad in this at all. If you got bored of him doing


Mission Impossible, and wanted him to go a Mgnoliaa -- Magnolia way.


The problem is, if you don't gel with the music you won't like it at


all. Before the classical music I had to play this stuff in the 80s,


I tell you, nobody ever texted in for the classical stuff. That is


your first problem. I don't think there is the resonance that people


will have with the music. We have had three seasons of Glee, doing


this sort of thing. If you think this film we watched was a long two


hours, leading up to the big number, the show help stopper, which was


Journey, Don't Stop Believing, think where Glee started, where has


it gone since then. It is designed to appeal to a Glee audience?


think what is clever about it is it is appealling to the Gleeks, the


Glee audience, and their parents. And people like myself, if I may


use the term Proustiay reaction to seeing Tower Records and people


dating and going having photos in photo booths. For people of my age,


or just me, that sort of again disarmed me. It is just that is the


setting in the 80s. I appeal to my fellow panellists, didn't you think


there was some amazing comedy performances there. I thought Alec


Baldwin saved it for me. Every time he came on I felt slightly better.


Wonderful duet between Alec Baldwin and Russell Brand. That was a


moment. Nearly saved the film for me. A Birmingham Fagan-type


character. It was a Dick Van Dyke. Anything that saved his performance


was the duet that made everybody life. Paul Giametti is always great,


he is sleazey and reptilian in that. Back to Cruise, I liked him in


Magnolia, something was very odd in this performance, I don't know if


it is par dee, I think he teeters over to him feeling he is having a


good time. Judge for yourself, odd or not. You know some people have


said you have become quite difficult to work with, that you


are constantly late, you reclusive, sometimes nonsensical? I will ask


you this, have these people even met themselves? Well, I'm talking


about your band. Let me tell you something, I know me better than


anyone. Because I live in here. Chris, he's loving that, isn't he?


If you carry on watching it, they then go into Foreigner, and I Want


To Know What Love Is, in a way you have never seen it or will again.


He like Russell Crowe Kianu Reeves, they want to be rock stars, and


this is him having a go at it. People in the cinema where I saw it


were groaning, it is curdling into something that is not there. I went


to press reviewing with an audience and there was only me laughing. It


is out of context that piece. But I thought he really pushed it. I


thought it was as good as his Tropic Thunder performance. I loved


him in that. Obviously he was playing an alcoholic who couldn't


get out of bed, and yet looked like he spent every single minute in the


gym. He never, he doesn't run in this, like he does in all the other


films. There is always the torso. There is something problematic


about jukebox musicals themselves, some succeed, Mama Mia has. Not


many others have? The songs have to be almost irresistable, which was


the thing about Mama Mia had, and others, I liked the Tower Record


scene, it is all set in grungy clubs and everybody is unattractive.


It is grunge year, but not dangerous, not really rock 'n' roll.


It is very sanatised? I don't think Def Leppard or Bonn Jovi were


dangerous, or Quarter Flash, skap harden My Heart was never a


dangerous song. In the same way as you see in a 70s film there is a


space hopper, you get the brick mobile phone and the flick, and the


Bonnie Tyler firm. Paul Giametti deserves a prize for his widow's


peak hairstyle. He deserves an award, he crosses the stage, it was


cringey, comedy bones. Brilliant. His pony tail was very good. But


for 80s music fans, definite hit, Rock of Ages is out now. When the


Hayward Gallery announced the latest exhibition would feature


Invisible Art, some people wondered if it was a joke at the public's


expense, with one threatening to pay his entrance fee with invisible


money. The idea of Invisible Art dates back decades, there is plenty


to look at and experience with your other senses as the show as curator


explains. It is an exhibition with works by over 60 artists over 50


years. It is with the invisible unseen, not everything in the show


is invisible. There are things to look at. There are things to read.


