Gianni Versace dress worn by Princess Diana

'Versace (Retrospective)
at the V&A'

Victoria and Albert Museum
Cromwell Road
South Kensington
London SW7 2RL

ends January 12, 2003

plus

100 PHOTOGRAPHS:
A Collection by Bruce Bernard

below the Versace review

Versace Design from Autumn/Winter 1990 - 1991

A major retrospective of the work of fashion designer Gianni Versace (1946 –1997) features the most comprehensive collection of originals ever exhibited from the Versace archives.  And it's currently the hot ticket at the V&A.

The exhibit explores the designer’s great originality, versatility and imagination, as well as the craft-based and innovative technical developments he pursued in his search for beauty. With more than 130 designs on display, the exhibition illustrates the diversity of Versace’s work over 30 years.

As you walk through the rooms with mini-collections based upon themes such as 'Art' and 'History', the designs appear to come to life.  Unhindered by video or print images (until the very last) you can see how the dresses are 'sheer' works of art.

The creativity behind the designs coupled with the original use of various  types of fabrics and accessories gives each individual outfit its own beauty - whether you like it or not.... or whether you would dare wear it or not?

Certainly, the leather collections seemed quite conservative and the evening gowns were truly 'sensational' - in every respect of the word.

Fashion exhibits can often prove to be boring. The clothes only look good when you see them worn by a beautiful model.  But Versace brought such originality and quality to his label that this exhibit literally grows on you.  As you pass through the various mini-collections, a desire to wear Versace grows in direct relation to the degree of 'fabulous 'which defines this exhibit.

Gianni Versace was famous for dressing the most glamorous celebrities and this must-see exhibition includes high-profile works worn by Madonna, Diana, Princess of Wales, Elton John and the unforgettable safety pin dress worn by Elizabeth Hurley.

See stunning theatrical pieces, jewelled and embroidered couture garments, classical evening wear, leather creations, tailoring and printed fabrics and designs reflecting Versace’s passion for historical artefacts and contemporary art.

At the time of his death in 1997, Gianni Versace was one of the most famous fashion designers in the world. In less than twenty years he had created an international company that put Italy on the fashion map and forged an unrivalled reputation for luxury and glamour.

Versace’s immense drive and singular commitment to fashion resulted in significant achievements. Eclectic and profligate, he showered his clothes with references, and forged unlikely alliances of materials and concepts. He combined exquisite dressmaking with a brazen defiance of the rules of fashion.

Versace’s couture designs were created for the super rich but his impact was felt across a wider section of society through diffusion lines. Stylistically accessible and instantly recognisable, Versace’s fearless designs came to epitomise the 1980s and 1990s.

A great place to get ideas, it brings the high-end fashion magazine to life...

Arts Editor, November 1, 2002

from the Autumn/Winter 1997 -1998

Career Highlights :

1946 Born in Reggio Calabria, Italy.

1972 At the age of 25 Versace moved to Milan. He designed his first prêt-à-porter
collections for Callaghan, Genny and Complice.

1978 Launched Gianni Versace company with women’s wear collection in Milan under the name Gianni Versace Donna.

1979 Collaborated with Richard Avedon for his first fashion photography campaign.
This was the beginning of many Versace campaigns by Avedon.

1982 Launched ‘Oroton’ - a metal chain-mail invented by Versace – in his collection at the Paris Opera.
Awarded L’Occhio d’Oro (The Golden Eye) for the best designer at the Autumn/Winter collections 1982/83 (Also awarded The Golden Eye in 1984, 1990 and 1991).
Started working with La Scala Theatre, Milan, designing costumes for Josephlegende (Richard Strauss, directed by Pier Luigi Veronesi). Versace's costumes were featured in stage events worldwide, among them Donizetti's Don Pasquale (1984), Bob Wilson's Salome (1987) and Doktor Faust (1989), and several Béjart ballets, including Dionysos (1984), Leda and the Swan (1987), Malraux ou la Métamorphose des Dieux (1986) and Chaka Zulu (1989).

1983 Won Cutting Sark Award for “the most innovative and creative designer in the world” of mens clothes (also awarded in 1988).

1985 Gianni Versace’s first display in the UK at the Victoria and Albert Museum
Awarded the Silver Mask award for his contribution to theatre.

1986 Decorated Commendatore in recognition of his work.
Retrospective exhibition of Versace’s first decade of creativity at the National Field Museum of Chicago.
Gianni Versace - Fashion Lens exhibition at Musee de la Mode, Paris. The exhibition illustrated Versace’s collaborations with international photographers including Avedon, Newton, Weber, Penn, and Barbieri.
Awarded “Grande Medaille de Vermeil de la Ville de Paris” by Jacques Chirac. This was the first time the award was given to a designer.

1989 Launched first couture collection in Paris and opened Atelier Versace.
Dresses for Thought an exhibition which looked back over the designer’s 25 years in fashion and theatre at the Sforzesco Castle in Milan.

