15/06/2012 The Review Show


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15/06/2012

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

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

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

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

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improvised drama on BBC One. And Frances Osborne goes upstairs

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

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from Amy McDonald. My guests tonight are Sarah

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Crompton arts editor of the Telegraph, the broadcaster, Mark

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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musical since Chicago, leads an overzealous family values club that

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

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

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real tough cookie # With a long histor

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# Of breaking little hearts # That's OK

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

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

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

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

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

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neglect glegted in favour of a pumping soundtrack.

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

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

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plot is not exactly the Usual Suspects, the characterisation

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

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

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

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

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

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

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

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

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

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

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

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unattractive performance, in an incredibly unattractive film. I

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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use the term Proustiay reaction to seeing Tower Records and people

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

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

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

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there was some amazing comedy performances there. I thought Alec

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Hayward Gallery announced the latest exhibition would feature

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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space is not empty. This in visible Labyrinth works by

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

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invisible wall. Despite being a wonderfully involving experience,

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

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

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some of this work is deliberately provocative, sometimes mischievous,

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

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

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

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

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

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

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

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

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

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provocative, interesting and thought provoking. I particularly

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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here is a different way, only slightly different way of

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

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

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

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

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

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

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

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

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

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

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

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there and not find they are thinking about something, or

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

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

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

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

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

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

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

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

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

:17:43.:17:53.
:17:53.:17:58.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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philosophical about it. It sounds like your imagination was waxing

:19:35.:19:41.

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

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

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

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

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

:19:57.:20:00.

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

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exhibits would be more powerful when they were juxtaposed with a

:20:05.:20:15.
:20:15.:20:16.

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

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

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

:20:24.:20:29.

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

:20:29.:20:32.

is a different things to be surrounded by throngs of people

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

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

:20:45.:20:51.

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

:20:51.:20:55.

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

:20:55.:20:58.

created, rather unusually for mainstream drama, Through

:20:58.:21:08.
:21:08.:21:11.

improvisation. True Love features an impressive

:21:11.:21:15.

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

:21:15.:21:20.

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

:21:20.:21:25.

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

:21:25.:21:29.

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

:21:29.:21:34.

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

:21:34.:21:39.

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

:21:39.:21:42.

that even with established relationships, they can be

:21:42.:21:46.

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

:21:46.:21:54.

love one but something can upset or ruin it.

:21:54.:21:58.

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

:21:59.:22:03.

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

:22:03.:22:07.

the actors enough to understand what's happening that particular

:22:07.:22:11.

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

:22:11.:22:16.

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

:22:16.:22:22.

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

:22:22.:22:28.

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

:22:28.:22:37.

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

:22:37.:22:43.

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

:22:43.:22:46.

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

:22:46.:22:51.

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

:22:51.:22:58.

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

:22:58.:23:01.

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

:23:01.:23:05.

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

:23:05.:23:11.

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

:23:11.:23:16.

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

:23:16.:23:22.

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

:23:22.:23:26.

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

:23:26.:23:29.

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

:23:29.:23:32.

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

:23:32.:23:37.

they should, then there is nothing to fear.

:23:37.:23:41.

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

:23:41.:23:46.

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

:23:46.:23:50.

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

:23:50.:23:54.

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

:23:54.:23:58.

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

:23:58.:24:02.

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

:24:02.:24:07.

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

:24:07.:24:10.

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

:24:10.:24:14.

improvisation is the big selling point. But the improvisation

:24:15.:24:18.

sometimes, it is incredibly exciting, especially in the episode

:24:18.:24:24.

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

:24:24.:24:27.

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

:24:27.:24:30.

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

:24:30.:24:36.

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

:24:36.:24:46.
:24:46.:24:46.

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

:24:46.:24:53.

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

:24:53.:24:59.

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

:24:59.:25:04.

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

:25:04.:25:07.

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

:25:07.:25:11.

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

:25:11.:25:15.

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

:25:15.:25:20.

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

:25:20.:25:24.

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

:25:24.:25:28.

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

:25:28.:25:33.

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

:25:33.:25:37.

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

:25:37.:25:41.

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

:25:41.:25:46.

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

:25:46.:25:51.

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

:25:51.:25:56.

