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  • Sunday Shortlist, from The Week
    A ‘revelatory’ exhibition and an ‘under-sung Shakespearean’

     
    theatre REVIEW

    Othello 

    Toby Jones and David Harewood star in Tom Morris’ take on Shakespeare’s tragedy

    It can be easy for Othello – manipulated and out-argued by Iago – to end up “looking like a sideshow” in the play that bears his name, said Susannah Clapp in The Observer. In Tom Morris’s new production, however, David Harewood is in command from the moment he strides onto the stage in general’s uniform. In 1997, he became the first black actor to play Othello at the National Theatre. Then, his performance was “impressive but sometimes strenuous”. Here, he is “utterly at ease in the entire range of the part”.

    An uneven production is redeemed by the acting, agreed Dominic Cavendish in The Telegraph. Harewood proves to be a “great, under-sung Shakespearean”, while as Iago, Toby Jones exudes a gleeful nastiness.

    Jones is convincing in the role of the Machiavellian schemer, said Alice Saville in The Independent, but he doesn’t “channel the inner darkness you’d expect from this destructive force”. Here, the villain has “all the looming menace of a peevish middle manager”. At one point, when he makes a racist joke about Harewood’s “statesmanlike Othello”, it prompts uneasy laughter from the audience. They’re not sure who they should be rooting for. The staging does “grow into its horror”, and build into a “deeply nasty tale of murder and manipulation”, but while Morris is good on the physical violence – the audience “winces” when we hear a “spine snap, sharp as celery” – he is less so on the psychological violence.

    It’s when the women are foregrounded, in the second half, that the production “finds its focus”, said Dominic Maxwell in The Sunday Times. The American actress Caitlin FitzGerald is terrific as Desdemona. By “bridging classical and contemporary sensibilities”, she “helps you to buy into” the character’s inner life, and thus the “awfulness of her murder”; and Vinette Robinson is stunning as Emilia, her maid and Iago’s wife. By “finding more life in the story’s victims than in the insanely articulate men who talk themselves into unspeakable acts against them”, the production “ends so much stronger than it started”.

    Theatre Royal Haymarket, London SW1. Until 17 January

     
     
    art REVIEW

    Wright of Derby: From the Shadows

    The National Gallery’s show brings together the revered artist’s most powerful works

    Joseph Wright of Derby is a painter “all too often underserved in accounts of British art”, said Mark Hudson in The Independent. Born in Derby in 1734, he trained in London but returned to the Midlands to capitalise on the money flowing into the region in the wake of the Industrial Revolution.

    A “prodigiously gifted” artist, he developed a style inspired by Caravaggio’s chiaroscuro technique, painting scenes that blended “heightened realism” with “powerful contrasts of light and shadow”, as well as portraits and landscapes that flattered the local industrial elite and their domains. Yet while several of his paintings have become renowned as “seminal” images of the British Enlightenment, he is – possibly on account of the “parochial suffix” attached to his name – often remembered as “a jobbing provincial painter”. This show at the National Gallery seeks to correct that assumption. It brings together many of his best-known works to reclaim him as one of the great British artists of the 18th century, confounding expectations at every turn while creating several bona fide masterpieces. It is “revelatory”.

    At the show’s heart are two “spectacular” paintings, said Alastair Sooke in The Telegraph. The first, the National Gallery’s “An Experiment on a Bird in the Air Pump” (1768), is “an electrifying, life-and-death composition”, depicting a white cockatoo placed within a glass vessel. A red-robed scientist is seen drawing the oxygen from the contraption as the creature thrashes around, fighting for survival. The second is “A Philosopher Lecturing on the Orrery” (1766), normally on display in Derby. It’s “just as spectacular”, presenting “an impresario-cum-philosopher with flowing grey locks” performing a scientific demonstration with a clockwork model of the solar system. Both works have long been seen as archetypal images of the Age of Reason. Yet, as the wall texts remind us, they may not be “entirely in sync with it”. While apparently championing rationality, they are “animated by childish wonder as much as intellectual enquiry”, and they show off Wright’s virtuosic skill at replicating artificial illumination.

    Wright was certainly interested in science and technology, said Jonathan Jones in The Guardian. But the paintings he made on these subjects make humanity’s new knowledge look terrifying. One girl hides her face from the air-pump experiment, too appalled to look. “This is meant to be a rational exposition of the vacuum, but has become a nightmarish theatre of science, power, cruelty and death.” Wright is perhaps better understood as “the first gothic artist”, using his mastery of light and shade to create truly uncanny pictures. “A Philosopher by Lamplight” (1769), for instance, sees two travellers crossing a moonlit stream to find an old hermit looking at a skeleton, trying to discover what happens when we die. “The bloodcurdling secret at the heart of these paintings is scientific not supernatural.”

    National Gallery, London WC2. Until 10 May

     
     
    PODCAST review

    The House at Number 48

    As a child in the 1970s, Antony Easton sometimes wondered if his father Peter – a “gruff”, inscrutable figure, prone to “dark moods” – was an on-the-run Nazi who’d adopted an English persona. Peter received periodic visits from a strange benefactor, Mr Mann, and under his bed there was a suitcase full of German banknotes and newspaper cuttings. It was only after Peter’s death in 2009, said Patricia Nicol in The Times, that Easton discovered the truth – and it was rather the opposite of what he had imagined. Born into a Jewish family of industrialists and art collectors in Berlin, Peter was originally Peter Hans Rudolf Eisner. He had fled to Britain aged 14 in 1939, via Prague, Warsaw and Copenhagen; and almost every member of his extended family was murdered by the Nazis. In the latest, superb series of “The History Podcast” (BBC Radio 4 and Sounds), the investigative journalist Charlie Northcott tells this “fascinating, thought-provoking” story. Following Antony Easton as he explores his lost heritage – and tries to track down his extremely wealthy family’s stolen fortune – “The House at Number 48” is a “taut story of hidden documents and mysterious visitors that will have you hooked until the final episode”.