1991 The Supermodel was born when Gianni Versace sent all the top models down the runway for his Autumn/Winter 1991/1992 collection
Versace Theatre exhibition at the Royal College of Art in London
Dresses for Thought exhibition toured to Kobe, Japan.

1992 Designed stage costumes for Elton John’s World Tour and album cover.
Versace Signatures exhibition shown at the Fashion Institute of New York.

1993 Awarded the first American fashion Oscar by the ‘Council of Fashion Designers of America’.

1994 Elizabeth Hurley wore safety-pin dress to the opening of Hugh Grant’s film Four Weddings and a Funeral
Versace Signatures exhibition opened at the Kunstgewerbemuseum, Germany.

1995 First Versus fashion show was held in New York.
Awarded the ‘VH1 Fashion and Music Award’ in New York for his contributions to music’s image.
Haute Couture, group exhibition of garments by Versace, Chanel, Balenciaga and Dior at the Metropolitan Museum of New York.

1996 WeberVietnamVersace exhibition of Weber’s Versace Campaign at Palazzo Reale, Milan
Versace’s Casa Casuarina, Miami was awarded the ‘Florida Trust For Historic Preservation’ prize for the best renovation work.

1997 Gianni Versace died on 15 July in Miami, Florida.

Open:
10.00am to 5.45pm Daily, and
10.00am to 10.00pm Wednesdays and the last Friday of the month

Contact Numbers:
+44 (0)870 442 0808
+44 (0)20 7942 2000

'Marilyn Monroe and Clark Gable on the set of the Misfits',
by Eve Arnold, USA. c.1960.
© Eve Arnold


100 PHOTOGRAPHS:
A Collection by Bruce Bernard

Canon Photography Gallery
at the V&A

If you like to look at photographs, then there are 100 to see at the current exhibition in the Canon Photography Gallery at theV&A Museum.

The late Bruce Bernard (1928-2000) was the respected picture editor of the Sunday Times Magazine. Considered to be one of the greatest picture editors of the 20^th century, he was invited by the artist and collector James Moores to assemble a collection of photographs.

In 1996, Bruce Bernard had what must have been the glorious task of searching the art fairs and auctions of the world to create this collection of photographs. The collection features the works of well known, lesser-known and anonymous photographers. It is an intriguing mixture of photographic works from the 1840’s to the 1990’s.

The images themselves celebrate the famous, the historical, and the everyday, both classical and modern. There is a clear vision of contrast between the mystery and magic of black and white images and the bright, graphic reality that is often seen in contemporary colour photographs.

My favourites include one of Marilyn Monroe and Clark Gable on the set of the Misfits from 1960; a classy photograph of Duke Ellington from 1973; and a powerful shot of the back of Muhammad Ali taken in 1974.

Finally, as an added bonus and for followers of the works of Lucien Freud, there are photographs of Freud’s studio and his models, taken by Bruce Bernard himself.

The Bruce Bernard exhibition runs until the January 26, 2003.

Showing at the same time in the Canon Photography Gallery is "Stepping In and Out" – Contemporary Documentary Photography.

It’s always worth a visit to the V&A when you are in and around South Kensington. And don’t forget to look up when you are in the main entrance. There is an amazing glass sculpture hanging from the ceiling.

Entrance to the both the V&A and the Canon Photography Gallery are free.

Janis, Visual Arts Editor

Rory Bremner
at the Albery Theatre, London

for 5 weeks from September 30, 2002

If you feel like a great night out and a quick gallop though the latest political and celebrity news , don't hesitate to drop in on one of the UK's funniest funny men, impersonator Rory Bremner.

who is this man?

A brief cramming session on the latest 'hot political potatoes' and whose who in the 'ridicule rankings', may give you the head's up on some of the jokes, but everyone has to keep their wits sharpened for the best in satire....... and there's many more laughs than just one a minute.

Bremner is truly a gifted artist and although he may physically resemble Bill Clinton, his impersonation of Tony Blair is faultless.  This allows him a wealth of information 'to talk about'.

The highlight of the evening came when Bremner decided to read one of Blair's political speeches.

Bremner impersonating Blair is seen reading off autocue.   He introduces his speech by saying that it is not the case that his speeches and politics are dictated by George Bush.  As he launches into the speech reading off  the unseen teleprompter, the text appears on a big screen at the back of the stage.   Guess what?  We now know the truth.  Perhaps the truth according to Rory Bremner............. that Blair is just a puppet to his political master - George W?

The skit is 'jaw acheingly' funny.  When the autocue makes  mention of one of our nation's (America's) greatest statesman, Blair (by Bremner) quickly replaces the American icon with Winston Churchill only to discover that the teleprompter then continues with a reference to one of Britain greatest heroes - in this case 'Winston Churchill'.  This leads to the inevitable politicians' verbal stumbling......

