As I mentioned last issue, the latest
disagreement in which a critic or critics find themselves under fire
was occasioned at the press performance of Timberlake Wertenbaker’s
The Line at the Arcola.
Wertenbaker accused critics of being drunk following that afternoon’s
Evening Standard awards ceremony.
Illusion
I was also at that performance, though not at the awards ceremony (I
never get invited to those jollies… but I’m not bitter, dear me, no…),
and was not only awake but adrenalised throughout, having just lost all
my bank cards in a pickpocketing incident on my way to the venue.
(Charles Spencer mentions this in his own review, of which more
later.) I can report that I saw no critic either asleep nor
unspecifically misbehaving as Wertenbaker alleges. I did see one
person in the front row whose eyes were closed for much of the evening:
it was Wertenbaker’s own agent, Mel Kenyon. Wertenbaker is simply
not in the best position to evaluate her own work. She says, “It
is a complicated play, it’s difficult, you have to pay attention to
it.” This suggests to me that she is under the illusion that
simply alluding to an issue or theme – art versus life, Degas’s
patriotism or anti-semitism etc – amounts to dealing with it
meaningfully. It’s rather like the notion that has afflicted many
governments (notably Tony Blair’s) that announcing an “initiative” is
tantamount to solving the problem in question and there is no need to
monitor actual developments in the area.
But, having aligned myself with the critics in this respect, I now have
to disagree in another. Charlie Spencer’s opening remarks about
the area in which the Arcola Theatre is located have been considered by
a number of commentators to be the remarks of an unreasonably timid
suburbanite, and I rather have agree with that assessment. He
cites my own pickpocketing misfortune as an instance of the area’s
“menacing” character, even though it happened on a bus on my way there
rather than in the area itself; I “regard it as par for the course” not
because I was in or near Dalston, but because I happen to look like an
easy target for such crimes. (The same thing happened to me once
before, in the far more upmarket area of Holland Park, which I’ve never
known to be considered as “menacing” except perhaps by those who got on
the wrong side of the late Harold Pinter.) Charlie’s remarks
about “terrifying hooded youths” and a proliferation of kebab shops
have been interpreted by some as outright racist; I’m sure he didn’t
mean them that way, but as Dalston is an area with a high black and
Turkish population it’s not hard to see how someone can come to that
conclusion. Charlie is rightly proud of his long and assiduous
career as a theatre reviewer including years spent on the beat for the
Evening Standard and
The Stage around venues of all
sorts and in all areas; I’m sure in those days he wouldn’t have been at
all unsettled by a broad, straight main street such as the A10 (the
former route of the Roman road known as Ermine Street) or disconcerted
by the presence of a gentlemen’s hairdresser’s or two.
Written for Theatre Record.