That is especially important in a show like this. All this work,


though, really, artists like to break up our routines and our


habits, our conventional ways of behaving. This show addresses the


complacency of scene. This is a work by Tom Friedman, who


went to a professional witch, and asked her to curse the spear kal


space that rests 11-inches over this plinth. He was interested in


the idea that if you give an object a history, people will look at it


in a completely different way. Not every blank piece of paper in an


Invisible Art show is the same. This is a piece of an unseen green


colour and mental energy. There was an image there, but it has


evaporated. The only person who saw the image was the artist himself.


This is a work by Terry Bywater, it is nothing other than a dark --


This is nothing other than a dark room. All the things we do in dark


space, all the emotions we protect and thoughts we have come out. In


our culture we are told what you see is what you get, these artists


approach things in a different way. When you read the description of


this piece on the wall, the title Invisible Vehicle, I, at least,


start to imagine that there is something in this space that has


weight, density, the artist didn't give us the keys, we haven't been


able to take it for a drive around the gallery yet. I do feel this


space is not empty. This in visible Labyrinth works by


putting on a pair of headphones that vibrate every time you hit an


invisible wall. Despite being a wonderfully involving experience,


it is a great metaphor for the creative process, and having to


feel your way without been able to see through the process. Admittedly


some of this work is deliberately provocative, sometimes mischievous,


I think that it is also taking on a very important task of trying to


get us to have a broader approach to works of art, and to what they


mean and how they make us think. Sar ra, you hear about an


exhibition like -- Sarah, you hear about an exhibition like this, it


could be a sense of Emperor's new clothes? It is hard to talk about,


without sounding like you have come out of the corner exhibition. When


you walk in, it does seem like an team gallery, it made me smile, it


was wonderful that sense it was invisible. It was cleverly mounted


and everything is transLuisent and pale. It works in it are


provocative, interesting and thought provoking. I particularly


liked the ones where there is a suggestion that where the absence


of something makes you think there is something present. With the one


we saw there, something was there, and you think about his brain power


and you have to imagine what was once there. Imagination is a real


thing. In the same way with the Robert Barry doing the force fields,


a force field is a real thing, you can't see it. It seems to be you


look into all those invisible, visible, what is and what is not,


what is role and unreal. I found it really thought provoking. Quite


often, having a sense of the absurd about it, you mentioned smiling,


being in a room with two air conditioners, somebody there seemed


to take it very seriously and I ended up laughing. In that room


there is a white room with two air conditioning unit, you are


desperately looking for the art. I think the other people become the


art. I think that's interesting. What I found a bit difficult with


the exhibition is it became a bit repetitive, it was always saying


here is a different way, only slightly different way of


questioning our relationship with art in a gallry I also found that


there was times when I was laughing. I think with the Swiss guy, where


one of his paintings was done with brain energy and garden snails, for


example. I just wonder, are we meant to laugh at it? I don't know.


