For anybody interested in the theatre, Balancing Acts is essential reading. Scattered amongst the reminiscences of his twelve years as artistic director of the National Theatre, Nicholas Hytner delves into the texts of some of the plays for which he is responsible. These little essays describe his thoughts about many of the classics, particularly Shakespeare. On "Henry VI Part I" he tells us:
"Hal, Falstaff, the king: the plays, like most of Shakespeare's history plays, have little time for women. Despite being written when the most successful and powerful of all English women was on the throne, they marginalise women more even than they have been marginalised by history...….. What kind of incomparable panorama of England leaves out half it's population?...… I no longer think it's good enough to insist only that Shakespeare held the mirror up to his own world. To perform his plays is to invite universal participation in them."
Early in the book, Hytner describes the trials and tribulations of staging "His Dark Materials". Anna Maxwell Martin, Dominic Cooper and ben Wishaw were all at the beginning of their careers. The sections about "The History Boys" and "The Lady in the Van" are classics. He revels in the expertise of some of his actors: John Wood as Brutus, Simon Russell Beale, Zoe Wanamaker, Alex Jennings, Maggie Smith, the list goes on.
I was initially less interested in the part about musicals, but the way Hytner describes their emotional depth makes me want to see more. "Carousel" and "Miss Saigon" particularly. The origins of "One Man, Two Guvnors" were of great interest, having been fortunate to see James Corden at the Aylesbury Waterside theatre.
As well as the bid successes, Hytner does not stint on the failures. But overall, his twelve years in charge are a huge success. The transition from putting on only limited runs at the three theatres, to transfers to the West End, Broadway, national tours (e.g. "War Horse" and "The Curious Incident of the Dog in the Night Time" and live transmissions to cinemas paved the way for a sustainable model despite cuts in subsidies. Nicholas Hytner has written all this down in a literate and entertaining book that I loved.
The only problem reading a Kate Atkinson novel is that when you are finished, that's it for a couple of years. I tried to spin out Big Sky, but it was so good I rushed through the 470 pages as usual. My only hope now is to read some of her back catalogue. The great thing about her Jackson Brodie books is that Jackson is only in it for about a quarter of the time. Instead we get a lot of "colourful" characters, some good, some very bad. I loved Ronnie and Reggie, a pair of young detective constables who should get a TV series of their own. I liked Harry, a sixteen year old with a wonderful stepmother called Crystal (an ex-glamour model?) and a younger stepsister called Candace. Crystal hade never had a pet, "Not even a hamster. Lots of rats around though".
The construction of the book is excellent, sometimes a chapter ends with someone in peril and the next starts with a completely different character. There is quite a lot of plot, but this is occasionally saved by some magical writing. There are two pages near the end that are a masterclass. Then we have Jackson's taste for female country singers. In my review of the first Jackson Brodie novel "Case Histories", my posting of 11th March 2011 lists the seven female country/folk artists mentioned in the book, all of who's albums were in my collection (see below). This time Jackson's taste seem to have changed, or Kate is running out of artists. None of these appeal to me: Miranda Lambert, Ashley Monroe, Lori McKenna (all too country), Maren Morris (strange choice). However, The Dixie Chicks (hurrah!) do get another mention and later on so does Patty Griffin. I'm not sure how I came by her first album, but it does not stand repeat hearings. But it was good she name checks both Dire Straits and Mary Chapin Carpenter for Mark Knopfler's "The Bug".
"There are seven American country/folk singers whose songs Jackson plays during the story. All female. And guess what? Yes, they are all in my collection. Allison Moorer, Trisha Yearwood, Emmy Lou Harris, Lucinda Williams, Gillian Welch, Lee Ann Womack and at the end, The Dixie Chicks. As Jackson says "why is my taste getting more and more depressive?" "
A typically short novel from Muriel Spark but superbly constructed, with elegant prose, sharp wit and impeccable dialogue. There is so much satirical stuff behind what seems simple writing about everyday life. I love how she brings in the reader in a conspiratorial way. Setting out the dinner party early on, the guests "are far better known to each other, at present, than to us". But not for long as their back stories come to the fore.
One of the two hosts of the dinner party is an artist called Hurley. He describes his profession: "If the public thinks you're too well off they figure the art must be too superficial, and if you're poor they think there is something wrong with your art, and why doesn't it sell?" Later on there is a house in St Pancras where there are nine nuns. Six "were as dreary as hell". But if you want a clue, Hilda was right all along.
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