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Posts Tagged ‘Baz Luhrmann’

Baz Luhrmann’s stage to screen to stage show gets it’s UK premiere in Leeds in a new adaptation by Terry Johnson directed and choreographed by Drew McOnie. I caught the Australian production in Melbourne 21 months ago and couldn’t resist a trip north to see it on its last day. A very good decision!

Scott Hastings has been groomed as a ballroom dancer since childhood by his mum Shirley and her dancing school partner Les Kendall. They have their eyes on the Pan-Pacific Grand Prix Championship, but his partner Lisa deserts him over his insistence on freestyling. His mum, Les and Federation president Barry Fife are determined to reign him back in, but he’s secretly working with frumpy Fran. She introduces him to her Spanish family, who inject some true Latin spirit into his pasodoble. Barry lies to convince Scott to stick to rules. He relents for a while, until he learns the truth and dances with Fran after all. Crooked Barry gets found out and Scott & Fran triumph and fall in love – and ballroom dancing is liberated from its straight-jacket. It’s a tale of a free spirit seeking to break out of a framework of rules which stifle creativity.

The score is a mash-up of original songs and existing numbers and I’m not sure this is entirely satisfactory. It feels like a bit of a rag-bag and I can’t help wondering if a fully original score might feel more cohesive and serve the show better. I thought this production brought out more comedy which, given it has its tongue firmly in its cheek, is a good thing. Soutra Gilmour’s excellent design gives the Quarry Theatre a stage with a revolving metal frame incorporating a proscenium, which actors can climb and occupy. It moves easily from the dance studio to the roof, Fran’s family home and competition venues. Catherine Martin was also responsible for the costumes for the film and the Australian production and they are sensational – a riot of colour and glitter beyond your wildest imagination.

It’s hard to know where to start with the performances; the casting is faultless. Fernando Mira reprises his wonderful Australian performance as Fran’s dad, but the rest are fresh to the UK production. American Sam Lips and our own Gemma Sutton are terrific romantic leads, the former taking dancing honours and the latter vocal honours. Richard Dempsey is a delightfully camp MC, J J Silvers. Tamsin Carroll and Richard Grieve are excellent as Shirley and Les, with Stephen Matthews great as the virtually mute, deadpan dad (until he turns). Julius D’Silva is as oily as they get with his terrific turn as bent dancing federation ‘policeman’ Barry. Eve Polycarpou gives us another of her delightful cameos as Fran’s gran.

It’s a superb feel-good show and this betters the Australian production. It’s West End ready, though it appears to be heading for Toronto. I was very glad I made the trip north.

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Contemporary Music

Eliza Carthy & Jim Moray’s double celebration at Union Chapel could have been so good. My favourite venue, a great 13-piece band & good song selection from Carthy. Sadly, when the whole band played, the sound just wasn’t up to it. Her voice and fiddle were often buried, I couldn’t make out most of the lyrics and it was hard to pick out individual instrumentation; in short, a shit mix. They seemed surprised and upset when they had to abandon two or three songs at the end because of the Union’s curfew; something that must have been known to the promoter (Barbican Centre) & could have been easily overcome by shortening the 30 min interval. A lost opportunity.

Classical Music

I’m not sure ‘staging’ Britten’s Canticles added that much, but it was very compelling and atmospheric. Two used dance, one acted out a scene, one had a giant film on the theatre’s brick back wall and one just used light. The music was however gorgeous, with Ian Bostridge singing all five, a stunning duet with Iestyn Davies in one and a trio, adding Benedict Nelson, in another.

Opera

Ballo, Opera Up Close’s latest offering, moves Verdi’s A Masked Ball from an 18th century Swedish court to a 21st century Swedish retail outlet on the North Circular. It’s heavily edited and the whole score is played on one piano, but most of the singing is good and it works, though it tries a bit too hard to be cheeky and irreverent and gets close to sending up the opera. Fun, though.

Dance

I much admired the Royal Ballet‘s Hansel & Gretel. Set in 50’s US – think Hitchcock’s Psycho – with a superb design by Jon Bausor, atmospheric music /soundscape by Dan Jones, original choreography by Liam Scarlett, great characterisations and excellent performances by all six dancers. You wouldn’t want to take a kid to this, though, as it’s as dark as they come with themes of abduction and hints at pedophilia. My one reservation was that there wasn’t a lot of story for 100 minutes of dance-drama.