The true irony is that George Bush really does quote Churchill on a regular basis which makes the humor of this sketch appropriate on a whole series of different levels.

In Bremner's West End debut, he is joined by writers/performers John Bird and John Fortune who for the last ten years have collaborated with Bremner.  Together they have been at the forefront of television comedy, winning over ten awards for their mix of wickedly accurate impressions, topical humour and brilliant debunking of ministers, hapless businessmen and special advisors alike. Rory’s skills as a mimic and observer of events and the Johns' ability to take policy apart in their comic interviews have made them an unmissable treat. 

Bird and Fortune treat us to a couple of debates and I particularly enjoyed their discussion on new legislation for dogs, especially those who are travelling in an out of the country.  On this particular occasion, they pose not as ministers, but healthy dogs dressed in cuddly costumes, questioning why they don't get more of a chance to participate in legislation which obviously affects them  'Why aren't dogs consulted on these occasions?' 

At the end of the sketch the audience appeared to agree that it was  a very valid debate and perhaps one which should be taken  to the House of Commons.......?

Over 30 characters take to the stage at the Albery Theatre for five weeks from September 30, 2002.  

You may not know the characters but the jokes come thick and fast and Bremner even has a go at the hecklers.  The show changes to keep up with daily events and there's the 'odd tune' from the likes of special guests, Prince Charles and Bill Clinton

This is Bremner’s first live stage outing in four years.  He has been described as "the real leader of the opposition" (The Observer), "Britain’s top satirical performer" (Bruce Dessau, The Daily Express) and "one of the last bastions of satire" (Time Out).   As Will Hutton once remarked "what’s impressive about Rory is he takes no prisoners.  He’s nobody’s ally".  Nobody’s ally, that is, except the audience’s.

Drama Editor, October 22, 2002

Monday – Saturday, 8.00pm, Saturday -  3.30pm

September 30, 2002 for 5 weeks

Box Office +44 20 7369 1730

125^TH STREET

at
Shaftesbury Theatre
London

If you are a child of the sixties and/or love soul music then 125^th Street at the Shaftesbury Theatre in London’s West End is a must. Gone is the traditional curtain up at the beginning of the show. On entering the theatre you find a (pretend) television crew, setting up for a live show at the Apollo.  In the sixties, Tony Sorrento’s Big Night Out’ gave weekly TV coverage to one of the Apollo’s most popular evenings -  ‘Amateur Night’ - famous for showcasing the great black American (Mowtown) jazz and soul music performers and the white rock artists they later inspired

Heckled by the floor manager, the audience is 'encouraged' to quickly take their seats.  Or What?   Awaiting the arrival of Tony Sorrento, suddenly the warm up artist arrives from the back of the theatre and bursts into song, giving the audience a taste of what's to come.

Where better to set a musical play than in one of the most famous musical theatres in the world located on "125^th Street", Harlem, New York?

From this explosive beginning the show continues somewhat unevenly with the arrival of Tony Sorrento, as he tries to find his groove with the Apollo’s black brothers and sisters.  His endless costume changes do not help and towards the end of the first act this reviewer was ready to shoot Mr. Sorrento, wondering whether he might be the first musical theatre character to fall victim to the racism which was gripping America.

But in the second act, I had a change of heart.  So read on!

125th Street dramatises the riots on the streets outside the theatre and this reflects the chaos happening inside.  But in the best  'let's put on a show' spirit and true trouper fashion, all the back stage people become the headliners as the star cast struggle to reach the theatre,

Despite its uneven beginning and somewhat clumsy way of looking at racism, 125th Street delivers in the end. This is for the most part due to the exceptional talent of the predominantly Afro Caribbean/American cast who give the performance of their lives bringing the show to an electric climax. This is a show that will have you dancing in the aisles wanting more, and ready to 'walk the walk', 'do the locomotion' or even 'say a little prayer' with 'respect'. Wherever these performers have been hiding, the spotlight is on them now and deservedly so.

Footnotes:

As part of the performance, the producers of 125th Street - to mirror the actual Harlem process - audition amateurs who are given the opportunity to perform for a week alongside their professional counterparts - Pop Idol eat your heart out; and there's also an opportunity for members of the audience to ‘find their feet on the boards’, as the play's theatre manager asks them to ‘have a go’.  And with some unexpected results....., including Chris Ewbank on stage the night I wrote this review.

A word in my ear from the editor of www.thenewyorkseason.com   advised me that Amateur Night at the Apollo still maintains a feeling of shooting from the hip and last minute chaos, therefore this production is an accurate reflection of the spontaneity of the reality........ but whether it fits the musical theatre tradition is for you to judge.....