There are darker points in the exhibition as well. We saw the room


of black there. Which really provokes the idea of absence that


Sarah was talking about. This is where the exhibition started. When


you go into the room before, you are supported by all the wits of


White Paper, beautifully mounted, only so many of those will you be


inspired by. I went into the velvet curtain room, you stand there and


you are very still. I would defy anybody, however cynical, to go in


there and not find they are thinking about something, or


hearing things. This is a work of art created by James Lee Byars,


prefacing his own death, he is dead now? As I'm standing there,


somebody walks in. Very nervous because they can't see something


either. You are hit with the shall I stand here and they sense I'm


here, and we make art together. Or do I the terribly British thing


where I say I'm here, which I did. The more successful ones are expeer


yeings, part of the problems is, -- expeer earnings, part of the


problem is one artist asked for platform in the gallery, the only


requirement was that no-one should be able to see him. He spent days


in there, he saw no-one, no-one saw him. I read the plaque about how


people had reacted, I loved that. If they had recreated that work


would that have been a good idea? There is a similar one, some of the


people walking around with you are an artwork. There is an artwork,


the spectators are paid to be there. So you do look at them, and think,


I wonder whether they are a speck Tate Ora not. My husband lift --


spectator or not. My husband lifted an invisible statue off the plinth


and everybody thought he was part of the artwork. Enyou go to a


gallery on your own -- when you go to a gallery on your own and you


read all the stuff, you don't talk to people. If they are actors we


chat add lot. What it goes back to, it goes back


to the notion that the audience brings to it, the audience is a


completion of the artwork. Macel Du Champs said the audience has to


bring something and then the artwork is complete. I thought that


sense is really powerful, so that the room with the air conditioners,


one of them the air has been put through supposedly the water that


was used to wash dead bodies with in Mexico in the drug cartels, that


in itself is a powerful idea. The fact is, it doesn't have to have


happened, it is that you believe it has happened, that makes the work


powerful. So, I found all the time, that you were stepping into


something that you don't understand, and makes you pause and be


philosophical about it. It sounds like your imagination was waxing


and waning as you went through it reacting to wane things? I found I


was really doctored in the experience of the whole gallery --


interested in the experience of the whole gallry I clung to what it


said on the walls because there was very little else. It was a


successful exhibition because it made me question how I am with art


what artists should be doing. I wondered whether each of these


exhibits would be more powerful when they were juxtaposed with a


presence. There was so much absence. I went into the place where there


was no-one else there. I went into Tracey's room, there is nothing in


there but the plinth that has been cursed and the invisible car. To be


there complete owe on your own is a different -- completely on your own


is a different things to be surrounded by throngs of people


interacting and jumping on the car. Invisible can be seen at the


Hayward Gallery until the 5th of August. Love, the subject of a new


BBC One drama series may be just as hard to see, but its effects can be


devastating. But it is a theme explored in five 30-minute stories,


created, rather unusually for mainstream drama, Through


improvisation. True Love features an impressive


cast, Jane Horrocks, David Tennant, it is written and directed by


Dominic Savage, all five dramas are set in his home town of Margate in


Kent. The idea came from, I suppose, all the other films I have made,


which at the heart of them they are about relationships, and how people


do and do not relate to each other. It is playing with those ideas. Who


do we really love. And making those kinds of decisions. Even the idea


that even with established relationships, they can be


something that comes in and upsets the balance of it. We believe we


love one but something can upset or ruin it.


In terms that the script o the outline is very detailed. The plot


-- or the outline is very detailed. The plot is all there, and I give


the actors enough to understand what's happening that particular


point in the story. But not too much that it stops them bringing


their own feelings into it. It is important for me that they inhabit


the roles in way that is personal to them. Where have you been?


have been living in Canada. this time? About 13 years, yeah.


Got a little girl. Nice. What's her name? Elli, she's four.


With the actors, the choosing them is key, I have to feel they could


be emotionally engaged in this kind of thing. There is a relationship


between me and them that I pick up on quite quickly there is a scene


in episode 2, which is Ashley Waters and Jamie Winstone, it is


about this passionate love at first sight thing that happens. I


suddenly thought, I wanted them to have fun. In the script there


wasn't that element there. I just thought we just do a dance scene.


It was really spur of the moment. The actors blended in a really


interesting way. The scene is full of emotion and passion and good,


really, almost like forbidden fun. I think all you can be is very


honest and sincere about what you are doing and what you want to do.


If those feelings that you have got have come across in the way that


they should, then there is nothing to fear.


I want to begin by asking but improvisation, I think it is much


more common in television comedy than it is in drama, especially


mainstream drama, like BBC One? was very interesting, I have done


improvisation in comedy, it was interesting to see this piece. I


felt, I should say firstly I felt it worked, it was very moorish, I


kept wanting to watch all of it. It went very quickly I think


paradoxically it is incredibly visual, it is the visual element,


the direction, there isn't that much dialogue, even though the


improvisation is the big selling point. But the improvisation


sometimes, it is incredibly exciting, especially in the episode


with Piper, I thought that worked so well. But the danger with


improvisation, is that we're not writers, as a writer as well, I was


pleased sometimes to think, give me what you have done, and let me go


and write it up and put some spisity in it, -- spesity in it,


and back story and improvise more with that. I watched a little while


ago, as I began watching it, it got a different performance about the


actors, I thought perhaps they are improvising? It relies entirely on


the actors. It is lucky he has an incredible cast of actors. They do


really well with the improvisation. I didn't realise it was improvised.


