The final play in Michael Grandage's West End season is Henry V with Jude Law in the title role.
I went to see it last night, and it was still in previews, and there wasn't a spare seat to be had. Is it a desire to see the Bard or (more likely) it is a keeness to see Mr Law.
The staging was fantastic - a simple set of wooden planks, bringing to mind the unadorned stage mentioned in the prologue. Very little props were used, but the use of lighting was very effective.
The cast was very good. All playing up to the accents and foibles of the characters. Jude Law in the title role was excellent. Rousing the men to action wasn't a problem to him at all. He shone in the 'love' scene with the French princess, showing a real lightness of touch.
I should think the only way to see this now is to try for tickets on the day, I am sure it must have been sold out for months and months! But, it is well worth a look.
Wednesday 27 November 2013
Friday 15 November 2013
An Evening with Bryan Ferry
I know I am a bit behind with some of the reviews, where does the time go?
On the 4th November Bryan Ferry performed at the Royal Albert Hall.
Starting off with the jazz of The Bryan Ferry Orchestra (without the great man himself), the evening got off to a rousing start. All his musicians are consummate professionals. When he himself took to the stage (in a very dapper jacket) the atmosphere went up a level. Starting slowly he built up the tension, the power and the volume.
Ferry has an extensive catalogue from which to choose material and some of his choices were rare and unusual. He avoided Avalon (could mean he was worried by the female vocalists). Sadly he included Jealous Guy. On one level I don't mind this song, however, it's not a Ferry or a Roxy Music composition (despite being a number one). I just feel that too many people come along just for that song and there is so much more to Bryan Ferry than that.
By the end he had the whole of the Albert Hall on their feet dancing the night away!
On the 4th November Bryan Ferry performed at the Royal Albert Hall.
Starting off with the jazz of The Bryan Ferry Orchestra (without the great man himself), the evening got off to a rousing start. All his musicians are consummate professionals. When he himself took to the stage (in a very dapper jacket) the atmosphere went up a level. Starting slowly he built up the tension, the power and the volume.
Ferry has an extensive catalogue from which to choose material and some of his choices were rare and unusual. He avoided Avalon (could mean he was worried by the female vocalists). Sadly he included Jealous Guy. On one level I don't mind this song, however, it's not a Ferry or a Roxy Music composition (despite being a number one). I just feel that too many people come along just for that song and there is so much more to Bryan Ferry than that.
By the end he had the whole of the Albert Hall on their feet dancing the night away!
Martyn Ware Presents Heaven 17 (Koko)
As part of Virgin's celebration of 40 years Heaven 17 appeared at Koko (the erstwhile Camden Palace) earlier this week.
Support was provided by Scritti Polittie, with Green Gartside in fine voice.
It was an interesting Heaven 17 show. For those of you who don't know, Heaven 17 was formed by Martyn Ware after Phil Oakey split from the Human League. The new vocalist was Glenn Gregory. What made the show interesting was that the first half was drawn exclusively from the first two (pre-split) Human League albums. I am sure some of these songs have never been sung in public. Whilst there is a big difference in style and tone between Glenn and Phil, Glenn's versions were excellent. He even convinced Martyn to take mic and centre stage for Nightclubbing.
Once we moved to the second half of the set we were back in familiar Heaven 17 territory - drawn mostly from Penthouse & Pavement and The Luxury Gap. Sometimes I wish they'd remember all the other albums too!
Support was provided by Scritti Polittie, with Green Gartside in fine voice.
It was an interesting Heaven 17 show. For those of you who don't know, Heaven 17 was formed by Martyn Ware after Phil Oakey split from the Human League. The new vocalist was Glenn Gregory. What made the show interesting was that the first half was drawn exclusively from the first two (pre-split) Human League albums. I am sure some of these songs have never been sung in public. Whilst there is a big difference in style and tone between Glenn and Phil, Glenn's versions were excellent. He even convinced Martyn to take mic and centre stage for Nightclubbing.
Once we moved to the second half of the set we were back in familiar Heaven 17 territory - drawn mostly from Penthouse & Pavement and The Luxury Gap. Sometimes I wish they'd remember all the other albums too!
Thursday 24 October 2013
Madam Butterfly - English National Opera
It is the second time I have seen this production of Butterfly. The first was when it was premiered back in 2005, apart from the great music, I wanted to see the director Anthony Minghella would do. I was not disappointed then - it is beautifully staged, just enough oriental detail to evoke Japan, some beautifully filmic moments and all the drama and pathos of the plot.
Last night I was still as entranced as I was back in 2005. It still looks lovely. The costumes (particularly the extravagant outfit of Prince Yamadori) bring Japan to life in a riot of colour. The effects work well. And I still like Cio-Cio-San's child being a puppet (beautifully brought to life by Tom Espiner, Julia Innocenti and Laura Caldow).
It was a new Butterfly in the title role last night. The Russian-American soprano Dina Kuznetsova was wonderful. Her singing was clear and full of emotion. She looked good and moved well. She ticked all the boxes for a good Cio-Cio-San.
We cannot ignore Pamela Helen Stephen as her maid, Suzuki. Their duets were amongst the high points of the night.
Timothy Richards as Pinkerton was a bit lost amongst the orchestra and couldn't match the power of Kuznetsova's voice. He was somewhat outshone by Goro (Alun Rhys-Jenkins), Sharpless (George von Bergen) and particularly Prince Yamadori (Alexander Robin Baker).
It is a great production - well worth a look! And what a story!
Last night I was still as entranced as I was back in 2005. It still looks lovely. The costumes (particularly the extravagant outfit of Prince Yamadori) bring Japan to life in a riot of colour. The effects work well. And I still like Cio-Cio-San's child being a puppet (beautifully brought to life by Tom Espiner, Julia Innocenti and Laura Caldow).
It was a new Butterfly in the title role last night. The Russian-American soprano Dina Kuznetsova was wonderful. Her singing was clear and full of emotion. She looked good and moved well. She ticked all the boxes for a good Cio-Cio-San.
We cannot ignore Pamela Helen Stephen as her maid, Suzuki. Their duets were amongst the high points of the night.
