by Theater: do weekday shows earlier
Where the National Theater leads, other venues should follow. Starting in February, the NT will rehearse performances on Tuesdays and Thursdays at 6:30 p.m., after consulting the public. This change is in line with flexible working patterns post-pandemic, but also responds to the common desire to chat and eat after the show. Both are essential for a good night out, and if some restaurants close earlier, the theater should respond in kind. I would go further. Public transport, especially in and out of London at night, is now chronically unreliable. For an even earlier weekday start time: how about 5:30 pm? – and a general “weekend” (Sunday/Monday off) for hard-working theater professionals. It’s time to rethink time. Dominic Cavendish
Classical music: Put an end to fads
Behind the practical difficulties in reactivating a sector seriously damaged by the pandemic lies another deeper crisis; a disappearance of any sense of what the word “classic” really means. The result is that now anyone can wear the mantle of “classic.” I would suggest that the word means continuity with the enormous body of masterpieces of the past, with their associated techniques and values, such as beauty and coherence. The movers and shakers of the classical world should actively seek out those composers whose work shows loyalty to those values, rather than to trendy political causes. Ivan Hewett
TV: Save the documentary
If the phenomenal rise of history podcasting can teach the television world anything, it’s that we still crave an education. In one sense, the television documentary is on the rise, but I, for one, have had enough of gawking at murdered corpses (always female) and participating in “exclusive access” brand management exercises (always male). Very few people on British television are allowed to make serious factual series (David Olusoga, Adam Curtis, James Bluemel), and only the exemplary Sky Documentaries and BBC Four’s magnificent Storyville series (almost always with foreign entries) fly the flag. of the cerebral and the profound. Educate us, entertain us, but for God’s sake, in this age of online ranting, please educate us. Chris Bennion
Art: Focus on aesthetics
Some art historians obsess over symbols; others love to interpret the form. However, this type of classical analysis is increasingly rare in our museums and galleries, perhaps for fear that it will sound old-fashioned and elitist. The dominant mode today is to treat works of art primarily as if they were historical documents. Emphasizing form is out of fashion; Focusing on content is in fashion. Of course, there is a place for that approach, but it runs the risk of downplaying or even ignoring the aesthetic qualities that are the main attractions of art. We need to restore balance. Alastair Sooke
Opera: Ignore the Philistines
Opera is not only for the rich, opera is not elitist, opera is tremendously pleasurable entertainment, opera speaks to our deepest needs and emotions. It seems extraordinary that we have to reaffirm these basic truths in the face of growing philistinism, but they must form a collective motto in 2024. Our large companies need to adapt their heavy structures and inflexible business models to create small-scale companies. opera that can connect with a wide audience. It may even be that the English National Opera can lead the way and make Manchester, along with the London Coliseum, Britain’s center of operatic innovation. nicolas kenyon
Books: No more lazy editing
Editors, get out the blue pencil. Too many books have reached undeserved lengths, with shapeless and vague sentences. The problem spans fiction and nonfiction, newcomers and household names, and next year’s “highlights” so far look worse. The industry has spent years saying goodbye to editors, the veterans who know how to reshape and eliminate. And while it’s not as flashy as social media likes or merchandise sales, editing is still, after writing, the skill on which books depend. It is false kindness to be so lax, and it benefits neither readers nor, in the long run, the writers themselves. Cal Revely-Calder
Movie: Recovering the art of comedy
Who here remembers laughter? In cinema it was a common sound until about a decade ago, when blockbuster franchises, having topped the box office food chain, began devouring all rival genres. As a result, many studio films are now “funny” – or at least try to be – but straight-up comedies are miserably rare. So, as the empires of Star Wars, DC and Marvel falter, it’s time for the romantic comedy, the urban farce, the teen party and the like to take back the initiative. Do you remember how much fun you had with Barbie? Movies that aren’t about brands can be fun, too. Robbie Collin
Radio: Make Ambridge wow again
Rob Titchener’s death from a brain tumor felt like a line in the sand for The Archers. Played with subtle malevolence by Timothy Watson, he was the best fictional villain on British radio for the last decade, but while he was alive, his presence loomed over Borsetshire, and the characters were unable to move forward. So as 2024 begins, the show finds itself at a crossroads. Will series editor Jeremy Howe develop another horrible villain and bring Ambridge into a rougher spot? Or will he settle things back into the familiar realms of Pip Archer self-indulgence and general Flower and Produce Show angst? I would prefer a third way: let myself be surprised by something completely new. The Archers need to take a bold step into a post-Rob world. Charlotte Runcie
Pop: prioritize musicality to combat AI
There is too much music and too little time. You can currently listen to over 100 million tracks online; tens of thousands more appear every day. And that will only get worse in 2024, thanks to advances in so-called AI. I’m not a Luddite: AI tools can provide shortcuts for creative artists. But they can also be used to completely supplant creativity. Write a sentence and get a piece of music. Is that all we want? The best way to combat AI is to improve the lot of real musicians, so my wish for next year is the same as the last: protect our small venues. Audiences are still 16.7 per cent below pre-pandemic figures, with 125 base venues closing in 2023. The Government should offer generous fee schemes and more protection against noise complaints. But we also need rehearsal spaces, youth club subsidies, music education, anything to put true musicality back into Britain’s bloodstream. Neil McCormick
Dance: Teaches diligence and discipline.
Now that lockdowns are behind us, Britain’s leading ballet companies must remember, consider and (re)define who they are and what they do. Both geographically and artistically, Scottish Ballet and Northern Ballet are already “there”. But what distinguishes those two largest touring companies, Birmingham Royal Ballet and English National Ballet? And does the Royal Ballet want to be “simply” a brilliant world-class company with the best dramatic repertoire in the world, or one that is also equipped with the most uniquely refined, expressive and moving style in which to present it? The latter is woven into the company’s history, but only general diligence and discipline will keep it from fading away. Marcos Monahan