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

:25:56.:26:01.

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

:26:01.:26:07.

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

:26:07.:26:10.

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

:26:10.:26:14.

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

:26:14.:26:18.

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

:26:18.:26:22.

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

:26:22.:26:26.

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

:26:26.:26:33.

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

:26:33.:26:38.

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

:26:38.:26:43.

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

:26:43.:26:47.

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

:26:47.:26:51.

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

:26:51.:26:54.

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

:26:54.:26:59.

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

:26:59.:27:03.

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

:27:03.:27:12.

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

:27:12.:27:14.

much bigger juxtaposition of the scene where everything is perfect,

:27:14.:27:19.

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

:27:19.:27:24.

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

:27:24.:27:29.

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

:27:30.:27:33.

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

:27:33.:27:36.

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

:27:36.:27:41.

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

:27:41.:27:45.

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

:27:45.:27:50.

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

:27:50.:27:55.

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

:27:55.:28:02.

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

:28:02.:28:05.

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

:28:05.:28:10.

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

:28:10.:28:17.

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

:28:18.:28:24.

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

:28:24.:28:29.

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

:28:29.:28:33.

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

:28:33.:28:40.

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

:28:40.:28:46.

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

:28:46.:28:51.

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

:28:51.:28:55.

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

:28:55.:28:58.

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

:28:58.:29:03.

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

:29:03.:29:10.

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

:29:10.:29:14.

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

:29:14.:29:18.

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

:29:18.:29:23.

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

:29:23.:29:25.

it was saying about different relationships, there were

:29:25.:29:30.

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

:29:30.:29:34.

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

:29:34.:29:39.

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

:29:39.:29:42.

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

:29:42.:29:46.

trying to make things work. thought the improvisation helped

:29:46.:29:50.

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

:29:50.:29:54.

That was the strength of using improve adviceation there.

:29:54.:30:00.

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

:30:00.:30:05.

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

:30:05.:30:11.

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

:30:11.:30:17.

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

:30:17.:30:22.

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

:30:23.:30:27.

selling non-fiction. Frances Osborne's previous books

:30:27.:30:35.

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

:30:35.:30:40.

imprisoned and interned in a Japanese camp, and the other

:30:40.:30:50.

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

:30:50.:30:57.

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

:30:57.:31:00.

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

:31:00.:31:06.

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

:31:06.:31:11.

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

:31:11.:31:19.

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

:31:19.:31:22.

suffragettes movement introduces her to a thrilling and dangerous

:31:23.:31:32.
:31:33.:31:58.

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

:31:58.:32:03.

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

:32:03.:32:07.

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

:32:07.:32:11.

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

:32:11.:32:16.

emancipation, the fault line between feminism and feminity and

:32:16.:32:19.

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

:32:19.:32:23.

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

:32:23.:32:27.

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

:32:27.:32:30.

she bring authenticity to this historic year of immense social

:32:30.:32:35.

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

:32:35.:32:42.

below a grand staircase. Did you find this an engaging

:32:42.:32:45.

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

:32:45.:32:49.

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

:32:49.:32:55.

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

:32:55.:32:59.

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

:32:59.:33:03.

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

:33:03.:33:07.

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

:33:07.:33:11.

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

:33:11.:33:18.

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

:33:18.:33:22.

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

:33:22.:33:28.

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

:33:28.:33:34.

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

:33:34.:33:39.

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

:33:39.:33:43.

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

:33:43.:33:45.

fact that comes in, it is interesting, the Suffragette

:33:45.:33:50.

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

:33:50.:33:57.

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

:33:57.:34:02.

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

:34:02.:34:07.

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

:34:07.:34:11.

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

:34:12.:34:16.

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

:34:16.:34:21.

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

:34:21.:34:26.

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

:34:26.:34:32.

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

:34:32.:34:37.

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

:34:37.:34:40.

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

:34:40.:34:44.

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

:34:44.:34:49.

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

:34:49.:34:55.

wanted someone to describe things better. There was Emily Pankhurst

:34:55.:34:59.

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

:34:59.:35:03.

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

:35:03.:35:06.

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

:35:07.:35:16.
:35:17.:35:19.

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

:35:19.:35:23.