Timothy Richards as Pinkerton was a bit lost amongst the orchestra and couldn't match the power of Kuznetsova's voice. He was somewhat outshone by Goro (Alun Rhys-Jenkins), Sharpless (George von Bergen) and particularly Prince Yamadori (Alexander Robin Baker).
It is a great production - well worth a look! And what a story!
Thursday 10 October 2013
Elektra - The Royal Opera
The last time I saw Elektra at the Royal Opera House it had the wonderful Eva Marton in the title role. I also remember the walls of the set oozing 'blood'. That, however, was a very long time ago.
Whilst this is not a new production to the Opera House <http://roh.org.uk> , it is new to me. I wasn't moved either way by the set or the costumes - vaguely modern with classical overtones.
I had forgotten that this really is an opera about women, whilst there are a few men (the odd servant, Orest, Orest's companion, Ägisth), it is the women who inhabit the stage for the whole performance - in particular Elektra. To sustain the title role you need stamina and a big voice - Christine Goerke has (by the bucket load!). Not only was her singing exceptional, she could also act! Her performance was thrilling and worthy of the tumultuous applause at the curtain.
Let us not ignore Adrianne Pieczonka as Elektra's sister, Chrysothemis. She too gave a magnificent performance. Michaela Schuster as Klytämnestra, their mother, completed this splendid trio of voices.
Ms Goerke must have been drained by the performance - I certainly was!
Whilst this is not a new production to the Opera House <http://roh.org.uk> , it is new to me. I wasn't moved either way by the set or the costumes - vaguely modern with classical overtones.
I had forgotten that this really is an opera about women, whilst there are a few men (the odd servant, Orest, Orest's companion, Ägisth), it is the women who inhabit the stage for the whole performance - in particular Elektra. To sustain the title role you need stamina and a big voice - Christine Goerke has (by the bucket load!). Not only was her singing exceptional, she could also act! Her performance was thrilling and worthy of the tumultuous applause at the curtain.
Let us not ignore Adrianne Pieczonka as Elektra's sister, Chrysothemis. She too gave a magnificent performance. Michaela Schuster as Klytämnestra, their mother, completed this splendid trio of voices.
Ms Goerke must have been drained by the performance - I certainly was!
Wednesday 9 October 2013
Don Quixote - The Royal Ballet
It's been a while since I have "put pen to paper" so to speak, not lack of seeing things, more a lack of inclination! Anyway, last night I went to see the Royal Ballet's new production by Carlos Acosta of Don Quixote <<http://www.roh.org.uk/>>
My biggest gripe is that it is a long evening - three acts and two intervals (Prologue/Act 1 - 51 minutes, Act 2 - 32 minutes, Act 3 - 36 minutes). It is - of course - to allow for big scene changes, but some of the scene changing still overlapped into the action (each time the 'town' appeared).
Really the story is of little consequence, the whole evening is a showcase for the skills of the dancers. You don't worry about what is going on as there is too much to watch and marvel at - the audience last night loved it all! Our two leads were very good. Iana Salenko was a spectacular Kitri, full of poise and grace. Steven McRae's Basilio was full of fire and passion.
All the other principals worked hard and had a good time too.
The packed auditorium lapped it up. Me, I think I could have done with it being somewhat shorter and less of an introduction to the dancers of the Royal Ballet.
My biggest gripe is that it is a long evening - three acts and two intervals (Prologue/Act 1 - 51 minutes, Act 2 - 32 minutes, Act 3 - 36 minutes). It is - of course - to allow for big scene changes, but some of the scene changing still overlapped into the action (each time the 'town' appeared).
Really the story is of little consequence, the whole evening is a showcase for the skills of the dancers. You don't worry about what is going on as there is too much to watch and marvel at - the audience last night loved it all! Our two leads were very good. Iana Salenko was a spectacular Kitri, full of poise and grace. Steven McRae's Basilio was full of fire and passion.
All the other principals worked hard and had a good time too.
The packed auditorium lapped it up. Me, I think I could have done with it being somewhat shorter and less of an introduction to the dancers of the Royal Ballet.
Wednesday 14 August 2013
Sweet Bird of Youth - The Old Vic
I have to confess that it is quite some time since I have seen anything at The Old Vic <http://www.oldvictheatre.com> , and, having been last night I shouldn't leave it so long again.
I was encouraged into this by some friends who wanted to see Sex & the City's Kim Cattrall - and actually, so did I!
Sweet Bird of Youth is a big play, addressing lots of big themes - the most obvious one being age - but it also deals with fame, small town bigotry and the power of cash.
Marianne Elliott's production, designed by Rae Smith and lit by Bruno Poet, is wonderful. We are drawn into the shuttered heat of St Cloud from the very start. Tensions build and the plot unfolds.
Kim Cattrall is wonderful as the aging actress Alexandra del Largo. She is a monster, but a monster with feelings. Seth Numrich as Chance Wayne is expertly cast as the gigolo coming back to his home town. His swagger and bravado having no effect any more. And, you can certainly see why he would have caught the eye....I think the modern expression is eye candy!
There aren't many performances left. If you have time, try and see it!
I was encouraged into this by some friends who wanted to see Sex & the City's Kim Cattrall - and actually, so did I!
Sweet Bird of Youth is a big play, addressing lots of big themes - the most obvious one being age - but it also deals with fame, small town bigotry and the power of cash.
Marianne Elliott's production, designed by Rae Smith and lit by Bruno Poet, is wonderful. We are drawn into the shuttered heat of St Cloud from the very start. Tensions build and the plot unfolds.
Kim Cattrall is wonderful as the aging actress Alexandra del Largo. She is a monster, but a monster with feelings. Seth Numrich as Chance Wayne is expertly cast as the gigolo coming back to his home town. His swagger and bravado having no effect any more. And, you can certainly see why he would have caught the eye....I think the modern expression is eye candy!
There aren't many performances left. If you have time, try and see it!
Tuesday 30 July 2013
Daytona - Park Theatre
A friend of mine insisted I should go to the Park Theatre in Finsbury Park <http://parktheatre.co.uk/> as she went to see something there and was very impressed by a new venue in north London. She was right, it is a lovely space and it has only been open since May this year.