Bill Gleave, Guest Critic, September 2002

"India – Kingdom of the Tiger"

Opens September 14, 2002

at the
bfi London IMAX Cinema
South Bank, Waterloo
London SE1

The story of India and tigers is brought to "a larger than life giant screen experience" through the compelling tale of Edward James (Jim) Corbett, an Englishman born in 1875 in India during British rule. Corbett, once considered to be the most accomplished hunter of his time, had a profound attachment to the country of his birth and its people. Through his story and the stunning images of natural tiger behavior, "India – Kingdom of the Tiger" shows us the fantastic images of the Bengal tiger and the land it once claimed as its kingdom. Just as if you were there, the film visually and dramatically tells how the encroachment of the burgeoning human populations on the tiger’s natural habitat acted as a key factor that has led to its crisis between man and animal.

ÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔÔ

India. 1910. Two sisters, are working some distance apart in a terraced mountain field in the village of Mukteshwar, India. There is an eerie stillness that makes Shanta stop her work. "What is it?" calls Jaya. But Shanta, frozen in fear, cannot reply. There is a flash of yellow and black. The blood drains from Jaya’s face as she watches a tiger pounce on Shanta. There is a loud scream followed by silence.

Several days pass, and in a northern town far from Mukteshwar, we see a young Corbett standing in a train yard amidst cargo. An anxious messenger approaches him with a telegram. In it is a plea for Corbett to leave his duties with the Indian railways and travel to Mukteshwar, a remote village in the Kumaon Mountains, to save the villagers from being terrorized by a rogue tigress. Reluctantly, he agrees to accept the mission for the safety of the village.

As he travels across the country, Corbett’s narrative evokes the rich history of India. From a caravan of camels moving across an arid landscape, to the walls of a towering Mughal fort, Corbett’s voice guides us through the world of India’s unique spiritual and cultural mosaic. Together we witness the man-made wonders of architecture and art, inspired by one of the most religiously diverse cultures in the world.

Amidst the towering hills and deep cut valleys of the Himalayan foothills rests the small village of Mukteshwar. Upon arrival, Corbett walks toward a gathering of cottages where the expectant villagers warmly greet him. He is informed that twenty more people have fallen prey to the tigress. Despite this news he is still uneasy about his purpose, but nonetheless, sets off for the forests in search of the man-eater. On their way, they encounter the tigress’ paw marks, and find a man’s sandal. The man himself has climbed a tree to get away from the tiger.

Night falls and Corbett settles down for the watch high up in a tree close to where they have tracked the tigress’ latest kill. He has spent many an evening like this before, patiently waiting for a glimpse of a tiger. This time, Jaya and a group of local men accompany him, for it is in their interests to protect their community from further danger. Jaya is determined to help find the animal that took her sister’s life. Over the nights they spend in waiting, Corbett tells his companions of his boyhood memories in this very region. Dramatic beams of sunlight pierce the jungle foliage, and we see Corbett as a young boy in the wilderness, full of curiosity about the nature that surrounds him.

A rustling below breaks the stillness. The tigress has returned to feast. Corbett takes aim with his rifle and fires. The shot rings out and then all is silent. With flickering lanterns, the villagers illuminate the jungle floor. Corbett stands over the dead tigress, feeling deep regret at the circumstances that brought about the death of this beautiful creature.

On the tiger trail, the Indian crew spent more than a month filming in Bandhavgarh National Park, a 200-square-mile wildlife conservation area in central India.   And in accordance with National Wildlife Fund’s mission of conservation, the topic of tigers and India created a perfect fit that well suited the giant screen.

Determined to present the true beauty and vigor of India, the film captures stunning images from the medieval desert city of Jaisalmer in western Rajasthan to the ancient holy city of Varanasi in central India, and from the mountainous region of Kumaon in the north to the beaches of Kerala in the south, in search of some of the most rare and pristine locations in India.

The Bengal tiger, one of the largest cats in the world, is revered as India’s national animal. It is also worshipped for its connection to the powerful Hindu war goddess, Durga, who is said to ride into battle on the back of a tiger. In the early 1900’s, approximately 40,000 tigers roamed much of the Indian subcontinent. Today, fewer than 4,000 remain. India – Kingdom of the Tiger aims to educate viewers about the significance of these fierce cats, the land they once claimed as their kingdom and the increasing pressure from encroaching human populations that tigers now face in their struggle to survive in their own native habitat.

For the first time on IMAX® and other large format screens, audiences will have an opportunity to view the mighty Bengal tiger in a true-life adventure documentary set in India. Revealing rare glimpses of this elusive endangered predator and the land it once reigned over, India - Kingdom of the Tiger brings to an international audience the plight of the Bengal tiger, its struggle for survival, and the challenge to save the land it calls home.

(India - Kingdom of the Tiger is a National Wildlife Federation presentation of a Primesco production. National Wildlife Federation is the largest member supported conservation group in the United States, and Primesco is an established Canadian producer of large format films.)

the editor, September 12, 2002

FOLLIES

Royal Festival Hall
South Bank
London SE1

Ends August 31, 2002

The show, which was originally produced on Broadway by Harold Prince in 1971, features the classic songs "Broadway Baby", "I’m Still Here" and "Losing My Mind". Considered by many to be one of the greatest musicals of all time, it transports the audience to the once lavish, but now crumbling, Weissman Theatre.  Memories from its glorious past return, and glamorous showgirls from decades ago reunite and remember, just one last time. The haunting thoughts of time, age and memory are key components of this nostalgic and sentimental production.

