Duke of Cambridge: Australia a beacon of confidence
Apr 17, 2014 11:00:18 GMT -5
Post by Deleted on Apr 17, 2014 11:00:18 GMT -5
BBC News reports the Duke of Cambridge has described Australia as a "beacon of confidence" as he and his family began the next leg of their Antipodean tour. Thousands turned out to greet the royal couple at Sydney Opera House to mark the start of their 10-day visit. In a speech, the duke also spoke of the Queen's affection for Australia and praised the nation's creativity. William, Kate and Prince George arrived in Sydney earlier on Wednesday, having completed a tour of New Zealand.
BBC News - Duke of Cambridge: Australia a beacon of confidence
The news made me reflect upon whether the British Royal Family is part of World government, and what it really means to govern the world. Meanwhile, writing in the FT, Sarah Hemming asks “What am I?”
FT - King Charles III, Almeida Theatre, London
'The Guardian' leads with some editorial comment in praise of ... the Almeida Theatre. When Arts Council England allocated its budget for the four years from 2012, loud jeers came from north London, where the Almeida theatre lost a fifth of its grant. But the theatre promised no cut to its ambition, and at Sunday's Olivier awards it got its deserts. It won eight awards, five for Lucy Kirkwood's 'Chimerica', a play with a huge geopolitical range, commissioned while Michael Attenborough was artistic director – and nurtured by Rupert Goold, its new one. Three more awards came for Richard Eyre's revival of Ibsen's 'Ghosts'. The Almeida attracts City money, as well as Arts Council England cash. But both plays successfully transferred to the West End, confirming the continuing importance of subsidised theatre, not just in London, in supporting the commercial sector. In July ACE announces a new round of allocations. Its budget is now even tighter. The Almeida shows what can be done even after the axe has fallen.
The Guardian - The north London theatre's success at the Olivier awards shows what can be achieved even after the austerity axe has fallen
Fortunately, the Queen is still in rude health, handing out Maundy money at Blackburn Cathedral
BBC News - Maundy Thursday: Queen hands out money at Blackburn Cathedral
I propose some toast: to Her Majesty the Queen, King Charles III and the Duke of Cambridge! Three cheers from kleines c, Big Cassandra and the legendary barbara (Maundy Thursday afternoon tea)!
BBC News - Duke of Cambridge: Australia a beacon of confidence
The news made me reflect upon whether the British Royal Family is part of World government, and what it really means to govern the world. Meanwhile, writing in the FT, Sarah Hemming asks “What am I?”
" ... In Bartlett’s fantasy, Charles has no sooner become monarch, than he is assailed by principle. His first task is to put his name to a bill restricting press freedom. He twists and turns uncomfortably and finally decides, triggering a constitutional crisis. The outcome turns on the role that the British monarchy seems expected to adopt. En route the debate swings to and fro, as Bartlett probes the powers actual and perceived of politicians, press and sovereign.
Just as Bartlett’s royal characters are suspended between tradition and modernity, so, too, his play is wittily knowing about its antecedents. It unfolds like a history play and is littered with moments that self-consciously recall Shakespeare’s dramas. The characters, as if aware that they have tradition to live up to, mix contemporary jargon with verse, archaic expression and iambic pentameter. It’s very clever and emphasises throughout that this is a playful drama – a “what if?” construction.
A difficult style to pull off but director Rupert Goold handles it with tremendous flair and wit. Tim Pigott-Smith’s Charles is a fine portrayal: ruminative, perplexed, likeable, conscientious and stubborn. Other characters are drolly but not unkindly observed, from Oliver Chris’s upright William and Lydia Wilson’s poised, astute Kate to Richard Goulding’s dishevelled Harry (who falls in love with a republican commoner) and Margot Leicester’s solicitous Camilla. They are surrounded by a swirl of slippery politicians, all equally crafty.
Thought-provoking, serious fun."
Just as Bartlett’s royal characters are suspended between tradition and modernity, so, too, his play is wittily knowing about its antecedents. It unfolds like a history play and is littered with moments that self-consciously recall Shakespeare’s dramas. The characters, as if aware that they have tradition to live up to, mix contemporary jargon with verse, archaic expression and iambic pentameter. It’s very clever and emphasises throughout that this is a playful drama – a “what if?” construction.
A difficult style to pull off but director Rupert Goold handles it with tremendous flair and wit. Tim Pigott-Smith’s Charles is a fine portrayal: ruminative, perplexed, likeable, conscientious and stubborn. Other characters are drolly but not unkindly observed, from Oliver Chris’s upright William and Lydia Wilson’s poised, astute Kate to Richard Goulding’s dishevelled Harry (who falls in love with a republican commoner) and Margot Leicester’s solicitous Camilla. They are surrounded by a swirl of slippery politicians, all equally crafty.
Thought-provoking, serious fun."
FT - King Charles III, Almeida Theatre, London
'The Guardian' leads with some editorial comment in praise of ... the Almeida Theatre. When Arts Council England allocated its budget for the four years from 2012, loud jeers came from north London, where the Almeida theatre lost a fifth of its grant. But the theatre promised no cut to its ambition, and at Sunday's Olivier awards it got its deserts. It won eight awards, five for Lucy Kirkwood's 'Chimerica', a play with a huge geopolitical range, commissioned while Michael Attenborough was artistic director – and nurtured by Rupert Goold, its new one. Three more awards came for Richard Eyre's revival of Ibsen's 'Ghosts'. The Almeida attracts City money, as well as Arts Council England cash. But both plays successfully transferred to the West End, confirming the continuing importance of subsidised theatre, not just in London, in supporting the commercial sector. In July ACE announces a new round of allocations. Its budget is now even tighter. The Almeida shows what can be done even after the axe has fallen.
The Guardian - The north London theatre's success at the Olivier awards shows what can be achieved even after the austerity axe has fallen
Fortunately, the Queen is still in rude health, handing out Maundy money at Blackburn Cathedral
BBC News - Maundy Thursday: Queen hands out money at Blackburn Cathedral
I propose some toast: to Her Majesty the Queen, King Charles III and the Duke of Cambridge! Three cheers from kleines c, Big Cassandra and the legendary barbara (Maundy Thursday afternoon tea)!
