Pharrell and Nigo team up to open a massive cultural complex in Tokyo
Inspired by California's Napa Valley, the Japa Valley Tokyo project will reimagine the famous wine region through sake breweries in place of vineyards. The site will also feature artwork by American artist and designer Kaws, along with pop-up installations from a changing line-up of artists, chefs and designers, plus an event space for future projects.
As you might guess from the above, we don't know all the details yet. But if the renderings are any indication, this highly anticipated space sure is set to liven up the Yurakucho neighbourhood.
While Pharrell and Nigo serve as co-chief visionaries of the project, the duo have also been appointed creative advisors of Not A Hotel – a brand that already runs unique accommodation sites around Japan, including properties in Hiroshima, Hokkaido, Chiba and Miura (Kanagawa).
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Playing at the Charing Cross Theatre just off Villiers Street, American playwright M. Kilburg Reedy's stage adaption takes Tey's classic and serves it up with a leavening Shakespearian twist. And what a historical tour de force it is. If you don't know your 15th-century history or House of York genealogy, you certainly will do after an evening here (the programme helpfully includes a family tree). We begin with Grant, who believes he can discern an individual's character through their face, so when his friend – glamorous actress Marta Hallard (played to the nines by Rachel Pickup) – brings him a selection of historical pictures to peruse, he becomes obsessed by the portrait of Richard III. This man doesn't resemble the devious hunchback of history who schemed his way to the throne and then had his nephews murdered in the Tower of London. If anything he looks cautious, thinks Grant (played with great bravura by Rob Pomfret) – sober, decent, more suited to the bench than the dock. 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Of course, since it's a dramatisation there are deviations from the original. First, Reedy has taken the implied romance between Grant and Marta Hallard from the book and turned it into a full-blown subplot, one which turns – irony of ironies – on an act of deception that could have graced the pages of a Shakespeare comedy. This however fits remarkably neatly with another change introduced by Reedy, which is to use a Shakespearian actor, Simon Templeton (played brilliantly by Noah Huntley), to give voice to the Tudor 'case' against Richard III. And it works. While Tey's original dialogue is flawless – and Reedy used as much of it as she could, she says – there is so much more to the play, and many more laughs than one would have expected too (thanks not least to the nurses played by Hafsa Abbasi and Janna Fox). For fans of the book, the most significant change to the story comes in the selection of the killer of the young princes. Drawing on original sources, the playwright has come to a different conclusion – but it's one which I think holds just as much water as Tey's prime suspect. It certainly works in the context of the play, even if there are many people around now who believe (based on sound evidence by the way) that both princes actually survived the reign of Richard III and didn't die at all in 1483. What would Tey have made of the playwright's handiwork? I'm not sure she would have approved of the romantic subplot, since she never chose to marry Grant off herself and she could have done in his last outing (The Singing Sands of 1952), published posthumously. But – and it's an important but – the rest of it, I think, is spot on. At the heart of her book is the very probable innocence of Richard III and the concomitant calumny done against him ever since, something this lively play brings indisputably to life. 'Truth is the daughter of time, not authority,' is the Francis Bacon quote that inspired the title. Time will tell if this is the play that finally gets Richard III off the historical naughty step. The Daughter of Time is at the Charing Cross Theatre until 13 September.
