At Tate Britain until September 18, there’s a rare chance to see collected works of English painter Walter Sickert in the first major retrospective of his work for over 60 years. Those interested in music hall will definitely not want to miss it.
Walter Sickert is recognised as one of the most important artists of the 20th century, having helped shape modern British art as we know it. With ties to renowned painters from James Abbott McNeill Whistler to Edgar Degas, he strengthened the artistic connections between Britain and France and continues to influence contemporary painters to this very day.
The first major retrospective of Sickert at Tate in over 60 years, this exhibition explores how he had an often radical, distinctive approach to setting and subject matter. From working off detailed sketches to taking inspiration from news photography, these were the tools he used to depict his vision of everyday life.
A former actor, he had a flair and fascination for all things theatrical, including performers in music halls crafted on canvas, and nude portraits staged in intimate, domestic settings. His imagination was also fuelled by current events including the rise of celebrity culture, and he used this to create compelling narratives.
Much like the man, his art was complex. Creative and colourful, his body of work was ever-changing and can be interpreted in different ways. His own self-portraits, for example, showcase how he evolved throughout his career – from his beginnings as an actor and artistic apprentice, to becoming one of the most gifted and influential artists of his time.
Room Three sounds of particular interest to those with theatre on their minds, as the catalogue to the exhibition says:
“Initially inspired by Degas’s paintings of Parisian café-concerts, Sickert’s music hall paintings catapulted his career to new heights. From a young age he was described as ‘stage-struck’ and acted professionally before becoming an artist. Sickert visited music halls almost every night and made sketches that not only captured the effects of light and movement onstage, but also the people watching in the audience. His subsequent paintings adopted unusual viewpoints while playing with colour, expressing the vibrancy of the performative atmosphere. However, critics described music halls as ‘working-class entertainments’, perceiving popular culture as an inappropriate subject for fine art.
Music halls were popular entertainment venues in the 19th and early-20th centuries. Sickert’s paintings of London, but also Paris and Dieppe, trace their development and demise – from nightly live performances to hosting the first cinematic screenings in Britain. The cinema as well as radio and music recordings became popular, leading to a decline in music hall audiences. Yet, Sickert never lost his interest in theatrical subjects and later turned his attention to other forms of popular entertainment.”
On selected Wednesdays and Fridays at 1.00pm, you can add to your enjoyment with a pre-show talk, lasting 60 minutes, details of which you can find here
For more information, and to book tickets, click here
For anyone who might want a bit of an introduction to Sickert’s work, here are a couple of interesting video courtesy of YouTube posters
News has just broken that the Tony®, Emmy®, Drama Desk® and Grammy® award-winning actor Robert Morse has died aged 90.
A personal favourite of mine, Morse is one of the few actors to have won Tony® Awards for both Best Actor in a Play and Best Actor in a Musical, in an impressive career spanning more than 6 decades, with notable roles across television, film and, of course, the stage.
Robert Morse may be best known to younger folk from the series MAD MEN, where he played Bertram Cooper, a founding partner in the advertising agency Sterling Cooper. Morse was Emmy-nominated for his guest role in the series in 2008, 2010, 2011, 2013 and 2014, notching up 58 episodes in which he appeared, with a memorable finale as an angel, a link to which is at the foot of this article.
For those of us who can remember further back, Robert Morse came to light as a gifted actor from his work in many Broadway plays, notably as Barnaby in Thornton Wilder’s THE MATCHMAKER in 1955 in a cast headed by Ruth Gordon as Dolly Levi (and featuring in a supporting role a young Prunella Scales!) . Morse later reprised his role in the 1958 film version of the play, being the only cast member to do so. Thankfully, this preserves a delightful Morse performance, full of youthful ambition and idealism.
Comedy-lovers would have glimpsed Morse in 1956, when he had a bit part in TV’s best comedy show, THE PHIL SILVERS SHOW (aka SGT. BILKO), in an episode called BILKO GOES TO COLLEGE (series two, episode three) where Morse played a member of a puny football team built up by Bilko to appear as giant-killers. (Morse and Silvers worked together again in Disney’s 1970 film THE BOATNIKS – by which time their statures had equalised).
He was Tony-nominated for Best Featured Actor in 1958 for SAY, DARLING and in 1959 for Best Actor in TAKE ME ALONG. But his stardom came fully to fruition in the role of sly New York window-cleaner, J. Pierrepont Finch, who begins a meteoric rise from the mail room to president of the company in the satirical musical HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (by Frank Loesser and Abe Burrows) also directed by Burrows, the show was choreographed and staged by Bob Fosse.
The show won seven Tony Awards, the New York Drama Critics’ Circle award, and the 1962 Pulitzer Prize for Drama. The cast album won the Grammy Award and the show was eventually filmed complete with Morse (and Broadway co-star Rudy Vallee as gullible boss J B Biggley- a role originally offered in the stage version to Terry-Thomas) in 1967 for The Mirsich Corporation, distributed by United Artists. The movie is a rare successful translation from stage to screen, as impish and light on its feet as its star.
