Arts review 2002

Arts review 2002

Art held at gunpoint

Afew weeks ago, after a preview screening of Peter Mullan’s new film The Magdalene Sisters at a multi-storey multiplex in Glasgow, I found myself on the down escalator. On the step in front of me was one of Scotland’s most articulate cultural commentators. That descent, through several popcorn-scattered floors, was as unsettling as it was revelatory.

Change of scenery

Whatever else made 2002 a memorable year in Scottish theatre, there’s no doubt that it will go down in the record books as one of those years that signals the end of an era.

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Hall of passing fame

We live in an age when fame is a product manufactured like soap, reputation a commodity marketed for profit. Indeed fame is manufactured not just like soap, but in soaps. Reality soaps are set up for the purpose and six and a half million people cast their votes in Fame Academy to make an anonymous young man famous overnight.

Like singing to empty tables

If we are to believe everything we read in the papers, then 2002 was the year Edinburgh Festival director Brian McMaster hit the jackpot. He and his Festival team couldn’t believe the near-instant popularity of their programming brainwave - an innovative series of 25 late-night concerts, spread over four weeks, at a fiver a head and featuring top-name artists.

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