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Posts Tagged ‘Elizabeth Watts’

Film

January is a bit of a theatrical black hole and with film releases timed to secure awards, it’s always a bumper film month!

Once you get through the dull first third, the rest of The Hobbit is great. No-one can create fantasy worlds and magical creatures like Peter Jackson and these seemed even better than in The Lord of the Rings. It’s really only a tale of a journey, but the images and filming are so good I can forgive that; though whether I’ll still be saying that after Episodes II and III I’m not sure – he does appear to be spinning out a slight tale somewhat!

The Life of Pi is a beautifully made film, and the best use of 3D I’ve seen, but it didn’t really engage me as much as I’d thought it would, largely because I couldn’t buy into the story. I’ve never read the book, so I’m not sure if that’s part of it. Beautiful, but a bit dull?

Soon after Les Miserables started, I was unhappy with the poor quality of much of the solo vocals; this is a musical, after all. To its credit, it won me over and by the end I completely got the point that the focus on acting the roles rather than singing them served the drama better, at least in a cinematic version. The only other major reservation remained though – Russell Crow was badly miscast as Javert, because he can’t act or sing, and this almost ruined the film. It’s an odd thing too, as the casting was otherwise faultless. Hugh Jackman and Eddie Redmayne were both simply terrific, Ann Hathaway a revelation, Helena Bonham-Carter & Sacha Baron Cohen surprisingly effective as the Thenadiers’ (the former could have been in civies, such is her normal style!) and the kids who played the young Cosette and Gavroche stunning (the latter could show Crow a thing or two about both acting and singing!).

I eventually caught up with Silver Linings Playbook and loved it. Such a brave, clever yet entertaining depiction of mental health, brilliantly acted and completely compelling. It deserves all the BAFTA & Oscar nominations.

Another catch-up proved to be just as rewarding – I loved Argo too. I knew nothing about this true story of an aspect of the Iranian hostage siege and found its telling thrilling, without being in any way earnest or heavy. In fact, there was much humour, particularly the brilliant double act between Alan Arkin and John Goodman.

Around a third of the way through What Richard Did, I was thinking ‘why has Time Out advised me to see this?’ – it seemed to be nothing more than a bunch of middle-class Irish kids partying. Then a tragedy takes it in a completely different direction as we watch Richard’s moral dilemma unfold. In the end I think I admired it, and it really made me think, but I can’t really say I enjoyed it.

Contemporary Music

I’ve loved watching Mari Wilson evolve from pop through musicals & jazz to cabaret and the Hippodrome’s Matcham Room was a great venue for her to showcase her terrific covers album, with a great trio of backing musicians. Being able to have a quick wander in the casino was a bonus!

Classical Music

The LSO’s pairing of Elgar’s Cello Concerto with Mozart’s Requiem conducted by Sir Colin Davies was enticing, but ultimately underwhelming. This may have something to do with Sir Colin’s withdrawal through ill-health, possibly even more to do with the sound from my poor seat (though not cheap at £25). The chorus and orchestra were on fine form and three of the four soloists were good (particularly soprano Elizabeth Watts), but neither piece came alive like both should and have in the past.

Opera

My second visit to MetLive (NYC’s Metropolitan Opera in the cinema) was even better than the first. I’m not mad keen on bel canto operas, but David McVicar’s production of Donizetti’s Maria Stuarda, with great design & costumes from John Macfarlane, was superb.The five principals were all wonderful, with favourite Joyce DiDonato soaring above them all. I’m not sure the IMAX screen added anything, so I think I’ll revert to the good old Clapham Picture House for the next one.

Dance

Matthew Bourne’s Sleeping Beauty is his best work since the iconic Swan Lake (though I’ve enjoyed everything in between). It’s a masterpiece of re-invention taking us from Aurora’s birth in 1890 to her coming of age (and falling asleep) in 1911, waking up 100 years later in 2011. Les Brotherston’s design and costumes are brilliant, there’s a superb puppet baby and the dancing is always inventive. I loved every minute and can’t wait to see it again.

Cabaret

It was the involvement of Richard Thomas, co-writer of one of the best musicals (Jerry Springer – The Opera, which isn’t) and one of the best operas (Anna Nicole, which is) of the last decade, which led me to the antidote to Christmas shows, Merrie Hell. The two-hander, with David Hoyle in drag, is largely made up of songs which range from cheeky & naughty to rude & shocking, with semi-improvised dialogue in-between involving selected members of the audience. Tough it took a short while to settle, I found it refreshing fun and something very different, particularly at this time of year.

Art

I caught the Cecil Beaton War Photographs exhibition at the Imperial War Museum on its last day and was very glad I did. For a man largely known for highly staged fashion, royalty and celebrity photography, it was a revelation. Putting some of this better known work (plus theatre, ballet and opera designs) alongside the extraordinary wartime photos taken around the world showed both his range and his talent and, for me at least, that he was no posh toff one-trick-pony.

Anthony Gormley’s exhibition at White Cube Bermondsey is a departure from his obsession with bodies – a lot of rectangles and squares – which I found dull until the final room where, after signing a disclaimer(!), you enter a giant steel structure somewhat like a maze. Overall though, I’d rather he returned to his obsession as the work is a whole lot more engaging.

This year’s Bloomberg New Contemporaries at the ICA were dreadful. There is nothing more to be said! Richard Hamilton’s late works round the corner and straight after at the National Gallery were better, though even a one-room exhibition can be monotonous when all the pictures seem to be nudes posing in unlikely places doing unlikely things like hoovering!

Other

A couple of ‘visits’ this month, the first Hidden Barbican – a backstage tour that took in the stage, fly tower, orchestra pit, dressing and rehearsal rooms. For a theatre obsessive like me, a real treat.

Back in The City for another livery company which I’d previously only visited for a concert in their hall; Stationer’s Hall. The tour was full of lovely tales (stationers are so-called because their City positions were, well, stationary!) through lovely rooms with particularly good stained glass including a 19th century window commemorating Shakespeare.

 

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