Although the themes of lost opportunities, regret, and frustration for how life has turned out are effectively drawn across the all the characters, the first act on occasions appears somewhat disconnected as cast members move on and off the expansive stage.  The second act is however a delight as the themes of past and present are brought together and each cast member shows off their real skills as singers and dancers.  Just like a burlesque show, Goodman - in particular - personifies how an old 'ham' can bring true pathos to song and dance.

This production is unusual because the talent is often better than the show.  When the actors get the opportunity to perform, they are all equally excellent.  And, as such, it is the familiarity of their classic numbers that brings out the best in Follies.

As  entertainment, the  production -  like its subject matter -  relies more on nostalgia for the good old days than new millennium high-tech effects.  Not necessarily one for the kids, but certainly not to be missed by any die-hard, Sondheim fans !

Cast:

Henry Goodman has many West End credits to his name including "Feelgood", "The Merchant of Venice", "Assassins", "Hysteria", "Art" and "Chicago". Louise Gold’s West End credits include "Mamma Mia!", "Assassins", "Anything Goes" and "The Pirates of Penzance". David Durham played leading roles in the recent national tour of "Jesus Christ Superstar" and Gillian Lynne’s production of "Dick Whittington" at Sadler’s Wells. Kathryn Evans starred in "The Fix" and "Mack and Mabel" and recently received rave reviews for "On Your Toes". Diane Langton has appeared in many West End shows, including "Spend Spend Spend", "Chicago" and "Cats".

music & lyrics by Stephen Sondheim
book by James Goldman
directed by Paul Kerryson
designed by Paul Farnsworth,

Performances:
Mondays to Saturdays at 7.30pm, with Thursday and Saturday matinees at 2.30pm (excluding Monday 26 August).

Tickets:
£12.50 to £35.00, ($19 - $54 approx.)

Available from:
The  Royal Festival Hall Box Office +4420 7960 4242

the editor, August 22, 2002

ANSEL ADAMS AT 100 and WILLIAM EGGLESTON

The Hayward Gallery on the South Bank – London

ends  September 22, 2002

In black and white…….

ANSEL ADAMS AT 100

Anyone who has ever taken an Art History or Photography course may remember Ansel Adams as a major contributor to the art of black and white photography. The exhibition Ansel Adams at 100 at the Hayward, heralds the photographer as one of the greatest of the 20^th century.

For many artists there is critical debate on the merits of their work or comparisons with other artists. There is, however, nothing but universal praise and appreciation for the photographs of Ansel Adams. He is the unique artist that has set a standard for all that follow.

The "textbook" reasons for this acclaim are ……"his fascination with abstraction, the mysteries of light and the miraculous beauty of the natural, unspoilt landscape". These all reveal themselves as the visitor to the exhibit explores the first few landscape images.

I viewed this exhibition in the company of a 12 year-old boy. Typical of the new millennium generation, John has grown up in the world of super digital, 3- dimensional, full-on, multi-colour virtual reality. Obviously, I was a little apprehensive about how he might relate to "black and white".

We talked about the monumentality of the images whether they were "small nature" as in Leaves on a Pool (1935) or "big nature" as in Lakes and Cliffs (1932). We were both mesmerized by the use of light and shadow in El Capitan, Merced River, Against Sun, and Yosemite Valley, California (1950). And amazed by the stylised, flattened, 2-dimensional qualities of sweeping landscapes such as Thunderstorm over the Great Plains near Cimarron, New Mexico (1961).

For the record, according to John, Ansel Adams held up just fine against all the high tech that could be thrown at him back home on his computer! The visual composition and emotional force of Adams’ images sparked the interest and imagination of this particular 12-year old. So I strongly recommend that this exhibit merits a visit from all demographics.

I cannot overstate the extent to which, in our complicated lives, I welcomed the unusual opportunity to see how the deceptive simplicity of these images belied such feelings of emotive power and miraculous beauty. This is true of each and every one of Ansel Adam’s landscapes.

If you are in London this is a "must see" exhibition. If you can’t make the dates, this fabulous show will be moving to Berlin, Los Angeles and New York.

WILLIAM EGGLESTON

For a "full colour" experience, the William Eggleston exhibit is in the lower galleries at the Hayward.

Eggleston "pioneered the use of colour photography as an artistic medium in the early 1970’s".

In 1976, at a time when only "black and white" was deemed worthy of being considered art, an exhibition of Eggleston’s work at the Museum of Modern Art in New York was the first ever devoted to colour photography. It caused quite a controversy!