I watched it, thinking it is wonderful, spare dialogue, and


there is a genuineness with about the way they are speaking. That is


the great strength. I think some of the performances are devastatingly


good. Did some of the actors rise to the challenge different to the


others? I simply was drawn in with them, and ended up watching all


five. I think the problem with the improvisation, and the very minimal


dialogue, is sometimes we fall back, we do it ourselves, on very, very


cliched forms of speech. There are a couple of these trying to say I


love you kind of scenes, that is something like The Only Way is


Margate. But the actors were so much better than those you see in


TOWIE they could do it with a luck on their face. I thought the


favourite was number 4, Jane Horrocks was great. David Tennant


is the big star of number 1, his dilemma is he had to walk out on a


marriage and that because someone he loved before came back. Horrocks


is having a rocky time in her marriage, her daughter is going to


university, she has a man come into her shop and show some interest in


her, it makes her re-think her life. That is a decision you can


improvise over 25 minutes and it works to perfection. The strength


of the pieces, that Dominic Savage had mapped out the story, there was


a safety net for the actors. A lot of the scenes are visuals, just the


actors' faces. Because the stories were so interesting, sometimes when


the improvised dialogue wasn't so interesting, like they missed you a


lot, and I love you, that almost seemed like a positive thing.


loved, that I loved the David Tennant one. I thought that David


Tennant one was riveting, he seemed to be completely believable that he


was trying to be a good man. I thought the silence he brought to t


and the very little that was said, was extraordinary. Did anyone see a


much bigger juxtaposition of the scene where everything is perfect,


and one phone call from the office from the receptionist and this girl


who you ran away from has suddenly come in. I wondered throughout all


the drams, sometimes the editing towards the end of it became brutal,


we had moodiness and stillness and suddenly the story had to be


wrapped up? The Billie Piper one is a good one, and different to all


the rest. At the beginning it is in the first scene, Piper is having an


affair with married man, and she has to go on a jouorn year, one


would think it was a big deal, -- journey, one would think it was a


big deal, and it happens in moments. That is a big deal for the BBC. I


like the fact they are really compressed emotion, and they are


very stylised, certain scenes seem to occur, there is a driving scene


in a lot of them. Margate itself becomes player. Looking more


beautiful. And the sky above Margate. Turner's Sky. The use of


music was extraordinary? I feel with all the one that is I saw, any


way. Their strengths and their weaknesses, sometimes the music was


fantastic and just right, and sometimes you thought, we have


understood, you don't need to lay it on. First Time Ever I Saw Your


Face, was crass, we don't need it. The dramas will be striped across a


week, do we see themes emerges or do they work as whole, or a climax


in the last one? Could you watch them in any order. There are


certain characters who do reoccur, but you wouldn't actually need them


to do so at all to enhance your understanding. I love these striped


across one week dramas I love when they give you a sense of place. I


loved Top Boy, they were based in Hackney. This one, telling me a lot


about a place I didn't know terribly well. I think they work


wonderfully. What about the overall theme, true love, what do you think


it was saying about different relationships, there were


concurrent themes in that? As I say, the thing I liked was the fact that


they seemed to be quite real people doing real jobs, working in a


carpet ware house, working in a boring office, trying to make their


marriages work. That is not what you seen on television. People


trying to make things work. thought the improvisation helped


with the sense of the ordinary, and the look of Margate and everything.


That was the strength of using improve adviceation there.


