Shah Abbas

The British Museum’s latest exhibition is on Shah ‘Abbas, the 17th century ruler of Iran, or as it was then known, Persia. It is the third in a series examining empire and power in different parts of the globe and follows exhibitions on the First Emperor of China and the Roman emperor Hadrian.

Aptly named, Shah ‘Abbas, the Remaking of Iran, the exhibition demonstrates the transformation of Iran into the centre of international trade and cultural exchange, and also explores the social, religious and artistic influence of the Shah during his reign from 1587 to 1629. It focuses on four key sites which Shah ‘Abbas transformed or embellished as public statements of royal power including Isfahan which he made into his new capital and which to this day remains a cultural attraction.

The exhibition, in association with the Iran Heritage Foundation, features extraordinary loans, never before seen outside of Iran, alongside loans from Europe and the US, including luxurious gold-ground carpets, exquisite Chinese porcelains, illustrated manuscripts and watercolour paintings.

“Shah ‘Abbas was restless, decisive, ruthless and intelligent. This exhibition will provide a rare opportunity to learn about this important ruler. Shah ‘Abbas was a critical figure in the development of Iran and his legacy is still with us today.” Sheila Canby, curator of the exhibition.

The exhibition is on till the 14th June 2009 and you can book tickets online at www.britishmuseum.org

S of M has certainly benefitted from BBC endorsements

In 2009 the BBC will be entering its third year in providing musical theatre bursaries for performers. In doing so it’s making £150,000 available to students aged 17 and over so that they can get a leg up in an environment were competition is fierce and grants are slowly decreasing.  

In response to this many are asking: Why musicals? It was this time last year when Kevin Spacey highlighted the fact that other genres of theatre do not have the benefit of reality TV endorsements. (although the thought of a Hamlet inspired reality TV show where skulls and pistols will constantly re-occur on primetime surely is not something the BBC needs right now) But it seems that the revenue from voting on shows like I’d Do Anything has helped make this bursary possible, which means that the BBC is putting its money where the people’s Maria happens to be.

Granted it’s a straightforward play that is somewhat on the verge of extinction, (commercially anyway) it seems only highly publicised catchy musicals are bringing in huge crowds whilst critically acclaimed pieces such as the highly anticipated Polly Stenham’s Tusk Tusk is playing in a tiny auditorium to a smaller audience. So when it comes to enticing new plays in the West End, the cupboard is scarce.

But the figures don’t lie and the BBC is merely responding to the market force (which is partly of its own making). The best formula seems to be reality tv shows = huge crowds and lots of cash. This formula has been proven by the likes of The Sound of Music,  Joseph and the Amazing Technicolor Dreamcoat, and, most recently, Oliver!, and it will not be long before the BBC begins a search for a new Eponine or Cosette, so that Les Misérables can enjoy the benefits of TV endorsements.

If the BBC really wanted to help the world of theatre than surely is should be funding and promoting new musicals that than coexist with the nations old favourites? In the current climate the chances of any new composer of lyricist to make a break are most unlikely (unless you have good sources). Unfortunately it seems that Britain has always preferred to re-ignite the same classics again and again, instead of pushing the boundaries and trying something new. It would be fantastic to see a competition devised to shine a spotlight on up-and-coming composers and lyricists, so that we get a chance to see material which is as fresh as the talent singing it.

Ripley in Next to Normal, which has debuted to raving revues

Perhaps the West End could follow in the footsteps of New York’s Broadway; a new musical was recently opened to Broadway called Next To Normal- and it received raving reviews. The story focuses around a bipolar mother named Alice Ripley. She spends much of her life awash in a world of electroshock therapy, hypnosis and pills. It was a commercial risk that one can imagine the West End would think twice about before taking.

So all in all, if the BBC wants to help the next generation of musical stars, it should give them something new to sing about.

Its believed that The Winter’s Tale was one of the last things Shakespeare wrote before leaving London to return to his native Stratford. It has been defined by many as ‘logically mistaken’ and ‘perposterous’ from critics dating back from the 17^th Century. This is no surprise considering the plot delves in and out of numerous genres from comedy to tragedy through bizarre and incredible events.

The tale follows the irrationally jealous Leontes, who not only tries to poison his best friend, cast aside his faithful wife he also rejects his infant daughter and causes the death of his young son. A ship is sunk, a courtier eaten by a bear and Time makes a personal appearance to skip the action 16 years along. Now, the abandoned princess, raised among shepherds, is wooed at a sheep-shearing party by a prince in disguise who, snooped upon by his father, is forced to flee with his would-be bride to the court of Leontes - where everything works out for the best, including, in a suspension-of-disbelief-defying scene, the return to life of the spurned wife who has been impersonating a statue of herself.

David Farr’s magical production proves those critics wrong and managed to bring the play back to its former glory - through intelligent staging and lighting; atmospheric live music and magnificent acting from the cast - this tragi-comi-romance is possibly one of Shakespeare’s most emotionally complex and breathtakingly theatrical plays, even if you don’t believe a woman can believably impersonate a statue for years on end.

Definitely one to watch.

Tween- magnet has reportedly pulled out of the remake of Footloose

For a chance to catch the best new musicals American Broadway has to offer, hop on over to the West End. Yes, its true notes from New York have travelled over to the UK, as the company’s production of Jason Robert Brown’s The Last Five Years and Jonathan Larson’s Tick Tick…BOOM! Will be fully staged side by side, at the Duchess Theatre this May.

And whats better is that you will not have to scavange the house for extra change to see the Olivier winner Paul Keating, Leon Lopez and Julie Atherton, because tickets will be priced from a credit crunch friendly £10 to £30 (and a season ticket for both productions will be available for a mere £50)

Its also rumoured that Ramin Karimloo and Sierra Boggess will be playing the lead roles in Love Never Dies, the sequel to Phantom of the Opera, and will be opening the show in London. Apparently Andrew Lloyd Webber has suggested the possibility of simultaneous premieres in the UK, Shanghai and Toronto.

And for our young musical lovers (and Zac Efron stalkers) it is a sad day, as the High School Musical star announced he will not appear in the remake of Footloose. It seems that the tween heartthrob doesn’t want to be pidgeon holed into the sort of actor who only does big movie musicals- which is a shame since he is good at them.

Anne Hathaway, on the other hand, was happy to announce her role in the big musicals this year at the Oscars ceremony. Hathaway will be playing Judy Garland on stage and celluloid in the biographical Get Happy.

The West End is certainly looking forward to an exciting few months ahead.