Plastic Bag Awards 2020

As we spring into a new year it's time to look back at 2020 with the Plastic Bag Awards, the Baggies 2020. It's been a funny old year really with too much time spent at home and not enough time spent out and about but that's how it goes sometimes. To reflect the times there are some new categories for the awards. My lockdown started on 16 March so the year had hardly begun. The jury was socially distanced at all times and didn't have too many problems judging the entries this year so here we go, the Baggies 2020!

Best Theatre

In a slow start to the year I only managed to see two productions:

'Rags' at the Park Theatre
'The Visit, or the Old Lady Comes to Call' at the National Theatre

'Rags' is a musical about immigration to New York in the early 1900s so big themes but a small production in a small theatre. 'The Visit' is a strange play in which the richest woman in the world wants her first boyfriend to be punished for getting her pregnant many years ago and she has the money to make it happen. A total opposite to 'Rags' since this was on the big stage of the Olivier Theatre at the National with a big cast and lots of changes of scenery. In a more normal year I'm not sure either would be nominated but the winner is 'The Visit' because of the excellent performances of Lesley Manville and Hugo Weaving.

Best Exhibition 

I saw ten exhibitions this year so that's a surprisingly good haul. The five nominees were all excellent exhibitions and would have been nominated in a 'normal' year.

'Van Eyck: An Optical Revolution' at the MSK Ghent in Belgium
'Troy' at the British Museum

'Titian: Love, Desire, Death' at the National Gallery
'Artemisia' at the National Gallery
'Turner's Modern World' at Tate Britain

The Van Eyck exhibition was the biggest ever of his works, 'Troy' explored artefacts that tell the story of the Trojan war, the Titan brought together his poesie paintings for the first time, 'Artemisia' was the first exhibition of her works in the UK and the Turner exhibition reflected how he painted and recorded the industrialisation of the country in the first half of the 19th Century. They were quite different in many ways and all were excellent. 

There can only be one winner and that's got to be the Van Eyck exhibition in Ghent. I have fond memories of it, of my little adventure to Belgium, of seeing some of the panels from the Ghent Altarpiece up close to see the detail which is impossible at the Cathedral where it is on display, the incredible detail in even the smallest of the paintings and seeing so many of his works in the same place. Well done MSK Ghent.

Best Building Visited After Two Decades

After seeing a small exhibition near the Barbican I walked down to go to Blackfriars and when I passed St Paul's saw it was open so thought, why not visit? I went online when I got home and booked a ticket. I later got a ticket to visit Westminster Abbey. I've been in both before but not in a couple of decades. The nominees are:

St Paul's Cathedral
Westminster Abbey

It was strange going inside both buildings, everyone masked, following the one-way route and seeing what there was to see. St Paul's was quite empty with few visitors, which was nice, but Westminster Abbey was far more busy, including some tourists. Both have their own history and interesting objects but the award goes to Westminster Abbey for the beauty of the place, the tombs of kings and queens but the Unknown Warrior's is the tomb that's highlighted and, of course, for Poet's Corner. I had planned to visit it again in the run up to Christmas  but that wasn't to be.

Best Face Mask

2020 is the year of the face mask. I started off using a scarf back in March and migrated to using the make-your-own tee shirt sleeve mask since proper masks weren't available anywhere. And then places started making masks and you could buy them so I did. I started to collect them. I got some made up using my own designs from details of paintings and prints. It was a bit of fun, If we need to wear a mask (and we do) then wear a nice one, a colourful one, a mask that says 'this is me'. One of my early favourites was the 'Sunflowers' mask from a detail in Van Gogh's painting from the National Gallery. It was light an airy, fully fitting and my glasses could go on the outside so they didn't steam up. Later on in the summer I got a Rosetta Stone mask from the British Museum, made to a similar design but it feels bigger and more airy and is my mask of choice for gallery visits. This is the mask that wins the award. It's interesting and it works, especially for someone in glasses.

Best Lockdown TV

In lockdown and after, and then as we entered another lockdown, TV companies have had a captive audience but have they risen to the challenge to be creative and cater to our needs? From my point of view, the answer can only be 'no' but there have been some good programmes that have fed me over the past year. These include 'Bake Off' of course, the joyous discovery of 'The Repair Shop', 'Staged' with Michael Sheen and David Tennant performing online in their own kitchens, Charlie Dimmock's 'Garden Challenge' and the glory that was 'Grayson's Art Club' way back in the spring, one of the first programmes to respond directly to lockdown. It's obvious really but the award goes to Grayson and Philippa Perry for 'Grayson's Art Club'

That's a rather abbreviated version of the Baggies for 2020. Let's hope that a normal service can be resumed safely at some point next year. I'm optimistic.