     
     
    BOOK OF THE WEEK

    Middleland

    by Rory Stewart

    In a career of great breadth – from a deputy governor in Iraq to Harvard professor and now successful podcaster – Rory Stewart’s latest book represents “one of his quieter triumphs”, said Patrick Galbraith in Literary Reivew. But it’s “a triumph nonetheless”. It collects the fortnightly columns he wrote for the Cumberland and Westmorland Herald during his nine years as MP for Penrith and The Border. Despite often being “produced in the dead of night (sometimes in the bath)”, the pieces are “very good indeed” – and show how genuinely Stewart cared about this “half-forgotten part of Britain”.

    Most MPs who write columns for local newspapers produce only “turgidly self-serving accounts”, said Jamie Blackett in The Telegraph. Not Stewart, whose writings are affecting and wide-ranging. Descriptions of walks across the “fells and valleys” mingle with historical reflections – on the death of Edward I, who developed dysentery after drinking Cumbrian water. And while there are detours into the nitty-gritty of Stewart’s life as an MP – he describes agonising with constituents over a proposed scheme to build wind turbines, and trying to keep an agricultural college open – the overall tone is “one of curious detachment from the political process”.

    As a writer, Stewart has long been able to bring “intelligence and panache” to almost any subject, said David Robinson in The Scotsman. That is why, even if you’re unfamiliar with this slice of Cumbria, the pieces in “Middleland” “stand up surprisingly well”. What they don’t do is make being an MP sound appealing: Stewart describes having to reply to 20,000 emails each year, and having “no real power, though everyone thinks otherwise”. Being an MP, he concludes, is an “impossible job” – which is why he has left frontline politics behind him.

     
     
    OBITUARY

    Dick Cheney 

    “The most powerful vice-president in US history”

    The office of vice-president is often regarded as a marginal role, said The Guardian. Yet Dick Cheney, who has died aged 84, held so much influence, as VP to George W. Bush, that he was often referred to as “the real president”. Bush has pushed back against that idea, yet there can be little denying that Cheney – the leading figure of a group of neocons that included Donald Rumsfeld and Paul Wolfowitz – “found the laidback president pliable on a whole raft of policy decisions”, including the invasion of Iraq in March 2003.

    Cheney was not single-handedly responsible for the Iraq War. Wolfowitz had discussed the possibility of military action to protect US interests in the region before 9/11; and Bush had come to office, in 2001, with a feeling that the overthrow of Saddam Hussein was business left unfinished by his father, George H. W. Bush. But Cheney was a driving force behind US foreign policy post 9/11, said The Times, having been profoundly affected by the attacks. “If terrorists armed merely with box cutters could wreak such havoc, what could they do if they acquired nuclear or chemical weapons, he asked.” He had already pushed for the US invasion of Afghanistan. Saddam – who’d supposedly stockpiled weapons of mass destruction – “had to go”. And if, to ensure US security, suspected al-Qa’ida militants had to be subjected to “enhanced interrogation techniques”, such as waterboarding, and locked up without trial at Guantánamo Bay, then “so be it”. Congress later decided that those methods amounted to torture; the war is widely believed to have left the world a less stable place. Yet this “taciturn”, inscrutable figure never expressed any regret about it. “In the fight against terrorism there is no middle ground, and half-measures keep you half-exposed,” he said. He would note that there had been no repeats of 9/11 in the US.

    Richard Cheney was born in 1941, and brought up in Wyoming, where his father worked for the department of agriculture. As a star player in his high-school football team, he dated Lynne Vincent, a cheerleader who became his wife, and later a public figure in her own right as a conservative talk-show host. They had two daughters: Mary, whose sexuality prompted Cheney into his only liberal position – supporting same-sex marriage – and Liz, who went into Republican politics herself and is today best known as an outspoken Trump critic.

    After leaving the University of Wisconsin, he got a job working for a Republican congressman in Washington. Having managed to avoid the Vietnam draft, he became a protégé of Rumsfeld, who secured him government jobs. Aged 34, he became President Ford’s chief of staff, the youngest person ever to hold that office. On the campaign trail in 1978, he had the first of five heart attacks. Nevertheless, he pressed on, and was elected to the House of Representatives. He held a host of right-wing positions – from opposing abortion rights to backing the Contra rebels in Nicaragua. As Bush Snr’s defence secretary, he masterminded Operation Desert Storm, launched in response to Iraq’s invasion of Kuwait in 1990. Back then, he supported the decision not to topple Saddam, citing the chaos it could unleash.

    Cheney made millions working for Halliburton during the Clinton years, and then, in 2000, he suggested himself as Bush Jr’s running mate. A Washington insider working for an inexperienced president, he was able quickly to accrue power, said The New York Times. Indeed, he is often described as having been the most powerful VP in US history. However, by the end of Bush’s first term, he had, he said, become the “Darth Vader of the administration” and offered not to run in 2004. Bush did not take him up on that, but he relied on Cheney less during his second term. Appalled, like his daughter Liz, by the 2020 Capitol riots, this staunch Republican announced in 2024 that he would be voting for Kamala Harris in that year’s election.

     
     

    Image credits, from top: Brinkhoff-Moegenburg; Derby Museums; Jonathan Cape; David Hume Kennerly / Getty
     

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