The exhibition at the Hayward includes images which range from beautifully photographed "surprising views of ordinary scenes" taken during the 1970’s in the American South to a more recent series of fascinating photographs taken in Japan. All the images are bold with intense, saturated colours.

Eggleston’s specialist subject matter is everyday objects and ordinary people. Most of which are taken from a unique angle which give us a fresh view. The majority are labelled "Untitled" so it is your choice to view and interpret them as you will!

The USA collection reflects the poverty of the Deep South, with vintage cars and scenes such as a turkey dinner on a red checked tablecloth, oozing slice-of-life nostalgia. Scenes of empty streets and anonymous people are reminiscent of the paintings of Edward Hopper.

If either Adams and/or Eggleston are new to you, both shows are definitely worth a visit. And once you have visited both exhibitions, you will definitely want to compare and contrast Eggleston’s work with that of Ansel Adams, over coffee in the Hayward Café.

Janis, visual arts editor, August 4, 2002

Portrait of Sir Julius Wernher 1912
Hubert Von Herkomer
© Wernher Foundation

THE WERNHER COLLECTION

'London's Latest Treasure'

Ranger's House
Chesterfield Walk
Greenwich Park, London SE10

Located next door to the Greenwich Observatory, the collection is insured for a mere $70 million, and it shines like a jewel as one of the latest additions of "great things to visit in London".

Ranger's House, built around 1700 has retained its early splendor.  And the Wernher treasure trove is skillfully displayed to enhance the classic design of the house.  The exhibition is reminiscent of the way in which Wernher chose to house his collection in the homes where he lived.  The artifacts - accessible and integrated into a series of cabinets in delightfully decorated rooms - showcase the wonderful works of art.

© Wernher Foundation

You can imagine this mega rich man flaunting  his good taste to his friends, and as I wandered between rooms I could only guess at how irritated his wife Birdie must have felt when she was not allowed to wear the absolutely magnificent jewelry which Sir Julius kept under lock and key.

The house and collection is fabulous and well worth the short expedition out of Central London.  No need for hiking shoes as it's just a short commute to enjoy an historic house and unique eclectic collection of decorative arts.

Portrait of Alice Wernher
© Wernher Foundation

Open:  Wednesday - Sunday and Bank Holidays.

Tickets: $7.00 for adults and $3.5 approx for kids.

Dale, editor, June 22, 2002

©Keith Pattison
Kika Markham in Homebody

HOMEBODY/KABUL
by
Tony Kushner

through June 22, 2002
at

Young Vic Theatre
The Cut
London SE1

They say that timing is everything.  And in this particular case, a production about Afghanistan so soon after 9/11 was bound to capture the imagination of New Yorkers. And in combination with the celebrated playwright, Tony Kushner, the premiere season of Homebody/Kabul was a sure bet.

It proved to be an instant sell-out with reviews to match.

In London several months later the production has attracted similar interest, but perhaps with slightly more jaded expectations. 

Therefore, when it was my turn to review the two intrinsically linked plays, I turned up with a very open mind.

To the extent that the playwright may have made recent edits is not clear.  Set in 1998, during Clinton's administration, the two plays give a rapid and sometimes overwhelming potted history of Afghanistan in general and Kabul in particular through the eyes of a wife of techie.  The monologue (Homebody) performed superbly by Kika Markham finds us watching a woman who has discovered that  life and books are largely indivisible.  As she reads a 1930's travelogue about Kabul, she dreams of a life in the exotic landscape of a politically tortured, culturally and religiously diverse community. 

The book brings us uptodate through the 1930's and then Homebody metamorphs into Kabul where the husband and daughter of the "homebody" housewife arrive in Kabul to collect the remains of her murdered body.

©Keith Pattison
Silas Carson, Jacqueline Defferary
and Nadim Sawalha in Kabul.

Throughout the production it is difficult to distinguish between the facts of the story and the extent to which the character in the first play is the murdered woman in the second play.  Or whether, in fact she was ever murdered at all; or in reality is still alive, living out the dreams and fantasies of her previously homebound existence.

Beautifully written with stunningly precise performances, the play is at worst a good story and at best an insightful look at the role of western society and its recent political and social intervention in Afghanistan.  In part it answers the much asked question "why do some communities hate Americans?".

The production does little to avoid its intention to shock.  But if you concentrate, between moments of subtle humour you can find a well-researched and poignant look at a society which is fundamentally so different to our own but at the same time runs parallel to it.  Just like the two interlinked plays.

(The Cheek by Jowl and The Young Vic Theatre in association with New York Theatre Workshop European Premiere  is directed by Declan Donnellan and designed by Nick Ormerod. The English cast includes Kika Markham, for whom the part of the Homebody was written, and Antony Bunsee, Silas Carson, William Chubb, Jacqueline Defferary, Souad Faress, Kevork Malikyan and Nadim Sawalha perform in Kabul.)

A must for those with staying power.

Dale, editor, June 7, 2002

We must also reflect that Goran is the first Wimbledon champion who is unable to defend his title since Rene Lacoste in 1926.