The main auditorium - Park 200 - is an intimate space, which is perfect for Oliver Cotton's new work Daytona. You are literally in the living room of the apartment in New York where all the action takes place. Joe and Elli's happy little world is thrown into turmoil by the arrival of Joe's brother Billy after a 30 year absence. What does it all mean? What secrets will be revealed? In all fairness I cannot say too much about what happens as it spoils the surprises and twists in the plot.
I can talk about the actors and their performances. Harry Shearer as Joe is good but the night I was there had a few fluffed lines. John Bowe as his brother Billy, is a volcanic presence - a bit too loud in the bits between Billy and Joe. The strongest performance is that of Maureen Lipman. It's a long time since I have seen her on stage and forgotten what a presence she has. She is a fine actress with a great sense of timing.
Go! Support this new theatre. I will be going again!
The main auditorium - Park 200 - is an intimate space, which is perfect for Oliver Cotton's new work Daytona. You are literally in the living room of the apartment in New York where all the action takes place. Joe and Elli's happy little world is thrown into turmoil by the arrival of Joe's brother Billy after a 30 year absence. What does it all mean? What secrets will be revealed? In all fairness I cannot say too much about what happens as it spoils the surprises and twists in the plot.
I can talk about the actors and their performances. Harry Shearer as Joe is good but the night I was there had a few fluffed lines. John Bowe as his brother Billy, is a volcanic presence - a bit too loud in the bits between Billy and Joe. The strongest performance is that of Maureen Lipman. It's a long time since I have seen her on stage and forgotten what a presence she has. She is a fine actress with a great sense of timing.
Go! Support this new theatre. I will be going again!
Tuesday 9 July 2013
Gloriana - Benjamin Britten - Royal Opera House
It seemed a good idea on paper to restage Britten's Gloriana, which was written for the Coronation, in the Jubilee year. But somewhere along the line the production sunk the opera in waves of distracting 'business' from characters not part of the action.
The opera was set as a production being done in a village hall to celebrate the Queen's Coronation, this meant that we had lots of slow scene changes, prompters waving their hands around at the side of the stage and a reduction in the size of the stage space to allow for all of this to go on. And it was distracting.
The opera gets bleaker as it goes on.....The scene where the Queen takes the dress and parades around in it, is cruel. The Elizabeth and Essex scene in her bedroom is strong and dramatic - one of the the few scenes to work well as the action was focused around the two principal characters.
Susan Bullock's Elizabeth was well sung. Her diction did away with the need for surtitles. Toby Spence was a dashing Essex. He seemed to be having great fun in the dances.
I think, like a number of things I have seen this year, it was another wasted opportunity all round - but not a total disaster!
The opera was set as a production being done in a village hall to celebrate the Queen's Coronation, this meant that we had lots of slow scene changes, prompters waving their hands around at the side of the stage and a reduction in the size of the stage space to allow for all of this to go on. And it was distracting.
The opera gets bleaker as it goes on.....The scene where the Queen takes the dress and parades around in it, is cruel. The Elizabeth and Essex scene in her bedroom is strong and dramatic - one of the the few scenes to work well as the action was focused around the two principal characters.
Susan Bullock's Elizabeth was well sung. Her diction did away with the need for surtitles. Toby Spence was a dashing Essex. He seemed to be having great fun in the dances.
I think, like a number of things I have seen this year, it was another wasted opportunity all round - but not a total disaster!
Political Mother: The Choreographer's Cut - Hofesh Shechter - Sadlers Wells
I had seen Political Mother before and I enjoyed it. When it was brought back to Sadlers Wells <http://www.sadlerswells.com> as part of the Sadler's Sampled season it seemed a good show to take some friends along to.
By and large they loved it, particularly the music. My favourite quite being "Nine Inch Nails isn't as loud as this!" And the music is very exciting - strings, rock guitars, drums, drums and more drums. They weren't so wild about the piece itself with comments ranging from - what was going on, what was it about, repetitive and a bit long. And none of the three people I was with realised that the final section was the whole thing being rewound.
My view is still - what's with the socks, Hofesh? I will be interested to see his new work, later in the season.
By and large they loved it, particularly the music. My favourite quite being "Nine Inch Nails isn't as loud as this!" And the music is very exciting - strings, rock guitars, drums, drums and more drums. They weren't so wild about the piece itself with comments ranging from - what was going on, what was it about, repetitive and a bit long. And none of the three people I was with realised that the final section was the whole thing being rewound.
My view is still - what's with the socks, Hofesh? I will be interested to see his new work, later in the season.
Tuesday 11 June 2013
Behind the Candelabra
I know it is unusual for you to see a film review here, but it is well worth going to see Behind the Candelabra.
Hopefully it isn't Steven Soderbergh's last film....he has said he is giving up directing to concentrate on painting....as it's great to look at.
And the characters...well, there is plenty to draw on and you could turn them both into terrible monsters - and to a certain degree that's how they appear - but both have some (however slight) redeeming qualities. Both Michael Douglas and Matt Damon have roles that are totally at odds with their usual filmic incarnations!
Michael Douglas's Liberace is over the top, as he should be. And does sound like the man himself (what a confession, that surely gives my age away!). Oh and the costumes! The piano playing is very well done, you'd almost believe that it was Douglas himself.
Matt Damon as Scott, holds off being a vapid queen, although there are flashes here and there. He does look a bit like a young gay hustler of the period, without trying too hard!
Won't give away too much, go and see it for yourself!
Hopefully it isn't Steven Soderbergh's last film....he has said he is giving up directing to concentrate on painting....as it's great to look at.
And the characters...well, there is plenty to draw on and you could turn them both into terrible monsters - and to a certain degree that's how they appear - but both have some (however slight) redeeming qualities. Both Michael Douglas and Matt Damon have roles that are totally at odds with their usual filmic incarnations!
Michael Douglas's Liberace is over the top, as he should be. And does sound like the man himself (what a confession, that surely gives my age away!). Oh and the costumes! The piano playing is very well done, you'd almost believe that it was Douglas himself.
