Category: {theatre}

Theatre

Prague panoramas

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Now that we’re into the dismal weather, sombre views of Old Prague’s splendour seem appropriate. The pages at 360 Cities have a lot of Prague panoramas—76 in all—including many more of the Viriconium-esque Giant Mantis performance I linked to a few years ago. A shame they don’t do this every year.

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Previously on { feuilleton }
• Eno’s Luminous Opera House panorama
• Callanish Standing Stone panoramas
• Jaipur Observatory panoramas
• Infinite reflections
• Large Hadron Collider panoramas
• Passage des Panoramas
• Bruges panoramas
• Paris panoramas
• Venice panoramas
• St Pancras in Spheroview
• Karel Plicka’s views of Prague
• Giant mantis invades Prague
• Whirling Istanbul

The art of Ralph Koltai

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Ralph Koltai‘s contrasting of panels of corroded metal with smooth objects makes for some attractive combinations, reminding me of similar rough and smooth juxtapositions by artist and designer Russell Mills, notably on one of his Samuel Beckett covers and his design for Harold Budd and Brian Eno’s The Pearl. Koltai’s site also includes a gallery of his designs for theatre. Digital rust infiltrates my own work now and then via some photos I took of a Manchester railway bridge, the most recent use being in the background of the cover for Finch.

Previously on { feuilleton }
• Finch posters
• Samuel Beckett and Russell Mills
• The art of Jo Whaley

Salomé scored

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Alla Nazimova as Salomé (1923).

I wrote a while ago about Alla Nazimova’s luscious silent film production of Oscar Wilde’s Salomé, a suitably Decadent affair with an allegedly all-gay cast, and costume and stage design based on Aubrey Beardsley’s celebrated illustrations. The film is currently touring England and Wales with a new score for four musicians by composer Charlie Barber, an extract of which can be heard here. I like the Middle Eastern sound of this, a shame the film isn’t coming to Manchester.

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By coincidence, artist Clive Hicks-Jenkins sent these photos of an impressive Duncan Meadows and his equally impressive sword as additions to the burgeoning Men with swords archive. Meadows is shown as the executioner in a Royal Opera House production of the Strauss opera, appearing at the end of the drama bearing the head of John the Baptist. Given the way that Salomé’s body has always been the focus of attention in this story, Meadows’ appearance makes a striking change, one which Wilde himself might have appreciated.

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Elsewhere on { feuilleton }
• The men with swords archive
• The Salomé archive

Previously on { feuilleton }
• Equus and the Executionist

Equus and the Executionist

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I wrote about Peter Shaffer’s fascinating play, Equus, in September last year, and in passing touched on the horse and Mari Lwyd-inspired paintings of Clive Hicks-Jenkins which seemed to complement the play’s themes of sexuality and passionate obsession. Callum James had been having similar thoughts about Clive’s art and urged his friends at The Old Stile Press to bring play and artist together. Clive was in touch last week to let me know that his illustrated edition of the play is now in print. The Old Stile Press produce limited collectors’ editions of books to the highest standard. Consequently these are expensive works but then they’re as much art pieces as books, as you can see from the care which has been lavished on this particular volume. Nice to see one of my favourite typefaces, Bodoni, used for the text.

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Also in touch last week was photographer Gray Scott with news of this striking picture entitled Executionist which also happens to be a limited edition print. This is another expensive piece—as limited prints tend to be—but there’s no law that says the best things have to be cheap, is there?

Elsewhere on { feuilleton }
• The illustrators archive

Previously on { feuilleton }
• Dark horses
• Gray Scott