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Posts Tagged ‘Craig Lucas’

Composer Adam Guettel has had an erratic musical theatre career. He began with Floyd Collins and produced too more in quick succession, then five years later he came up with this Broadway success, but nothing for fourteen years (though he appears to have a few in the pipeline), the time its taken for the show to reach London, and in a new big scale short run rather than the more typical West End transfer.

It criss-crosses the musical theatre line between opera and musical, with a lush score that requires, and here gets, a mix of opera trained and theatre trained singers and a full 40-piece orchestra. The musical standards are sky high, with the amplification working for them rather than against. With the orchestra of Opera North behind and above the relatively small playing area, it’s surprisingly intimate (well, from the front of the stalls at least) given we’re in the Royal Festival Hall.

Based on Elizabeth Spencer’s 1960 novella, which was made into a film just a couple of years later, it concerns a visit to Florence by wealthy American Margaret Johnson and her daughter Clara. Margaret is reliving part of her past and Clara is being introduced to the joys of Italy. She falls in love with Fabrizio, which forces Margaret to confront the issue of her mental health; she’s not had full capacity since an accident in childhood. Fabrizio’s family are also phased by the age difference; Clara is some six years older than Fabrizio.

Craig Lucas’ book tells the story with clarity, leaving the score to deal with the emotional arc of the piece. They’ve chosen to leave the partial Italian dialogue and lyrics untranslated, with brings an authenticity without losing much understanding. Robert Jones’ very Italianate design adds to this. Daniel Evans delicate staging emphasises the period and plays up the romance. You rarely hear a full orchestra like this at a staged musical these days and the sound proves glorious.

The trump card though is the casting, with Renee Fleming incandescent as Margaret, singing beautifully. Alex Jennings is a quintessentially English gentleman, yet here he transforms himself into un perfetto gentiluomo Italiano, aided by natty suits, cool specs and silver hair! Rob Houchen is a real find as romantic lead Fabrizio, with a simply gorgeous voice. Dove Cameron, a Disney regular with zillions of Instagram followers (who I suspect is cast for bums on seats) was indisposed, which created an opportunity for understudy Molly Lynch to steal the show with a performance of great charm and vulnerability and a heavenly voice. The supporting cast is uniformly excellent.

They seem to be struggling to fill seats – the balcony was closed – largely because of the ridiculous pricing, I suspect, but I hope the reviews help fill them as it deserves to succeed, though the producers need to learn that lowering the prices can actually increase their income! Despite the cost, I was very pleased I went.

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This musical, based on the 2001 French romantic comedy film, had a short run on Broadway two years ago and has now been reworked for a UK tour starting at the Watermill in Newbury. It’s hard to imagine a less suitable show for Broadway or a more suitable one for the Watermill. It’s a delight.

We follow Amelie from her childhood, home schooled, losing her mother in a tragic accident – crushed by a man committing suicide by jumping off Notre-Dame! – eventually leaving home at 18 to work in a Paris cafe, a place as eccentric as her home. She’s very much in her own world, living her fantasies as well as her life. Her most significant fantasy happens when Princess Diana dies, which takes us to Elton John at the funeral (a superb turn by Cadlan McCarthy)!

She devotes her life to schemes to improves the lives of others, including reuniting someone with their childhood memorabilia, persuading her father to fulfil his ambition to travel the world (inspired by the travels of his garden gnome, containing the ashes of his wife!), matchmaking between a co-worker and a customer and preventing the ill-treatment of a greengrocer’s assistant, whilst the artist she has befriended sets her off in the pursuit of love, on a trail involving photo booths.

Daniel Messe’s score is gorgeous, with a real French feel. Craig Lucas’ book and Messe and Nathan Tysen’s lyrics tell the quintessentially French story of love, kindness and loneliness beautifully. Madeleine Girling’s design uses wrought iron and faded posters to conjure up Paris, with Amelie’s charming apartment on a second level.

The Watermill is the home of actor-musician shows and I’ve seen many there, but the musical standards for this one are sky high. It’s a terrific ensemble of twelve, led by Audrey Brisson’s outstanding Amelie. She has an other-worldly quality, wistful, bucketloads of charm and the purest of voices. Michael Fentiman’s staging is completely in tune with the material.

One of the best musicals we’ve ever seen at the Watermill, and that’s a big compliment, one of the best new musicals for a while and a must-see for any lover of musical theatre.

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Opera & Classical Music

I really liked Nico Muhly & Craig Lucas’ Two Boys. It’s an original subject for opera – internet chatrooms – and it unfolds like a detective story with great pace and narrative drive. I loved the chorus with laptops representing chatroom activity, with projections adding much to the impact. The music creates an atmosphere of suspense for the story-telling and is much more accessible on first hearing than most modern operas. It’s a fine cast, with Susan Bickley shining as the detective. One of ENO’s more successful ventures into modern opera.