Matt Damon as Scott, holds off being a vapid queen, although there are flashes here and there. He does look a bit like a young gay hustler of the period, without trying too hard!
Won't give away too much, go and see it for yourself!
The Book of Mormon
Well, after the hype and the wait, was it worth it? The Prince of Wales Theatre (<http://www.princeofwalestheatrelondon.info>) was certainly full to overflowing!
Yes it was. In some respects I wasn't nearly as shocked as I was supposed to be. Perhaps I am just too old and jaded! The cast (and audience) were having a whale of a time. Lots of taboos brought into a completely strange context (AIDS, female circumcision, religion to name but a few!) - a jolly piece of musical theatre. And that's what it is...musical theatre, it's not political, it's not full of deep meaning - it's a lot of fun. And it is very camp!
Yes it was. In some respects I wasn't nearly as shocked as I was supposed to be. Perhaps I am just too old and jaded! The cast (and audience) were having a whale of a time. Lots of taboos brought into a completely strange context (AIDS, female circumcision, religion to name but a few!) - a jolly piece of musical theatre. And that's what it is...musical theatre, it's not political, it's not full of deep meaning - it's a lot of fun. And it is very camp!
Othello - The National Theatre
It is a few years since I have graced a theatre for a Shakespeare play, but the glowing reviews for Othello at the National (http://www.nationaltheatre.org.uk/) persuaded me it was time I went again. Indeed several of my friends had posted glowing comments on their Facebook pages.
Othello isn't a play I know intimately, I have the gist of the story and the characters. I did not realise it was so long, nor so funny in parts.
Nicholas Hytner's version with lighting by Jon Clark and designs by Vicki Mortimer is a triumph. The contemporary setting works well, without any obvious clunky references to objects that couldn't possibly be lying around! After all, it is about a general!
The cast is great and all equally deserving of praise. Olivia Vinall's Desdemona's final scene was very moving. Adrian Lester, well known on television, gave a gripping performance as Othello. And Rory Kinnear's Iago was compelling. To see him playing one person off against another, inciting murder or revenge was fascinating.
Othello isn't a play I know intimately, I have the gist of the story and the characters. I did not realise it was so long, nor so funny in parts.
Nicholas Hytner's version with lighting by Jon Clark and designs by Vicki Mortimer is a triumph. The contemporary setting works well, without any obvious clunky references to objects that couldn't possibly be lying around! After all, it is about a general!
The cast is great and all equally deserving of praise. Olivia Vinall's Desdemona's final scene was very moving. Adrian Lester, well known on television, gave a gripping performance as Othello. And Rory Kinnear's Iago was compelling. To see him playing one person off against another, inciting murder or revenge was fascinating.
Friday 24 May 2013
La Donna Del Lago at the Royal Opera House
Well, not being hugely knowledgeable about Rossini, I was keen to see the new production of La Donna del Lago at the Royal Opera House ( <http://www.roh.org.uk> ) - if only to see Joyce DiDonato (for the second time and in a very different role). <http://www.joycedidonato.com>
I had (foolishly?) read some reviews before going along last night (23.5.13) and so knew a little of what was in store. Should we believe reviews? Should we let them colour our views? Hmm, hard to decide.....anyway, all the reviews I read suggested that the staging caused problems with the enjoyment of the opera. And, sadly, I am inclined to agree with them. Too much "business", too much time spent running up and down the large staircase in Act 1 (thankfully it is destroyed for Act 2!). The staging is fussy and confusing. The lighting, however, in parts, was extremely effective.
Musically it was fabulous! Coming 'cold' to the piece turned it into a complete revelation! Some lovely arias. Some lovely duets. Some clever bits where three or four characters were singing. Of course we have to mention La DiDonato as Elena - sensational. What a voice! What a performance! And she was supported by a great cast too: Juan Diego Flórez as the King of Scotland ('Uberto') was brilliant. Daniela Barcellona as Malcom (Elena's lover) has a fantastic voice and the duet with Elena was spine tingling! Words of praise must also go to Colin Lee as Rodrigo, Simón Orfila as Duglas, Justina Gringyte as Albina and Robin Leggate as Serano (the latter two drifting in and out of the Scottish action to be rooted in the 19th century museum.
If you get a chance - go. Difficult as it's a sellout. If not, try one of the live relays to a cinema near you!
I had (foolishly?) read some reviews before going along last night (23.5.13) and so knew a little of what was in store. Should we believe reviews? Should we let them colour our views? Hmm, hard to decide.....anyway, all the reviews I read suggested that the staging caused problems with the enjoyment of the opera. And, sadly, I am inclined to agree with them. Too much "business", too much time spent running up and down the large staircase in Act 1 (thankfully it is destroyed for Act 2!). The staging is fussy and confusing. The lighting, however, in parts, was extremely effective.
Musically it was fabulous! Coming 'cold' to the piece turned it into a complete revelation! Some lovely arias. Some lovely duets. Some clever bits where three or four characters were singing. Of course we have to mention La DiDonato as Elena - sensational. What a voice! What a performance! And she was supported by a great cast too: Juan Diego Flórez as the King of Scotland ('Uberto') was brilliant. Daniela Barcellona as Malcom (Elena's lover) has a fantastic voice and the duet with Elena was spine tingling! Words of praise must also go to Colin Lee as Rodrigo, Simón Orfila as Duglas, Justina Gringyte as Albina and Robin Leggate as Serano (the latter two drifting in and out of the Scottish action to be rooted in the 19th century museum.
If you get a chance - go. Difficult as it's a sellout. If not, try one of the live relays to a cinema near you!
Friday 17 May 2013
The Great Gatsby - Northern Ballet at Sadlers Wells
Well, it may have been the night the film of The Great Gatsby opened in Cannes, but last night at Sadlers Wells ( <http://www.sadlerswells.com> ) there was a flurry of police and paparazzi - sadly not Beyoncé and Jay-Z, but the Earl and Countess of Wessex.
By and large David Nixon's choreography sticks to the book (with some reference back to Gatsby and Daisy's earlier relationship) so it is all fairly easy to follow. The sets are simple and understated, the costumes stylish - the overall effect does give us a look at the world of 1920s decadence. Dance-wise it is good and stylish, rather than earth-shattering. There are some nice touches - interesting lifts and some good pas de deux. I think I saw one wobble in a high lift! The characterisation was good and fitted the book.