HOW TO SUCCEED… began rehearsals on August 3, 1961 and opened on October 14, 1961 at the 46th Street Theatre in New York City, where it ran for over 3 years, in 1,417 performances, closing on March 6th 1965, making it the fifth longest running musical of that time. Morse stayed with the show for two years before moving on. In his time there, he recalled that John F. Kennedy came to see the show. “He came backstage and shook my hand. He sent me a lovely, lovely picture, ‘With Esteemed and Best Wishes, John F. Kennedy.’ Those are the memories that I now hold on to because as you get older, sometimes you think ‘Oh my God, I didn’t do anything.’ And then you go to IMDb and you look at everything you’ve done and go, ‘Hey, be proud of yourself.’”
HOW TO SUCCEED… opened in London’s West End at the Shaftesbury Theatre on the 28th March, 1963 notching up 520 performances. There were also productions in Paris, Australia, Israel, Denmark and Japan as well as two US national tours.
Sadly, London was not to see Morse as Finch. Warren Berlinger (Finch), Billy De Wolfe (Biggley) were the leads for London.
The Broadway stage had more treats in store for Morse- playing the Jack Lemmon part in the first stage musical adaptation of Billy Wilder’s 1959 movie SOME LIKE IT HOT, entitled SUGAR in 1972 bringing him another Tony nomination; and later his one man show about Truman Capote, TRU in 1989 bringing him the Tony and Drama Desk Awards. The show was later adapted for television, winning Morse Best Actor in the 1993 Primetime Emmy Awards.
Aged 85, Morse returned to Broadway for a delightful cameo (Silas Pinkus) in a revival of Hecht and MacArthur’s THE FRONT PAGE alongside Nathan Lane, John Slattery and John Goodman in a limited run starting in September 2016.
So it appears that Morse never made it to England. But if you look closer into the history books, you’ll find that he did. And I was lucky enough to be there. Let me tell you a bit about it.
LIGHT UP THE SKY was a Moss Hart (1904-1961) play about the theatrical lives of theatrical folk, in three acts centred around an opening night. This was the world that Hart knew, and loved, like the back of his hand. Hart’s writing flows with affection, wry observation and a knowingness of the special world of theatre, and the uncertainty, bravado and high-stakes gambling of putting on a show. It’s a love letter to the Golden Age of American theatre, crammed with charismatic personalities, quick-fire dialogue and all the quips, tricks and business you’d expect of a master craftsman like Hart.
Allegedly based on folk he knew (some saw the depictions as too close for comfort and threatened to sue), the 1948 play had never reached UK shores until 1985, when it opened at the Thorndike Theatre in Leatherhead for two weeks (20 August to 7 September ) before transferring to the Old Vic for a four-week run (11 September to 19 October). The show was produced by Bill Kenwright and directed by Keith Hack.
Heading the cast was a fellow called…Robert Morse. And he certainly lit up the Old Vic with his mercurial performance. With a notable supporting cast including Robert Stephens, Kate O’Mara, Hannah Gordon and Maxine Audley, it was a theatrical treat that audiences flocked to.
My dear American friend Adam was visiting the UK at the time, and we both leapt at the chance of seeing one of our favourite actors live.
Set in a Boston hotel room, the play is in three acts covering the span of an opening night of an out-of-town tryout for the first play of a truck-driver-turned-playwright who is suddenly immersed into this unfamiliar showbusiness world, where the participants walk the familiar tightrope of uncertainty as to the reception of the new play. The play is populated by comedic characters- the volcanically-temperamental leading lady; her sarcastic, gin-rummy-playing mother; the very flamboyant director; the wily producer; and his ice-skating, wise-cracking wife. Their precarious relationships are amusingly tried and tested back and forth as Hart highlights how suddenly friend can turn to foe and hit can turn to flop.
Act One is dripping with “darling”s and sweetness. Act Two, when the group start doubting the show, the bitching flies hard and fast (and very funny); then when the reactions confirm it was a hit all along, the ruffled feathers are soothed with more sweetness and we get the theatrical happy ending we and the characters needed.
“The theatre is not so much a profession as a disease, and my first look at Broadway was the beginning of a lifetime infection.” – author/director Moss Hart, in his written introduction to LIGHT UP THE SKY
Morse plays producer Sidney Black, the wily producer, and it is he that really powers the show- and what power he gave us! Every moment on that stage he was fully invested , driving it with sheer force of personality, holding the audience firmly but warmly in the very palm of his hand, in a finely-layered performance that drew several encores the night that we attended- and rightly so. As Adam said recently remembering the performance “Morse played the audience to perfection… an unforgettable performance of a master.”
We two twenty-something theatregoers loved it so much that we went back the next week and saw it again! And we never forgot it.
A funny little story arose many years later when my previously mentioned friend Adam, now married to Leigh, (one of the TV and film world’s most in-demand acting coaches, who counts several Oscar winners amongst her clientele) were off to an Awards ceremony in Los Angeles. They took a good friend of theirs, a young actor who was just starting to make a name for himself. By coincidence, this young man found himself seated next to the legendary Robert Morse. They exchanged “Hi”s and the young man settled back into his seat, completely unaware of who this old guy was sitting next to him. Adam and Leigh, sitting next along the row, were open-mouthed. It was only when the ceremony had finished and the audience were filing out that Leigh and Adam managed to greet Morse, briefly. They exchanged knowing glances. Talking to Adam and Leigh, Morse gestured to the young actor almost imperceptibly, and as he left, chuckled and simply said “Tell him”.