I would certainly -- Improvisation there. I would certainly say watch


all of them. From Upstairs, Downstairs to Downton Abbey and


Titanic, there is no shortage, it seems of a the class divided world


of Edwardian Britain. That is the theme of Park Lane, a


novel by Frances Osborne, will it have the success of her best-


selling non-fiction. Frances Osborne's previous books


were based on the lives of two of her great-grand mothers, one was


imprisoned and interned in a Japanese camp, and the other


scandalised by society. The next one draws on her history,


two young women with the upheaval of the world war. Beatrice is the


unmarried daughter of a businessman, who becomes jaded by the social


season. Below stairs, in the same Mayfair mansion, is Grace Campbell


a maid from Carlyle, and whose accent prevents her from being a


secretary. As Grace discovers dusting, Bea's involvement with the


suffragettes movement introduces her to a thrilling and dangerous


Bea is swept away by the war, to work as an ambulance driver in


northern France, while Grace is left with a troubling secret.


From society drawing rooms to the trenches of France, and back to a


much-changed Mayfair, the narrative traces the evolution of women's


emancipation, the fault line between feminism and feminity and


the rise of the working-class movement. Frances Osborne knows


politics from the inside. Her father was a minister, and her


husband is the Chancellor of the Exchequer, Frances Osborne. So does


she bring authenticity to this historic year of immense social


change, or is this simply another rose-tinted look at life above and


below a grand staircase. Did you find this an engaging


story? I must admit when you sent me the book and I saw the cover, I


thought it is probably a book I would run a mile out of the


bookshop rather than have to endure, with a debbuant in pearls looming


over the girl with the maid's frock, you don't get to see her face. I


picked it up this morning and I sat with it, and I read it all, quite


enjoyed it. I surprised myself. I thought back 100 yearsk back into


the narrative, we are in austerity, and we are all wishing we could be


back where a few aristocratic land lors could make things better. I


put it aside, -- landlords could make things better. I put it aside


and enjoyed it, right to the end where there is a twist.


historical accuracy with the move from non-foix fiction? She writes


well as a non-fiction writer. The problem with this is she hadn't


made the transition to becoming a novelist. There is an awful lot of


fact that comes in, it is interesting, the Suffragette


movement, the suffer from the Home Rule Bill brought into parliament.


Women in the war wore carbolic belts. The facts crowd in. No sense


of character there is -- there is no sense of character. I didn't


know who anyone was. There was the leading MP, and Frances Osborne had


no idea beyond a Mackintosh who he was. I wanted to know what someone


looked like in the book. Hats off to anyone who writes a novel, which


is like a terrible start, you know it is going to be bad. That is


quite a low base! I think the story was good, that's all right. About


five or six lines in there is a door handle described as "night-


cold and turnip-long", you think either this is the new James Joyce


or it is really going to be bad. It is not James Joyce.


I mean, it is readable, it is readable. I got to the end. Isn't


that what you want with this sort of book. I was frustrated, you


wanted someone to describe things better. There was Emily Pankhurst


into it, there was a moment she meets her and you know it is meant


to be a big deal. The women, Emily Pankhurst and the other women are


described as holding their heads high, the one that is had been


force-fed, their heads even higher. It is like they were Mere cats. --


mere cats. There was the horrendous description of the house in the


beginning and the introduction of Grace who speaks in language that


doesn't ring true. I managed to put aside. I put it up with fever and


who doesn't want another Upstairs, Downstairs, and doesn't want


another Downton Abbey, I surprised myself and enjoyed it to the end.


Why do we go back to the Upstairs, Downstairs themes, why do we like


this class-ridden world? I think the thing is, what I felt


frustrating about it, it is a fascinating period. The fight for


suffragettes, one of the great stories, the fact that women didn't


agree on how to achieve the vote, is riveting. She has all that


lurking in the background. You have the business of the rise of the


Labour Party, and the rise of socialism, there is loads of very


interesting things going on there. The frustration is that none of it


springs to life, it is all just syphers. There are great book about


that period where you actual low have a sense of what it is like in


this firmment of social change. Why is it, what is it about this


class world, this world of class that seems to be the zeitgeist in


some way to us now? What we are told, the there is truth in it,


because of this age of austerity, and this terrible thing, the euro


is going to collapse and the whole banking system collapsing tomorrow,


we are rushing back to no sir talgia. We love the class structure


we all -- nostalgia, and we love the class structure because we all


knew we were. The Jubilee is a version of the Downton Abbey.