I’m very fond of David Nixon’s unique dance dramas for Northern Ballet and The Great Gatsby is one of the best. There’s a lot of story to get over without words and the programme synopsis was essential. It looks gorgeous in Jerome Kaplan’s simple but elegant design. I loved the Richard Rodney Bennett compilation which included jazz, songs and period pieces like The Charleston. It was beautifully choreographed, including party dances, romantic moments, mysterious figures and fights. Great stuff.

Film

How disappointing Pedro Almodovar’s I’m So Excited is; such a slight piece. Carry on Flying in Spanish! It had some funny moments, enough for an episode of a Sit Com, but nowhere near enough to sustain a 90 minute feature. After The Skin I Live In, this is the second disappointment in a row from him.

In contrast, the new Star Trek film turns out to be the best yet. Benedict Cumberbatch is a great baddie, Simon Pegg an excellent comic Scottie, the 3D is exceptional and the addition of humorous touches works well. The best BIG action film I’ve seen in some time.

Exactly one week after being impressed by the ballet of The Great Gatsby, I was disappointed by the film. It should have been the perfect choice for not-very-prolific Baz Luhrmann (5 films in 21 years!), but apart from the performances it was a big let-down. Achingly slow, design that looked like CGI and dreadful 3D.

Art

Souzou: Outsider Art from Japan at the Wellcome Collection was a fascinating peep into the minds of those within social facilities in Japan; untrained artists using art as therapy. From paintings to drawings to sculpture to textile work, sometimes obsessive, often original and always skilled, it’s a rich collection that should be seen – and very different from a similar exhibition I saw in Milwaukee last year.

Another good and varied selection for this year’s Deutshe Borse Photography Prize on show at the Photographer’s Gallery – B&W pictures of deprivation, images of war set to Brecht’s words, voyeuristic views of prostitutes plying their trade on roadsides and a surreal review of the aborted Zambian space mission!

It’s always a good idea to add an hour to a Chichester theatre trip as it gives you the excuse to visit the Palant House Gallery which has a fine collection of 20th century British art. The bonus last time was Frida Kahlo & Diego Riviera; this time it was a comprehensive retrospective of Ralph Kitaj, the hospital drawings of Barbara Hepworth (which reminded me of Henry Moore’s war drawings) and a room of Paul Nash drawings & memorabilia. Lovely combination in a lovely space.

Treasures of the Royal Courts at the V&A was another of those manufactured-to-get-an-admission-fee shows museums have become fond of since they went free (by government endowment!). Much of it was from their own permanent collection, which you can see free at any time,  and the Russian connection was a weak one. Boo!

I’m very fond of the documentary B&W photos of Brazilian Sebastiao Salgado and his marathon tour of the remotest parts of the world to record nature is impressive. Genesis at the Natural History Museum though was one project where he really should have used colour, as it becomes monotonous and fails to record the magic of the places he visited. That said, I’m glad I went.

Killing time at the NT, I discovered a lovely exhibition of Norman Parkinson‘s iconic photographs of fashion and famous people. Highly posed and therefore unnatural, but somehow fresh and lovely. In the same building, there was another fascinating exhibition of textile artworks by Lalla Ward called Vanishing Act; in effect, animals and insects camouflaged and hiding in the artworks!

Brighton is a long way to go for a one-hour performance, so off I went in the afternoon before for a personally selected self-guided art tour of seven installations / exhibitions. The best was Finnish artist Kaarina Kaikkonen‘s clothing sculpture at Fabrica (c.400 shirts in a deconsecrated church!) and her ‘dressing’ of the clock tower. I also liked Emma Critchley‘s video of herself swimming, shown inside a container on the seafront!  Mariele Neudeker‘s work spanned three spaces, but only some impressed (an iceberg in a Regency house!), ten c.4 min video’s of men moving was too much to do anything other than ‘sample’ and the shadow of a drone painted on Madeira Drive was just making a point.

A double treat at the British Museum. The Pompeii & Herculaneum exhibition is stuffed full of wonderfully preserved, extraordinary things; more domestic than stately. It’s beautifully curated, laid out like the homes the items were found in. The events which led to their burial and preservation were well covered and the human stories moved you. You have to suffer lots of kids obsessed with finding anything erotic, but it’s worth it! It was pensioner-rage at Ice Age Art, fighting to get a glimpse at the tiny 20,000-40,000 year-old items. When you did, you were richly rewarded but this time the curation made it harder, not easier.

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