The Consul was the first Menotti opera I saw, years ago in Stockholm when I was there for an opera festival I didn’t know they had. A few years later, I was in the attic room of a freemasons hall in Edinburgh late at night (as one does at the fringe!) for another of his short operas and in the tiny audience was Menotti himself, now retired to a castle in Scotland. It has now been re-named The Secret Consul and presented as a site-specific opera in the derelict Limehouse Town Hall. Sadly, it only partly works. Despite the fact the audience was exactly the same size as the cast, they weren’t able to marshal us unobtrusively without confusing and / or irritating us. Apart from the first scene on the stairs, the opera takes place in different parts of the same large room, so you’re just changing direction (most seated) not promenading. The acoustic echo made it hard to understand the English libretto, though you never fully understand a libretto even when it’s in English, so it was difficult to know exactly what was going on. The leads were good, though, and the quartet – piano, cello, violin and clarinet – played the score well.

Bampton Classical Opera is an annual affair showcasing one opera in the garden of a house in Oxfordshire. It punches way above it’s weight, with very good production values and excellent young professional singers. They’ve been invited to Buxton Opera festival this year and will also perform the opera in concert in London at St John’s Smith Square. This year’s offering is a late 18th century light comedy, The Italian Girl in London, by Cimarosa, directed by Jeremy Gray. Cimarosa is best known for The Secret Marriage (he apparently wrote 70 operas, but that’s the only one now produced regularly). It’s the usual fare of this period, a romantic comedy with an implausible plot and a happy ending, with the addition on this occasion of a preposterous yarn about becoming invisible by holding a ‘bloodstone’, but well suited to the venue and occasion. Nigel Hook has managed to create a delightful small London hotel with bar and, most importantly, a food hatch, and the musical standards are very high. There is a small chamber orchestra conducted by Thomas Blunt and five well-matched soloists. Kim Sheehan is lovely in the title role and Nicholas Merryweather gives a fine comic performance as the Italian who loves her and is looking for her but can’t recognise her in disguise as a French maid! I also liked Caryl Hughes hotel proprietor who courts English Lord (Robert Winslade). I’m not sure why we need Dutchman Sumers, but Adam Tunnicliffe sings the role well. They were all almost upstaged by the non-singing policeman, an auspicious debut from local man Martin Havelock; one to watch!

Iestyn Davies’ lunchtime recital at the Wigmore Hall was an inspired and eclectic programme from 12 composers spanning 400 years. I’m not a huge fan of the counter-tenor voice, but his is very beautiful and this concert showed his range. There were three thematic groups – nature, night and spirit – to hang this diverse collection together. A lovely hour, encoring with Purcell’s Music For A While, which was probably the best of them all.

Dance

Sylvie Guillem’s show at Sadler’s Wells was an extraordinary display of skill; she does things with the human body you don’t think are possible – and she’s 46! There was a duet with Nicolas Le Riche choreographed by William Forsyth, a solo piece choreographed by Mats Ek and a duet from Aurelie Cayla & Kenta Kojiri choreographed by Jiri Kylian. I can’t say that any of the dances meant anything to me, but the artistry had me spellbound.

Hofesh Shechter’s Political Mother at Sadler’s Wells was more like a rock concert than contemporary dance. There’s a 20-piece band on three levels like a wall at the back of the stage and the lighting is extraordinary. The dance seems more like unchoreographed people at a rave (not that I’ve ever been to one!). I’m not sure I got the war references but it was a brilliant spectacle.

Film

Bridesmaids is another of the new breed of quirky American comedies which are often laugh-out-loud funny with a fair dose of satire and good bad taste. Being American, it had its ration of sentimentality, but it was funny enough to get away with it and it’s send-up of wedding obsession was delicious.

Horrible Bosses was another and I liked it. It won’t win any prizes and I probably won’t remember it in my dotage, but it was a good laugh, helped by an outstanding cast, with Kevin Spacey giving us another fine turn.

Beginners was a bit of a slow burn, but I eventually succumbed to its thoughtfulness and quirky structure & style. Ewan McGregor’s relationship with his father Christopher Plummer was very authentic (as it was with his girlfriend and dog!). I don’t know whether it is based on a true story, but it really felt like a true story. A complete contrast to Horrible Bosses.

Harry Potter & the Deathly Hallows II was a whole lot better than Part I and quite possible the best of the series. Apart from the three main leads, yet again it’s a Who’s Who of great British actors. This one was brilliantly paced (though I was less convinced by the IMAX 3D) and I left the cinema rather sad that there would be no more. I think I shall have to work my way through the DVD’s now.

