Friday, 28 November 2014


I didn't get round to mentioning Emlyn Williams' long-forgotten 1950s play Accolade when I saw it a couple of weeks ago, but it would be hard to beat this review on the Persephone website: Accolade has the same depth of moral insight, compassion and insight into human frailty as in every Dorothy Whipple novel.
Which might explain why we came out saying what a thoroughly engrossing, good old-fashioned play it was. I'd never been to the St James Theatre before; quite a find in that rather dreary, dirty bit of Victoria that's the Queen's back yard. 



This week I've been to this very engaging documentary about David Hockney. (Rattling around in an almost-empty cinema; rather dispiriting , too, that the audience was almost exclusively over-60.) Don't feel you've missed out on it being Live from LA: I didn't grasp who was doing the Q&A but he was an abysmal interviewer who interrupted Hockney before he got most of his answers out. Heaven forbid there should be a moment's silence before a famously deaf interviewee gathers his thoughts. Fascinating on perspective and painting water and heart-breaking when he talks about the dozens of friends who died of AIDS.
But sometimes I had to shake myself ... it was a bit like seeing Alan Bennett transplanted to Malibu.

2 comments:

Toffeeapple said...

I always manage to mix up Bennett and Hockney. In fact, Bennett tells a story of a time when a woman thanked him for his amazing ballet designs and asked for his autograph, he signed as Hockney and drew a little caricature of himself...

mary said...

It's not just the voice, Toffeeapple. I kept thinking that the young David Hockney was Alan Bennett not caring about what people thought and dyeing his hair and having more fun. And with Mam and Dad still in the background!