Northern Ballet's Gatsby ( <http://northernballet.com> ) may not have the noise and zap of the film, but judging by the audience's reaction last night it is a true crowd pleaser!
By and large David Nixon's choreography sticks to the book (with some reference back to Gatsby and Daisy's earlier relationship) so it is all fairly easy to follow. The sets are simple and understated, the costumes stylish - the overall effect does give us a look at the world of 1920s decadence. Dance-wise it is good and stylish, rather than earth-shattering. There are some nice touches - interesting lifts and some good pas de deux. I think I saw one wobble in a high lift! The characterisation was good and fitted the book.
Northern Ballet's Gatsby ( <http://northernballet.com> ) may not have the noise and zap of the film, but judging by the audience's reaction last night it is a true crowd pleaser!
Thursday 16 May 2013
Some like it hip hop - ZooNation at the Peacock Theatre
It is years since I have been to the Peacock Theatre, the central London outpost of Sadlers Wells ( <http://www.sadlerswells.com> ) but I was there last night on the recommendation of a friend (who was with me) to see Some Like It Hip Hop by ZooNation ( <http://www.zoonation.co.uk> ).
I thoroughly enjoyed it! Who'd have thought you could do a whole show using hip hop moves? I wouldn't have.....but there is was, live music, story telling and wonderfully choreographed dancing! I shall be booking for their new show in September!
I thoroughly enjoyed it! Who'd have thought you could do a whole show using hip hop moves? I wouldn't have.....but there is was, live music, story telling and wonderfully choreographed dancing! I shall be booking for their new show in September!
Tuesday 14 May 2013
Wozzeck - English National Opera
It is apparently over 20 years since ENO (<http://eno.org>) put on a production of Wozzeck, I can't remember if I saw that production or one at the Royal Opera House - I do remember a very good ending with Wozzeck's drowning body!
So what can we say about the new production directed by Carrie Cracknell? Bloody is a good word....the ending is very Quentin Tarantino! Is this a good thing, not really as it leads to some sniggering from the audience when Wozzeck is asking where is the knife and it is clearly in his hand! Also, all the references to water and drowning are weakened by changing it to a puddle of blood.
That said it was sung and played with great passion. Sara Jakubiak's Marie was good, in a very harsh role. Leigh Melrose was an excellent, tortured Wozzeck.
So what can we say about the new production directed by Carrie Cracknell? Bloody is a good word....the ending is very Quentin Tarantino! Is this a good thing, not really as it leads to some sniggering from the audience when Wozzeck is asking where is the knife and it is clearly in his hand! Also, all the references to water and drowning are weakened by changing it to a puddle of blood.
That said it was sung and played with great passion. Sara Jakubiak's Marie was good, in a very harsh role. Leigh Melrose was an excellent, tortured Wozzeck.
Tuesday 30 April 2013
Beyoncé - The Mrs Carter World Tour Show - The O2
For the second time this month I have gone to a concert where I have little or no points of reference. Admittedly I do know a few tunes by Beyoncé and have seen the relevant videos to know some of the dance moves.
The O2 was packed, largely with adoring female fans. The noise when 'Mrs Carter' appeared was ear splitting! And for the next 2 hours she kept us entertained - fast, heavily choreographed dancing, songs of varying tempo, fireworks, flares and even a zip wire across the O2. The latter was a clever move as it took the show to the other end of the arena and gave the people there a chance to get (a bit) closer to their idol.
I enjoyed the faster, up-tempo stuff more than the ballad-y bits. She can move, she makes her dancers work hard too. And the band was very tight. All female, something I haven't seen since Prince, many years ago!
The O2 was packed, largely with adoring female fans. The noise when 'Mrs Carter' appeared was ear splitting! And for the next 2 hours she kept us entertained - fast, heavily choreographed dancing, songs of varying tempo, fireworks, flares and even a zip wire across the O2. The latter was a clever move as it took the show to the other end of the arena and gave the people there a chance to get (a bit) closer to their idol.
I enjoyed the faster, up-tempo stuff more than the ballad-y bits. She can move, she makes her dancers work hard too. And the band was very tight. All female, something I haven't seen since Prince, many years ago!
A Hawk & A Hacksaw at The Lexington Kings Cross
Let no-one say I don't try new things when the chance arises......my friend Val had a spare ticket recently for A Hawk & A Hacksaw at the Lexington in Kings Cross so I went along.
A duo, rather than a band - comprising Jeremy Barnes and Heather Trost. Jeremy mainly plays the accordion and drum (as well as an intriguing Eastern European stringed instrument, you can tell I am no expert). Heather plays violin - and a cracking violinist she is too.
The music is very jolly and you want to clap along to most of it. It has the feeling of party music for parts of Europe steeped in a folk tradition. It does however become a tad repetitive. I felt that I had had enough when they finished the set - playing amongst the crowd in front of the stage.
<http://ahawkandahacksaw.net>
A duo, rather than a band - comprising Jeremy Barnes and Heather Trost. Jeremy mainly plays the accordion and drum (as well as an intriguing Eastern European stringed instrument, you can tell I am no expert). Heather plays violin - and a cracking violinist she is too.
The music is very jolly and you want to clap along to most of it. It has the feeling of party music for parts of Europe steeped in a folk tradition. It does however become a tad repetitive. I felt that I had had enough when they finished the set - playing amongst the crowd in front of the stage.
<http://ahawkandahacksaw.net>
Friday 12 April 2013
Rite of Spring & Petrushka - Fabulous Beast Dance Theatre - Sadlers Wells
To mark the 100th anniversay of the premiere of Stravinsky's The Rite of Spring, Sadlers Wells - <http://sadlerswells.com> - has commissioned a series of three events. The first of these opened last night - 11.4.13 with The Rite of Spring and Petrushka by the Fabulous Beast Dance Theatre - <http://http://fabulousbeast.net>
I saw Michael Keegan-Dolan's Rite when it first opened in 2009 as I love the music. At that time I was somewhat underwhelmed by the production. I don't know what it was....was it too hard to work out? Was it the masks? The strange extra characters? The dancers stripping off and putting on pretty print dresses? I don't know, I just felt that it didn't live up to the music.