So who will walk out on to the  famous centre court on day one, match one?  Check back to find out!

Ivanisevic's win in 2001 smacked of all the drama of Wimbledon.  He was the first player ever to win a Grand Slam title with a wild card.   A classic 'third Monday' final due to rain delays, also made Goran the first man to win a Wimbledon final after losing three previous finals!

Can 2002 ever live up to the excitement of the previous year?.

Wimbledon has always been, and will continue to be a unique experience in the sporting world.  With the opportunity to watch players from just a few feet away on the outside courts or to the dramas of the major show courts, the tournament never fails to have its share of " moments"!  And of course, there's always the weather..... 

Few major tennis tournaments - or come to that any sporting event - can be so "dogged" with unpredictable weather.  Nobody who has been to Wimbledon more than once can forget those moments when the heavens open and the "covers come on". Standing in quiet acceptance in the hope that "play will commence in but a few minutes", it's all part of that unique Wimbledon experience....

And then it's out to the tents to drown your sorrows in champagne and strawberries and wait it out... until the rain stops, the sun shines and great play returns to entertain the enraptured audience until the final drop of daylight disappears.

Ardent fans are consumed by the magic moments of a truly world class event and one of the best experiences on thelondonseason calendar.   As always, a loyal and longstanding fan,  I recommend it to anyone.

And it the next few weeks we will find out if Goran takes on a double-hander with my other favorite tennis star - TV sports announcer, John MacEnroe

Dale, editor, May 24, 2002

COW PARADE LONDON 2002

Drink Milk?  Like Cows?

This summer in London it's your chance to see a bevy of beautiful bovines, a cast of classic cows, a feast of four-legged friends.

Yes.  Made in Britain, bred by artists, these cows are part of the latest worldwide invasion of  Cows on Parade.

Previously spotted in other parts of the world, CowParade London 2002 brings around 200 individual cows to the streets of London.   A farmer's fantasy????, each cow has been handcrafted by the hand and wit of a British artist.  Each one, unique to our streets, will stand proud raising money for charity.

These street-wise cows will be on parade for 3 months from June 2002. 

Following in the footsteps of Cows on Parade in Chicago in 1999 and 558 grazing beasts in New York in 2002, this year it's the turn of London.

And following on from the Parade, it's your chance to cash in on the cows and bid for one or more at an auction at Sotheby's Live or on online.  Each one of those beasts goes to the highest bidder.  Details to follow.

In the meantime, from June, you can kick up your heals and go cow crazy, on the trail of your favorite beast.........

The Editor, April 22, 2002

A Ride to be Rivalled!

One of my favorite views of London is from the Millennium Wheel.  Recently re-opened after an over-haul, the 30 minute ride remains a memorable event for everybody who takes the trip.

As the South Bank of the river welcomes the imminent opening of the the new Lord Mayor's Offices (designed by Norman Foster) near Tower  Bridge and the Millennium Bridge at last has stop wobbling, the Wheel is the best way to get that fabulous snapshot view of the River Thames as it curves round London.

Next year sees the new cohesive lighting of the River from both banks - a view which will rival any city throughout the world.

Andy Warhol
Self-Portrait 1967
Silkscreen and acrylic on primed canvas
182.8 x 183 cm
Credit: Sammlung FROEHLICH, Stuttgart
© The Andy Warhol Foundation for the Visual Arts, Inc. DACS, London / ARS, New York

TRULY, MADLY MODERN –

GO SEE WARHOL AT THE TATE MODERN

Everyone's there! Liz Taylor, Elvis Presley, Marilyn Monroe, Jackie Kennedy, and Marlon Brando, who join the likes of Mick Jagger and Chairman Mao. Where else could you find all these icons of the 20^th century under the same roof?  Perhaps only one place…The Andy Warhol retrospective at the Tate Modern which ends on April 1.

So hurry down to the River Thames to see these classic pop art portraits. The exhibition uniquely brings together so many of Warhol’s works - in the flesh - in one place.

Of course once you see the show you have to decide whether seeing all these Warhols is just a fab experience or fab art or both ? That you have to decide for yourself. 

Pop art - as it is called - made Warhol into the greatest artist of his era.  Originally a graphic designer, he applied many of the commercial artist skills to produce a blend of popular culture and traditional art.

Celebrity portraits - silkscreen ink and acrylic paint on canvas - express color more vividly than any other reproduction.

I loved "Thirty are Better than One" (1963) - thirty images of Mona Lisa, side by side. And for another take on the classics Warhol gives us his version of Leonardo DaVinci’s famous Last Supper.

All the big brands get a look in, including Coca Cola, Brillo, and Campbell’s Soup.

