Feeds:
Posts
Comments

Posts Tagged ‘Matthew Bourne’

Classical Music

Another lunchtime gem at the Royal Academy of Music with their 100-strong Symphony Orchestra conducted by Marin Alsop. I’d never heard Hindemith’s Mathis der Mahler Symphony and liked it very much. It was followed by Richard Strauss’ Suite from Der Rosenkavalier which, despite the waltzes I’m not keen on, sounded gorgeous.

Contemporary Music

I wasn’t expecting musical theatre’s Cassidy Janson to do a concert without any musical theatre numbers, but her Crazy Coqs show was a combination of Carole King and her own songs from her forthcoming pop-rock album. More than a year in Beautiful has improved her voice and makes her interpretation of King songs simply superb. Her own songs are impressive too, so my reservations about the content were eventually dispelled.

Dance

It was thrilling to see Matthew Bourne’s Swan Lake again, matured over the years into a sparkling diamond of a show. It’s the most glorious combination of music, design and dance you could wish for and at the performance we attended at Sadler’s Wells was danced impeccably.

Film

A month of films based on a very diverse range of real people, with varying degrees of truth, I suspect.

The Favourite is a highly original and racy royal romp about Queen Anne, which I loved. Hatfield House looked terrific and the three leading actresses were wonderful.

Stan & Oli, about the comedy duo of course, exceeded my expectations and caught me by surprise at how much it moved me. Again, two well matched leads giving star turns and a great 50’s Britain look.

Mary Queen of Scots, was another film about British royalty, less of a romp, but still racy. Fantastic story-telling and an auspicious film debut for theatre director Josie Rourke.

Colette is another racy true story set in late 19th century France, featuring a wonderful British cast and filmed beautifully. Puzzling that it’s a British film.

Beautiful Boy was a rather harrowing story of addiction, but superbly filmed and performed. It’s rated 15 – I think it should be compulsory viewing for all teenagers above 15 in case they’re tempted to experiment with hard drugs.

Vice, about Dick Cheney, the power behind Bush Jnr’s throne it seems, doesn’t even try to be objective; it’s a partisan hatchet job, and given the lack of law suits probably mostly true. An excellent film, and Christian Bale is sensational.

Art

Night & Day was my first visit to the Fashion & Textile Museum in its new location. An exploration of the 1930’s through fashion and photographs, with a soundtrack of the likes of Cole Porter, it captured the essence of this beautiful decade, though I could have done with more photographs to go with the comprehensive display of fashion.

The Enchanted Garden at the William Morris Gallery was a one-room wonder, virtually every picture a gem. Monet, Pissarro, Burne-Jones, Stanley Spencer, Bell-Grant-Fry and of course William & May Morris. Gorgeous.

Advertisements

Read Full Post »

Dance

Matthew Bourne’s 20-year-old production of Cinderella, revived at Sadler’s Wells again after seven years, scrubbed up as fresh as ever. The Second World War setting works even better today and the expansion of Cinderella’s family with three step-brothers continues to add much. It looks gorgeous, Prokofiev’s score is one of the best ballet scores ever and the performances are thrilling, packed with detail.

Opera

The Royal Opera went walkabout to the Roundhouse for Monteverdi’s The Return of Ulysses. It’s not my favourite early opera, but it was an impressive in-the-round production, with the orchestra in a central pit revolving slowly and the stage around them revolving independently in the opposite direction! I was surprised I didn’t leave feeling giddy.

Music

Christopher Purves’ recital of ten Handel arias at Milton Court was lovely, though I’m not sure the selection is the best he could have made. The bonus was accompaniment by the ensemble Arcangelo, who also played two concerto grosso’s and two opera overtures.

The Sixteen’s concert of Purcell’s music for Charles II at Wigmore Hall was an eclectic cocktail of welcome songs, theatre songs, tavern songs and instrumental numbers. The singing and playing was of such a high quality it took my breath away.