This time round Keegan-Dolan seems to have tightened it up. Certainly the company is smaller. The bits that irritated me before worked much better. Perhaps I was channeling my Irish heritage more this time!
Last night was the first night of his new version of Petrushka. I haven't seen Petrushka for years and years and years. I remember it (vaguely) as being sad and full of emotions - the puppet with feelings. Keegan-Dolan's version isn't as clear as that version in its narrative, but it does fall into similar sections. Last night the 'first night gremlins' were out in force. It was hard to tell if the lighting was playing up but the house lights would come on and the stage lights would go out, then it would be the opposite. Technical blips or clever lighting design - not very clear! However, it was most certainly a blip when all the dancers froze on stage and a figure jumped on stage and introduced himself as Michael Keegan-Dolan! He said we were indeed victims of world premiere problems and that (after a quick discussion with the stage manager) could we be patient for two minutes for the problem to be resolved. After the two minutes (or so) he came back on stage, joined one of the characters at the side, sang a snippet of a folk song and cued the dancers back in.
As it was we were almost at the end of the show, we were only waiting for a ladder to appear from above for 'Petrushka' to climb and end the show.
Petrushka has more dance than theatre when compared to The Rite. Some of it is very good, some of it looks a bit clumpy and ugly. But overall, I enjoyed the evening immensely.
Both pieces were expertly played by the concert pianists by Lidija and Sanja Bizjak. The effect of four hands on one keyboard was wonderful! And they even entertained us for part of the interval and whilst the technical hiatus was overcome. What troopers!
Friday 22 March 2013
Alice's Adventures in Wonderland - The Royal Ballet
This is the second time I have seen this full length version of Alice's Adventures in Wonderland at the Royal Opera House (<http://www.roh.org.uk>).
Last night the Royal Ballet was in fine form. Strangely there were a lot of bits I remembered only vaguely or not at all! This is indeed strange as it is a non-stop visual treat. Once you enter Wonderland all Bob Crowley's designs draw you in and evoke a magical world. Shrinking doors, falling cards, roses that won't stay one colour - fabulous!
There were many cast changes last night, but that did not detract from the dancing. Sarah Lamb spent nearly the whole evening on stage as Alice, and showed no signs of fatigue. Federico Bonelli had the dual role of Jack and the Knave of Hearts - stealing tarts and Alice's heart! However, for me, the standout performance of the evening was that of Zenaida Yanowsky as the Mother/Queen of Hearts. As the mother she told her children off, organised the servants and did some flirting with her party guests.....as the Queen of Hearts she stole the show. Her fabulous, shiny red costume and ferocious facial expressions struck fear into all of us (would we lose our heads?). Her reckless, badly (!) danced solos were hilarious. Those of us old enough to remember Les Dawson and his terrible piano playing - to do that you had to be a good pianist. As a great dancer Yanowsky was able to pull of a couple of very dodgy solos.
All in all it was a huge piece. Not too much padding (a little here and there). Danced beautifully and with great verve. Christopher Wheeldon must be very happy. He has created an enduring money-spinner for the The Royal Ballet!
Last night the Royal Ballet was in fine form. Strangely there were a lot of bits I remembered only vaguely or not at all! This is indeed strange as it is a non-stop visual treat. Once you enter Wonderland all Bob Crowley's designs draw you in and evoke a magical world. Shrinking doors, falling cards, roses that won't stay one colour - fabulous!
There were many cast changes last night, but that did not detract from the dancing. Sarah Lamb spent nearly the whole evening on stage as Alice, and showed no signs of fatigue. Federico Bonelli had the dual role of Jack and the Knave of Hearts - stealing tarts and Alice's heart! However, for me, the standout performance of the evening was that of Zenaida Yanowsky as the Mother/Queen of Hearts. As the mother she told her children off, organised the servants and did some flirting with her party guests.....as the Queen of Hearts she stole the show. Her fabulous, shiny red costume and ferocious facial expressions struck fear into all of us (would we lose our heads?). Her reckless, badly (!) danced solos were hilarious. Those of us old enough to remember Les Dawson and his terrible piano playing - to do that you had to be a good pianist. As a great dancer Yanowsky was able to pull of a couple of very dodgy solos.
All in all it was a huge piece. Not too much padding (a little here and there). Danced beautifully and with great verve. Christopher Wheeldon must be very happy. He has created an enduring money-spinner for the The Royal Ballet!
Tuesday 26 February 2013
Vollmond (Full moon) Tanztheater Wuppertal
Another splendid evening at Sadlers Wells yesterday - <http://sadlerswells.com/> - Vollmond (Full Moon) by Tanztheater Wuppertal Pina Bausch (http://www.pina-bausch.de/en/pieces/vollmond.php#).
And, would you believe it, there was a lot of 'tanz'! Okay, so there were the usual props and frocks - chairs, bottles of water, glasses, but there were lots of excellent solos and thrilling group work. Sometimes it is easy to feel that Pina Bausch's work relies too heavily on 'business' and 'jokes', however Vollmond proves this not to be the case. Sadlers Wells was packed and I did not see anyone leave (unlike last week during Two Cigarettes in the Dark).
But water, there was a lot of water.....in glasses, in mineral water bottles - and then in a 'river' across the back of the stage and raining down from above. The dancers danced, swam and played in the water. They threw it at each other, they drenched the large rock that graced the stage for the entire piece. I don't think I have seen that much water on stage since the last time I saw Tap Dogs!
And, would you believe it, there was a lot of 'tanz'! Okay, so there were the usual props and frocks - chairs, bottles of water, glasses, but there were lots of excellent solos and thrilling group work. Sometimes it is easy to feel that Pina Bausch's work relies too heavily on 'business' and 'jokes', however Vollmond proves this not to be the case. Sadlers Wells was packed and I did not see anyone leave (unlike last week during Two Cigarettes in the Dark).