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

:35:23.:35:28.

beginning and the introduction of Grace who speaks in language that

:35:28.:35:36.

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

:35:36.:35:39.

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

:35:39.:35:43.

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

:35:43.:35:48.

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

:35:49.:35:52.

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

:35:52.:35:56.

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

:35:56.:35:59.

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

:35:59.:36:03.

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

:36:03.:36:07.

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

:36:07.:36:10.

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

:36:10.:36:13.

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

:36:13.:36:18.

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

:36:18.:36:23.

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

:36:23.:36:28.

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

:36:28.:36:32.

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

:36:32.:36:37.

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

:36:37.:36:42.

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

:36:42.:36:45.

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

:36:45.:36:50.

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

:36:50.:36:57.

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

:36:57.:37:07.
:37:07.:37:08.

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

:37:08.:37:12.

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

:37:12.:37:15.

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

:37:15.:37:19.

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

:37:19.:37:21.

that the class structure is beginning to collapse, which I

:37:21.:37:27.

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

:37:27.:37:33.

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

:37:33.:37:36.

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

:37:36.:37:40.

sympathies are with the Suffragettes who espoused violent

:37:40.:37:48.

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

:37:48.:37:53.

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

:37:53.:37:59.

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

:37:59.:38:03.

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

:38:03.:38:09.

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

:38:09.:38:15.

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

:38:15.:38:18.

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

:38:18.:38:24.

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

:38:24.:38:29.

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

:38:29.:38:33.

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

:38:33.:38:39.

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

:38:39.:38:43.

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

:38:43.:38:47.

out of their minds, perhaps straight forward in a radio

:38:47.:38:51.

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

:38:51.:38:57.

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

:38:57.:39:06.

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

:39:06.:39:11.

publication, Ulysses has sparked extreme reactions, from outrage to

:39:11.:39:15.

adoration, even the most creative version causing consternation, as

:39:15.:39:21.

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

:39:21.:39:24.

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

:39:24.:39:32.

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

:39:32.:39:37.

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

:39:37.:39:41.

pornographic and blasphemous song. # They deserved a condom

:39:41.:39:49.

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

:39:49.:39:53.

wives association protest against the proposed broadcast...Joyce

:39:53.:39:58.

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

:39:58.:40:02.

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

:40:02.:40:12.
:40:12.:40:19.

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

:40:19.:40:25.

throughout Bloomsday. My own favourite quote is "the

:40:25.:40:31.

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

:40:31.:40:35.

tomorrow morning at 9.10. More details on the website and

:40:35.:40:39.

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

:40:39.:40:43.

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

:40:43.:40:49.

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

:40:49.:40:55.

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

:40:55.:40:59.

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

:40:59.:41:04.

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

:41:04.:41:14.
:41:14.:41:23.

# I never knew # You before

:41:23.:41:31.

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

:41:31.:41:37.

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

:41:37.:41:44.

# Things ain't moving quick enough # For me

:41:44.:41:46.

# I guess I've been running around town

:41:46.:41:49.

# Leaving my tracks # Burning out rubber

:41:49.:41:58.

# Driving too fast # But I gotta slow right down

:41:58.:42:01.

# Back to the moment # The very start

:42:01.:42:05.

# From the very first day # You had my heart

:42:05.:42:11.

# But # Gotta slow right down

:42:11.:42:14.

# Slow it down # Down down down

:42:14.:42:24.
:42:24.:42:30.

# Wishing wanting for something more

:42:30.:42:34.

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

:42:34.:42:42.

# Would come true # I run the red

:42:42.:42:47.

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

:42:47.:42:51.

# Things ain't moving quick enough # For me

:42:52.:42:56.

# I guess been running around town # Leaving my tracks

:42:56.:42:59.

# Burning out rubber # Driving too fast

:42:59.:43:06.

# But # Gotta slow right down

:43:06.:43:10.

# Back to the moment At the very start

:43:10.:43:13.

# From the very first # You had my heart

:43:13.:43:18.

# But I gotta # Slow right down

:43:18.:43:23.

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

:43:23.:43:27.

# Burning out rubber # Driving too fast

:43:27.:43:35.

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

:43:35.:43:39.

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

:43:39.:43:41.

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.