Thank you Robert Morse for the wonderful performances you have shared with audiences around the world, those on stage, and those we can still enjoy on film and video. I, for one, will never forget your special talent which could truly – and uniquely- light up a theatre.
See a 2011 interview with Robert Morse below (interview starts at 18minutes in)
See Robert Morse win the 1990 Tony Award for Best Actor for TRU below
See Robert Morse’s Tony and Emmy-award winning performance in TRU below (Thanks to YouTube poster erp65 for posting)
See Robert Morse starring in 1968’s THAT’S LIFE in the (incomplete) pilot episode here (Thanks to YouTube poster Times Past Television for posting)
See the THAT’S LIFE 60-minute special OUR WEDDING episode below (Thanks to YouTube poster Times Past Television for posting)
See Morse as Bert Cooper in his delightful finale from MAD MEN (2015)
Angel Theatre Company’s Artistic Director John Patterson is offering actors, directors and writers a free career advice session whose aim is to help them adjust to the new landscape post-Covid and navigate it successfully. The event takes place in-person on Sunday April 10th at 7.00pm, lasting for approximately 2 hours with a Q&A at the end of the main session. Hosted by Bread and Roses Theatre in London, SW4 6DZ
Spaces are limited so you’re encouraged to book early to take advantage of this offer.
Book by emailing email@example.com with the subject line YOUR NAME- CAREER SESSION
Those of you with a love for comedy and those who enjoy seeing emerging new talent will be delighted to welcome the brand new April Fools Festival.
Created and curated by rising physical comedy star Luke Rollason, he put together the festival to help newer performers find their audiences.
Luke says “Whilst on break from live performance in order to concentrate on becoming famous, I’ve been working on creating opportunities for new unusual comedians. Programming a festival turned out to be way, way harder than I thought.”
“April Fools Festival celebrates the most creative new voices in the biz, featuring their most madly ambitious new ideas.”
A two-day celebration of the most creative new voices in comedy today, April Fools features rising stars of the alternative scene running riot at the OSO, situated by the beautiful Barnes Pond in London.
It’s a comedy festival with dinosaur hunters, silent bank robberies, tiny big tops, bursting bodices and a slapstick battle royale… not to mention a fête of surreal stalls and stupid sports outdoors and in the theatre foyer.
Curated in association with OSO Arts Centre.
For more details and ticket information see the OSO website here
At the Tristan Hoare Gallery in London, you’ll find a fascinating exhibition about US movie theatres, featuring forgotten palaces of entertainment whose time ran out.
Undoubtedly melancholy in spirit, the exhibition is a needed wake-up call that these once- popular treasures can be saved if a will and a way (and several million dollars in cash) can be found.
The book which the exhibition is based upon, Movie Theaters, is a recently-published work by two French photographers, Yves Marchand and Romain Meffre, the result of a 15-year collaboration which captures the former “cathedrals of cinema” of America. Shooting with a large format 4×5 camera using long exposures in dimly-lit auditoriums, the images are conceived as historical documents of what was once the Golden Era of the American movie-going experience.
From the venue’s website: “Many of the theatres captured by Marchand and Meffre date from the Golden Age of American film (1910s to 30s) when the big film studios competed to build extravagant venues to entice and thrill their audiences. A night at the movies was a glamorous occasion where the buildings themselves became as much of a draw as the movie being screened. Following the stock market crash in 1929 and in the post-war era thereafter, multiplexes and shopping malls made these theatres redundant, inevitably causing them to fall into disrepair. Many were converted into a multitude of purposes ranging from churches, retail space, flea markets, bingo halls, discos, supermarkets, gymnasiums, or warehouses, and often with comical results! While some remain relatively unchanged, others clash with their newfound purpose, creating unexpected spaces which act as a fascinating documents of American History.
The exhibition presents the never-before exhibited Proctor’s Theater, Troy, NY (2012), taking the central place in the gallery’s first room. The works exhibited present examples of abandoned theatres with their curtains torn and seats shrouded in decades of dust, reused cinemas in disrepair, acting as bus depots or car workshops, and finally those that have been reused and refurbished, often hiding the grand vaulted ceilings and ornamental mouldings that once attracted visitors. The exhibition will also present a series of typologies of the exteriors of the grand movie palaces Marchand and Meffre ventured into.
Marchand and Meffre’s images represent some of the survivors of a century of industrial, aesthetic and social change, their continued existence prompting a sense of nostalgia for the golden age of American cinema which carried American values, ideas and entertainment across the world.”
The free exhibition runs until March 11th and the gallery is open from Tuesday to Saturday from 11am to 6pm. Tristan Hoare, 6 Fitzroy Square, London W1T 5DX (close to Warren Street and Great Portland Street Underground stations)