But water, there was a lot of water.....in glasses, in mineral water bottles - and then in a 'river' across the back of the stage and raining down from above. The dancers danced, swam and played in the water. They threw it at each other, they drenched the large rock that graced the stage for the entire piece. I don't think I have seen that much water on stage since the last time I saw Tap Dogs!
Friday 15 February 2013
Two Cigarettes in the Dark - Tanztheater Wuppertal Pina Bausch - Sadlers Wells
Last year there was a huge Pina Bausch-fest (<http://www.pina-bausch.de>) split between the Barbican and Sadlers Wells (<http://www.sadlerswells.com>) when I managed to see three very different works (a fourth was on the schedule but I did not make it in the end).
It has to be said, it is very difficult to go to something created by Pina Bausch if you haven't been before....and many people won't go again. Indeed I took a friend last year and he left at the interval. Last night four people behind me did not come back after the interval (and overhearing their conversation, they clearly had no idea what they were coming to see!) and (rudely) during the second half I noticed at least four people leaving.
All the trademarks were there - monotony, alienation, nudity, smoking, water, strangeness of all sorts! You either have to like it or just stay away.
I did miss the massed rhythmic section that has appeared in other works to great effect, there was one towards the end of the second half where couples 'danced' around the stage sitting on the floor. Must have been very uncomfortable for the dancers. The final danced piece to the song - Two Cigarettes in the Dark - also added some of the repetition and group dancing lacking in the first half. I am sure that the spreading of hay and the dumping of coal left most people wondering what was going on! Me too, nevertheless, I enjoyed it!
Looking forward to the next one (coming up very soon!).
It has to be said, it is very difficult to go to something created by Pina Bausch if you haven't been before....and many people won't go again. Indeed I took a friend last year and he left at the interval. Last night four people behind me did not come back after the interval (and overhearing their conversation, they clearly had no idea what they were coming to see!) and (rudely) during the second half I noticed at least four people leaving.
All the trademarks were there - monotony, alienation, nudity, smoking, water, strangeness of all sorts! You either have to like it or just stay away.
I did miss the massed rhythmic section that has appeared in other works to great effect, there was one towards the end of the second half where couples 'danced' around the stage sitting on the floor. Must have been very uncomfortable for the dancers. The final danced piece to the song - Two Cigarettes in the Dark - also added some of the repetition and group dancing lacking in the first half. I am sure that the spreading of hay and the dumping of coal left most people wondering what was going on! Me too, nevertheless, I enjoyed it!
Looking forward to the next one (coming up very soon!).
Wednesday 13 February 2013
La Traviata - English National Opera 12.2.13
I must say I approached ENO's new version of La Traviata (<http://www.eno.org>) with much trepidation. I had read about the fact it had no interval, that there were some cuts and that the staging was very minimal.
Perhaps it is indicative of the current financial situation at ENO that the staging was so simple - a chair, a pile of books and lots and lots of red curtains, but somehow it worked in a funny sort of way. Of course we miss the opulence of earlier productions, but let's face it, there are some cracking tunes in La Traviata!
Director Peter Knowitschny managed to make it all very entertaining - even without the gypsy dancers. My biggest gripe was bringing on Alfredo's sister to be used as a bargaining tool by his father - and having her as a small child. This seemed at odds with what was being sung.....we are led to believe that she won't be able to marry if Alfredo carries on bringing shame to the family through his liaison with Violetta. In a way it seemed very creepy! How long was this child going to be betrothed?
Corinne Winters was an excellent Violetta. She sang well and looked great.
Ben Johnson's Alfredo also sang well. I'm not sure why he had to be dressed totally at odds with the party outfits of everyone else.
Giorgio Germont, Alfredo's father was capably, if somewhat boomingly, sung by Anthony Michaels-Moore.
As usual, the ENO chorus added to the whole production and would be sadly missed if the current financial crisis brings back the worrying suggestion that it needs to be cut (as happened last time the company was having money problems!).
Perhaps it is indicative of the current financial situation at ENO that the staging was so simple - a chair, a pile of books and lots and lots of red curtains, but somehow it worked in a funny sort of way. Of course we miss the opulence of earlier productions, but let's face it, there are some cracking tunes in La Traviata!
Director Peter Knowitschny managed to make it all very entertaining - even without the gypsy dancers. My biggest gripe was bringing on Alfredo's sister to be used as a bargaining tool by his father - and having her as a small child. This seemed at odds with what was being sung.....we are led to believe that she won't be able to marry if Alfredo carries on bringing shame to the family through his liaison with Violetta. In a way it seemed very creepy! How long was this child going to be betrothed?
Corinne Winters was an excellent Violetta. She sang well and looked great.
Ben Johnson's Alfredo also sang well. I'm not sure why he had to be dressed totally at odds with the party outfits of everyone else.
Giorgio Germont, Alfredo's father was capably, if somewhat boomingly, sung by Anthony Michaels-Moore.
As usual, the ENO chorus added to the whole production and would be sadly missed if the current financial crisis brings back the worrying suggestion that it needs to be cut (as happened last time the company was having money problems!).
Wednesday 6 February 2013
Tatyana - Companhia de Dança Deborah Colker - Barbican 5.2.13
Based on the Pushkin novel, Eugene Onegin, Tatyana introduces another character - Pushkin himself. This seems contrived and unnecessary. The Pushkin character doesn't really help or drive the narrative, but it does give Colker a chance to appear herself.
At the start and for chunks of Act 1, I wasn't very engaged. I found some of her language odd and unattractive. Having the main characters danced by a number of dancers isn't new (Matthew Bourne did in Play without words) and sometimes it makes things messy. Although some of the pieces with the whole company did look good.
Act 2 works better. The dancing is more focused and the large 'tree' which dominates the stage in Act 1 has gone. There are some quite dramatic lifts and throws in Act 2 which makes me (slightly) pleased that I did not give up after Act 1!
Links
<http://www.barbican.org.uk>
<http://www.ciadeborahcolker.com.br>
At the start and for chunks of Act 1, I wasn't very engaged. I found some of her language odd and unattractive. Having the main characters danced by a number of dancers isn't new (Matthew Bourne did in Play without words) and sometimes it makes things messy. Although some of the pieces with the whole company did look good.