'The Visit' at the National Theatre

'The Visit, or The Old Lady Comes To Call' is the new play at the National Theatre that uses all the tricks and whizzes of the Olivier stage. It's a new version of the play, written by Tony Kushner (who wrote 'Angels in America' so he's used to writing long plays) and is set in the small town of Slurry in small-town America. I wonder if Americans know what 'slurry' means in British English? I suspect the playwtite does but still...

The richest woman in the world is set to visit the small town where she was born and grew up in before escaping in her teenage years and beginning her adventures that made her rich and famous. The townsfolk are suddenly proud of her since the town is dying, industries closing and poverty spreading, and proud of the local shopkeeper who was her boyfriend in high school.

Then, suddenly, Claire Zachanassian arrives in the smoke from the train that wasn't scheduled to stop in the small town but she pulls the emergency chord to get it to stop. She can buy her way out of everything. The climax to Act I comes with Mrs Zachanassian promising $1 billion to the town if it delivers justice for her and this justice is the death of her former boyfriend that got her pregnant as a schoolgirl and then lied in court so she had to leave the town in shame.

Ooooh big moral decisions here and $1 billion in the 1950s was a lot more than it is today. The townsfolk can't possibly agree to kill one of their own, the owner of the local store they all use, but they can still dream. And then they start opening charge accounts that will be paid off one day when they have the money. But when will they ever have the money with local industry closing down?  There is only one source of new money. I won't go any further in telling the story in case you're planning to see the play.

The leads of Mrs Zacharassian and her old boyfriend are played by Lesley Manville and Hugo Weaving, both of whom are excellent. They worked well together and led the rather large cast with ease. Once Manville appears in the first act, all haughty and laden with money, the act is hers as she's centre-stage and not about to give up an inch. I've seen Lesley Manville on stage before but not Hugo Weaving - I've seen some of his films, of course, ('Priscilla', 'The Matrix', 'Lord of the Rings', etc) but it was nice to see him on stage doing the acting thing and he was very good indeed. I also really liked Sara Kestelman as the school headteacher who's seen her town slowly die and who made a particularly fine drunk towards the end.

It was nice to see the big Olivier stage used to good effect, to see the set rotating away and changing, and a forest emerging from below the stage - the spectacle of those moments shouldn't be underestimated since they're so rarely seen. The large cast, the clouds of smoke that appear every time a train comes near, the lighting, all of these add to the atmosphere of the play, the almost claustrophobia of small town America with dubious morals and the need to get on.

I enjoyed the play and I suspect you will too, so go along and see it.

'Ghosts' at the Trafalgar Studios

On Friday we went to see Henrik Ibsen's 'Ghosts'. It was originally produced at the Almeida but transferred to the Trafalgar Studios to keep it going for a few months. It was a good job it did so I could see it.

I'm not the greatest fan of Ibsen and, in a way, this play confirmed my fears. It was another Scandinavian public v private morality tale with a few twists in the tail. Another tale of outwardly good citizens with dark secrets and a life hidden from society. Of hypocrisy, of private danger, of sin and retribution. Of children suffering for the sins of the father.

It's a relatively short play of only 1:40 hours so it packs a lot into a short space of time. Even so, it's nice to see some fully rounded characters in the cast despite the short time they have to establish themselves. The weakest was, I thought, the pastor, who was a bit one dimensional and very stereotypical, even when found out setting light to a newly build orphanage and instantly getting off by lies and deceit. The other characters were, I felt more strongly drawn even those with far fewer lines, or, at least, they came alive to me.

It's one of those plays when I have no difficulty splitting off the play from the performances. There are five characters and all emerged neatly from the page to live and breathe in front of us, the two most compelling were the mother and son in whose house the play takes place, the son returning as a prodigal from the flesh pits of libertine Paris to small town, protestant, Scandinavia on the eve of an orphanage opening in the name of his dead father. The father never appears but is thoroughly painted as a bad 'un, out drinking and whoring until the cows come home, or, in his case, syphilis. The mother kept the public facade going despite reading radical feminist treatises and political pamphlets. When push comes to shove, she has to tell her son that the maid he wants to run away with is his step-sister. At that point she re-invents the past in that she might have been the one to push her husband to drink and debauchery. Who knows?

It's a production of peaks and troughs, of moments of tension growing and growing and then being smoothed out, releasing the tension for a time before it builds again. Up and down we go as one moment of catastrophe is averted to be followed by another. And then it is, in the finale, that sees Lesley Manville throw all caution to the wind and dive head-first into a role that requires her to help her beloved son to die. Can she do it as the orphanage is in embers in the distance? The son she tried to save by sending away as a boy and the sins of the father returning to wreak revenge. It's a magnificent, spell-binding performance.

Phew!