Andy Warhol
Campbell's Soup Cans 1962
50.8 x 40.6 cm
Credit: The Museum of Modern Art, New York.
Purchase and partial gift of Irving Blum.
© The Andy Warhol Foundation for the Visual Arts, Inc. DACS, London / ARS, New York

Or if you prefer interior design, there are some interesting ideas on show. A series of large bold flower paintings makes the perfect impression as you enter the first room of the exhibit. 

Andy Warhol
Ten Foot Flowers 1967
Silkscreen ink & synthetic polymer paint on canvas
Credit: Private Collection
© The Andy Warhol Foundation for the Visual Arts, Inc. DACS, London / ARS, New York

And a room with pink and yellow cow’s head wallpaper will certainly cause a furor in anybody's home.

And don't miss the fun installation called Silver Clouds (1966) with a room full of giant helium filled silver balloons that you can play with.

Or perhaps a whole room of Andy Warhol himself – is more your cup of tea?  Warhol certainly enjoyed much more than his fair share of 15 minutes of fame!!

In 1986 Warhol completed his Camouflage series - huge murals of not just the regulation issue beige and khaki but also pinks, reds, blues and yellows. He made that fashion statement long from Waterloo and the South Bank complex takes a very pleasant 20 minutes indeed.before anyone else!! Today, camouflage design are always a big urban trend (just like the DKNY bag I just bought.

And finally, and most indulgently there is the series that Warhol called "Disco Décor" (Shadow 1979). Very large canvases sprinkled with diamond dust…very suitable for any diva!

Catch Andy Warhol at the Tate Modern in London through April 1.
Admission is $15.
The Tate Modern advises booking in advance.
The museum is open Mon-Thurs 10.00am - 6.00pm and on Fri-Sun it closes late!
Nearest tube – Southwark/Blackfriars however a walk along the riverside on the Thames Path.
Ends April 1, 2002, so hurry

Janis, Visual Arts Editor,
March 20,  2002

The best place to show off your skating skills is the rink at the magnificent and historic Somerset House. 

For this second year, Somerset House - the fabulous location on the Strand in Central London - brings you an even bigger, better rink - covering 700 square meters - and much more.......

You can enjoy a rink side view at the new and improved cafe and the place really takes off at night as fabulous flaming torches and special architectural lighting highlight the 40 foot high Christmas tree (sent all the way from Gothenberg, Sweden).

It's a must for those holiday itineraries and it's only minutes away from the many other seasonal events taking place along the banks of the River Thames.

So hone those skating skills, sharpen the blades or just take a lesson and enjoy the fun at stunning Somerset House.

<>Photo courtesy of Evening Standard

The ice rink is open from Monday - Sunday 10.00am to 10.00pm (check dates for holiday days). 
Closes January 20, 2002
Admission: Adults - $12: Children up to 12 years - $9
Call ice rink for more details at +4420 7845 4870

Dale, Editor, December 9

Ten artists have been fascinated by the representation of animals in art and specifically the unique relationship between dogs and their owners, from Hogarth and Reynolds to more recently Jeff Koons, William Wegman and Jordan Baseman.

These ten artists have found innovative ways to question and respond to a traditional subject matter: Man and Dog. In this entertaining exhibit they show a wide range of work and reference diverse issues such as social status, animals as property, aesthetics, objectification, love, loyalty and the humanization of animals.

For those of you who are unaware of UK legislation - the ‘Dangerous Dog Act’, changes to quarantine laws and hunting issues at the forefront of national debate - dogs remain compelling objects of our interest and affection.

This often humorous show attempts to celebrate that special relationship and to demonstrate the ridiculous, tragic, and sometimes hopeless nature of our capability for expressing our devotion.

<> The gallery is open from Wednesday - Sunday 11-5 (Saturday 11 –4) Admission is free. A number of doggy events and activities will take place during the exhibition at Pump House Gallery and in Battersea. Call gallery for more details at +4420 7350 0523 or +4420 8871 7572.

Dale, Editor, October 29

Following the success of Treasures of Catherine the Great, the second exhibition at the Hermitage Rooms will focus on French drawings from one of the world’s greatest but least accessible collections of Old Master drawings.

The richness of the drawings collection is largely a result of Catherine’s great enthusiasm for the subject.

With over 40,000 items in the Hermitage Cabinet of Drawings, it is not surprising that the French section can boast outstanding sheets by the names which dominate the history of French art from the 16^th to early 20^th century.

Although individual drawings have featured in major exhibitions around the world, only recently has the full extent of the riches contained in the Hermitage Cabinet of Drawings been revealed.

Clouet, Bellange, Callot, Poussin, Watteau, Greuze, Boucher, Claude Lorrain, Manet, Matisse, Picasso – each used drawing in very different ways which reflect both the individual’s artistic aims and the practice of the age.

The exhibition will include 75 drawings and eight selected paintings and the resulting display will illustrate the way in which drawing serves both as a preparatory stage for a painting and as an independent activity, capturing and clarifying the artist’s ideas.

(Tickets are sold for timed slots on the hour and half hour)

Dale, Editor, September 19