Act 2 works better. The dancing is more focused and the large 'tree' which dominates the stage in Act 1 has gone. There are some quite dramatic lifts and throws in Act 2 which makes me (slightly) pleased that I did not give up after Act 1!
Links
<http://www.barbican.org.uk>
<http://www.ciadeborahcolker.com.br>
Thursday 31 January 2013
The Mikado - English National Opera
It's a long time since I have seen Jonathan Miller's Mikado at English National Opera. <http://www.eno.org>
Last night was a Christmas present from a very good friend, and what a treat it was. The years have treated the production well - it doesn't look tired at all. And the enthusiasm of the singers and dancers is undiminished!
Richard Suart's up to the minute 'little list' from Ko-Ko was very funny and very sharp!
It is a great production and worthy of being kept for many a long year!
Last night was a Christmas present from a very good friend, and what a treat it was. The years have treated the production well - it doesn't look tired at all. And the enthusiasm of the singers and dancers is undiminished!
Richard Suart's up to the minute 'little list' from Ko-Ko was very funny and very sharp!
It is a great production and worthy of being kept for many a long year!
Tuesday 22 January 2013
The Minotaur (The Royal Opera) 21.1.13
My experience of Harrison Birtwistle is limited to seeing Gawain & the Green Knight a few years ago. I was surprised how 'musical' it all was, having been told by friends that it would be difficult and not much fun. Despite a technical fault which meant an unexpected break (and two characters suspended above the stage) I thoroughly enjoyed it.
So, when the Royal Opera House brought back The Minotaur it seemed that I really had to go and see it.
The staging is great - Alison Chitty evokes a labyrinth and the island of Crete simply and effectively.
It isn't an easy piece - some of the music is very loud and harsh, some of the singing goes well into the realms of screaming, nevertheless it is a voyage worth taking.
John Tomlinson as the Minotaur was raging, poignant, terrifying.
Christine Rice as Ariadne takes us through the back story and so helps us understand what is going on and why. And she sings the role beautifully.
Johan Reuter, as Theseus, completes the main characters. Wonderfully sung.
The violence and 'noise' did not go down well with some of the audience near me.....surely you don't go to something like this without knowing a bit about the story or the production?
<http://www.roh.org.uk>
So, when the Royal Opera House brought back The Minotaur it seemed that I really had to go and see it.
The staging is great - Alison Chitty evokes a labyrinth and the island of Crete simply and effectively.
It isn't an easy piece - some of the music is very loud and harsh, some of the singing goes well into the realms of screaming, nevertheless it is a voyage worth taking.
John Tomlinson as the Minotaur was raging, poignant, terrifying.
Christine Rice as Ariadne takes us through the back story and so helps us understand what is going on and why. And she sings the role beautifully.
Johan Reuter, as Theseus, completes the main characters. Wonderfully sung.
The violence and 'noise' did not go down well with some of the audience near me.....surely you don't go to something like this without knowing a bit about the story or the production?
<http://www.roh.org.uk>
The Wind in the Willows (Royal Opera House 3.1.13)
It is a few years since I have seen Will Tuckett's marvellous interpretation of The Wind in the Willows.
Inventive dance moves, wonderfully emotive acting from the company, splendid sets and costumes - a wonderful experience for children (of any age, including me!). The snow scene was better than ever (the poor child in the row in front of me ended up like a snowman!) - still truly magical.
Inventive dance moves, wonderfully emotive acting from the company, splendid sets and costumes - a wonderful experience for children (of any age, including me!). The snow scene was better than ever (the poor child in the row in front of me ended up like a snowman!) - still truly magical.
Batsheva Ensemble 21.11.12
Another new company. This time it was a collection of pieces called Deca Dance drawn from work by the choreographer Ohad Naharin. These young dancers were very enthusiastic and energetic. The whole thing was very exciting and entertaining.
Less entertaining were the ant-Israeli demonstrations outside the theatre and inside the auditorium. Still, it gave the dancers (who carried on regardless) the first ovation of the night.
My particular favourite was the final section with the company sitting on chairs in a semi circle round the stage. As the music built and moves and action became more frantic and climactic.
I hope there is a return visit on the cards soon!
Less entertaining were the ant-Israeli demonstrations outside the theatre and inside the auditorium. Still, it gave the dancers (who carried on regardless) the first ovation of the night.
My particular favourite was the final section with the company sitting on chairs in a semi circle round the stage. As the music built and moves and action became more frantic and climactic.
I hope there is a return visit on the cards soon!
Cedar Lake Contemporary Ballet (11.10.12)
To keep some sense of a timeline I am adding a couple of old reviews first!
This is for Cedar Lake in October last year: <http://cedarlakedance.com/>
Overall I thought Cedar Lake pretty good for a company I had never seen before. Interesting group of dancers – mix of shapes, sizes, backgrounds.
Violet Kid – very Hofesh Schecter. A lot like Political Mother, but that’s not a bad thing as I loved that! Less aggressive visually and musically. Still the same sort of costuming and socks! What is it with the socks?
Tuplet – Alexander Ekman. I’m not a great fan of humour in dance pieces so we didn’t get off to a great start. Still there was some interesting stuff. Wouldn’t write the whole thing off.
Grace Engine – Crystal Pite. More socks! Stark staging. Industrial soundtrack. Quite dark, violent. Some of the moves aren’t pretty but some are innovative and interesting.
This is for Cedar Lake in October last year: <http://cedarlakedance.com/>
Overall I thought Cedar Lake pretty good for a company I had never seen before. Interesting group of dancers – mix of shapes, sizes, backgrounds.
Violet Kid – very Hofesh Schecter. A lot like Political Mother, but that’s not a bad thing as I loved that! Less aggressive visually and musically. Still the same sort of costuming and socks! What is it with the socks?
Tuplet – Alexander Ekman. I’m not a great fan of humour in dance pieces so we didn’t get off to a great start. Still there was some interesting stuff. Wouldn’t write the whole thing off.
Grace Engine – Crystal Pite. More socks! Stark staging. Industrial soundtrack. Quite dark, violent. Some of the moves aren’t pretty but some are innovative and interesting.
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