Art

Every year I say I’m impressed by the standard at the BP Portrait Award and this year is no exception. Lest you think it’s a dying art form, this years prize-winners are more than thirty years apart in age. There’s a very diverse range of styles and subjects and there was hardly a dud in this years selection.

I turned up at Whitechapel Gallery for an exhibition that had yet to open(!), so I had to make do with a small selection from the government’s art collection, some local photos from the 70’s and a re-visit to Fred Sandbach’s extraordinary string installations. The government has a huge collection of British art which moves from office to office and embassy to embassy seemingly based on the taste of the occupants. This small collection was selected by Nick Clegg, Peter Mandelson, Samantha Cameron and a few others. The most fascinating thing about it was seeing the history of one Lowry painting – everywhere it had been since it was purchased for £120, including photos of it in situ.

Whilst in Manchester for their International Festival, I went to the Art Gallery and caught a little exhibition of some terrific Grayson Perry pots with museum objects selected to sit alongside them plus a small selection of pre-Raphaelites as a preview of a bigger exhibition this autumn; but the artistic highlight was a side trip to Liverpool at see the Magritte exhibition at Tate Liverpool which is a really comprehensive collection of his work. In some ways, in terms of the impact the pictures have, more is less but it was fascinating to see such a range of work. The sculpture exhibition also on at the Tate was so-so, but a hell of a lot better than the Royal Academy one a few months back.

If Time Out hadn’t told me to go to Hauser & Wirth at 196 Piccadilly to see an art installation, and I had just popped in from the street, I really would be thinking that I was in the Piccadilly Community Centre, a space on four floors with canteen, computer room, bar, meeting rooms, charity shop, prayer room…… This was a surreal and extraordinary experience created in impeccable detail by Swiss artist Christoph Buchel! I’m still not sure if it was or it wasn’t…..

The NPG has yet another photo exhibition; this time B&W portrait photos of Hollywood stars from 1920 to 1960 called Glamour of the Gods. Some are iconic and some are quirky, but they are very compelling.

The Courtauld Gallery’s last in-depth exhibition was of one picture by Cezanne and it was a surprise treat, so I went back for a second one; this time a look at the relationship between artist Toulouse-Lautrec and dancer Jane Avril. They’ve brought together pictures and other items from 15 museums, archives & private collections in France, the US and the UK and it was another insightful treat.

The Vorticists at Tate Britain was one of those exhibitions that introduces you to a little known (well, to me anyway) art movement which seems to have had a profound influence on subsequent art and design. I’d seen the portraits of Wyndham Lewis before, but here was other work by him and his contemporaries that was new to me. It ‘s influence clearly lasted much longer than it’s 8-year life as a movement. Fascinating. Whilst there, I took the opportunity to see Mike Nelson’s Coral Reef installation – a maze of rooms with creaky doors to up the spook effect that you get lost in. I’m not entirely clear what it all means, but its huge fun!

Other

Also in Liverpool, I was privileged to get to both Lennon and McCartney’s childhood homes, now National Trust properties. I’d been to McCartney’s before but it was great to visit John’s and indeed both together, even though abandoning the audio tour at McCartney’s is in my view a mistake. You really get a sense of these young lives and to see a photo of them actually writing I Saw Her Standing There on the wall just above where they did still sent shivers up my spine. Being in John’s house is rather moving, though the signs of Ono’s control-freakery are evident. There’s a certain irony to the fact that ‘working class hero’ Lennon lived in middle class comfort whilst much maligned McCartney was squashed into a tiny council house with his mum, dad and brother. For someone for whom the Beatles are a major part of the soundtrack of my life, this was thrilling and the fact that the bus driver’s soundtrack got to Penny Lane just as we drove past it’s street sign was spooky!

A Royal Academy Friends visit to Ironmonger’s Hall (with lunch in the hall) was preceded by a short walking tour that included Paternoster Square, St Paul’s Churchyard, the rooftop views at One New Change and Postman’s Park (where unsung heroes are commemorated by ceramic plaques) and it was a treat. I do love these livery companies and even though I’ve walked this way many times before, with a City blue badge guide you always learn something new.

I visited the shell of the new Jacobean theatre at Shakespeare’s Globe’s and it inspired me as much as the Globe itself did when I first went there. It’s going to be a great indoor space for a completely different complimentary winter season. Donate now – they need £7m!

Down in Somerset visiting friends, my attempt to wrench some value from my National Trust membership took me to four properties in the south of the county – the lovely gardens at the intriguingly named Tintinhall, the even lovelier house and gardens at Lytes Cary, the rather more grand Montecute and Barrington Court for a nice lunch made from local (and mostly estate) produce. This is the first year I feel I’ve had my money’s worth!

What a busy month!

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