are turning this thing about the Queen into a need for a fuedal


system, I don't think that is there. I don't think she is particularly


interested, she is interested in the change happening, and the fact


that the class structure is beginning to collapse, which I


think is what makes that period so riveting, and accelerated by the


war. What is interesting is that you have the sympathies, we


shouldn't judge her as the Chancellor's wife, but her


sympathies are with the Suffragettes who espoused violent


means for a just cause. You wonder if the Osborne house is like a


Bercow house claim clim We will draw to an end here. --!. We will


draw to an end. Tomorrow June 16th is Bloomsday, the annual


celebration of all things Joyceian, particularly of the novel, Ulysses,


which is set on June 16th, 1904. This year in honour of the 90th an


verse reef its publication. Radio 4 is interrupting the schedule with a


seven-part dramatisation, set across the day. Starting in the


morning and ending just before the midnight news. Mr Leopold Bloom


eats with relish the inner organs of beasts and foul. Now in dreams,


silently she comes to me. I was blue mouldy for the want that have


pint. Yes, I said, yes, I will, yes.


As Joyce's characters roam around Dublin, the narrative moves in and


out of their minds, perhaps straight forward in a radio


adaptation, but more of a challenge for a television director in the


1960s. Could buy one of those silk petty coats for Molly, colour of


her new Garters. Boylen again, not sea, no think. Ever since its


publication, Ulysses has sparked extreme reactions, from outrage to


adoration, even the most creative version causing consternation, as


the BBC discovered in 1982. John Tidyman is the producer of the


three-hour musical version of Ulysses, called Blooms of Dublin.


Two weeks ago in Dublin he faced the indignation of the RTE singers,


they refused to sing what they regarded as a pro-fain,


pornographic and blasphemous song. # They deserved a condom


# A pessery too of course The members of the Irish house


wives association protest against the proposed broadcast...Joyce


a bawdy writer. He was bawdy, and it was in a natural sort of way.


This is, I don't know, it seems to be advocating unnatural practices,


as you might say. Will this version enthral or enrage a radio audience


throughout Bloomsday. My own favourite quote is "the


sacred pint alone will unbind the tongue of deedless", it starts


tomorrow morning at 9.10. More details on the website and


everything on the programme. Keep tweeting and let us know your


thoughts about tonight's discussions. My thanks go to David,


Sarah and Mark, next week Kirsty will be back to look at Julie


Walters return to the theatre. And the follow up to The Thick Of It.


We end with music from the singer- songwriter, Amy McDonald, with


music from A Beautiful Life, the album out this week, this is Slow


# I never knew # You before


# I'd been walking around # With my eyes on the floor


# But now you're everywhere to me # You're every face that I see


# Things ain't moving quick enough # For me


# I guess I've been running around town


# Leaving my tracks # Burning out rubber


# Driving too fast # But I gotta slow right down


# Back to the moment # The very start


# From the very first day # You had my heart


# But # Gotta slow right down


# Slow it down # Down down down


# Wishing wanting for something more


# Always better than I had before # Who knew these dreams


# Would come true # I run the red


# Won't stop at night # I don't care for traffic lights


# Things ain't moving quick enough # For me


# I guess been running around town # Leaving my tracks


# Burning out rubber # Driving too fast


# But # Gotta slow right down


# Back to the moment At the very start


# From the very first # You had my heart


# But I gotta # Slow right down


# I guess I been running round town # Leaving my tracks


# Burning out rubber # Driving too fast


# But I gotta slow right down # Back to the moment


# The very start # From the very first dayle # You


Martha Kearney and guests discuss the film of the musical, Rock of Ages, starring Tom Cruise, and True Love, an improvised drama serial featuring David Tennant and Billie Piper. They also look at, or maybe through, an exhibition of invisible art at the Hayward Gallery.