The BBC SO’s Bernstein Total Immersion day at the Barbican was a real treat. Eleven works over three concerts in three venues, covering orchestral, jazz, chamber, choral, vocal and piano, clarinet and violin works, only two of which I’d heard before. The GSMD musicians opening concert in Milton Court was the highlight for me, though the BBC Singers came close with their short but beautiful choral concert in St Giles Cripplegate. There was also a brilliant film of his 1961 concert for young people about impressionism. The following day, at LSO St. Lukes, there was a terrific selection of Bernstein stories and anecdotes from Edward Seckerson with musical theatre songs sung by favourite Sophie-Louise Dann and played by the wonderful Jason Carr.

Film

January is always a good month for film as the best are released in the run-up to awards season, and this year is no exception.

Molly’s Game isn’t subject matter I would normally be interested in (Olympic skiing and poker!) but this was a brilliantly made film which gripped me throughout.

I was also riveted by All the Money in the World, and in particular by Christopher Plummer’s last minute takeover of Kevin Spacey’s role. It won’t do J Paul Getty’s posthumous reputation much good though!

Three Billboards Outside Ebbing Missouri lived up to every bit of the hype. Watching Martin McDonough’s transition from playwright to screenplay writer to film director / writer has been deeply rewarding.

There have been a number of films along similar lines to Darkest Hour (Dunkirk and Churchill just last year) but this differs in showing the loneliness and vulnerability of its subject. See it for Gary Oldman’s extraordinary performance, and many other fine supporting ones.

The Post is extraordinarily timely, covering press freedom based on an incident before Watergate, and I very much enjoyed the old-fashioned film making, which rather suited the material.

Art

The Soutine exhibition at the Courtauld Gallery was good, but with only 21 pictures in 2 rooms, I was glad it was a while since I’d seen their permanent collection, as this made the visit more worthwhile.

I am a bit embarrassed that I’d never heard of the Scythians before the British Museum exhibition was announced. It was fascinating, particularly lots of 2000-year-old gold animal representations. With a forthcoming trip to Kazakhstan, on the edge of where they once roamed, it was also rather timely. Also at the BM, I was surprised at how interesting Living with Gods was – religious objects from just about every faith on Earth.

At Tate Modern, not one, not two, but three fascinating exhibitions! Modigliani lived up to expectations. I so love his palette of colours and the warmth of his portraits. Ilya & Emilia Kabakov are artists I’ve never heard of, so it was a treat to immerse myself in their retrospective of excellent paintings and installations. Red Star Over Russia was a fascinating visual history of Communist Russia, or should I say USSR, with lots of those rousing posters which define the period. Treatsville Bankside.

Over at White Cube Bermondsey, a ginormous Gilbert & George show called The Beard Pictures & Their Fuckosophy paired walls and walls of phrases all containing the word Fuck, with walls and walls of their giant, loud, symmetrical, in-you-face pictures. Part of me finds it all too samey and juvenile, but I keep going back for more. A gold star this time for a signed catalogue at £10!

Read Full Post »

The Rest of 2016

I spent a third of the last third of the year out of the country, so my monthly round-up’s for this period have merged into one mega-round-up of the two-thirds of the four months I was here!

Opera

Opera Rara’s concert performance of Rossini’s rare Semiramide, the last Bel Canto opera, at the Proms was a real highlight. It’s a long work, four hours with interval, in truth too long, but it contains some of Rossini’s best music (and I’m not even a fan!). The OAE, Opera Rara Chorus and a world class set of soloists under Sir Mark Elder gave it their all, with ovations during let alone at the end. Brilliant.

I was out of the country when I would have made my usual trip to Cardiff for WNO’s autumn season, so I went to Southampton to catch their UK premiere of Andre Tchaikowsky’s The Merchant of Venice when I got home and I was very glad I did. It’s a fine adaptation of Shakespeare’s play, with a particularly dramatic court scene, and it was beautifully sung and played, with a terrific performance by American Lester Lynch as Shylock.

I’m not sure I’ve ever been to something that sounded so beautiful but looked so ugly. Handel’s Oreste, a pasticcio opera (a compilation of tunes from elsewhere, in Handel’s case his own works) which the Royal Opera staged at Wilton’s Music Hall. The singing and playing of the Jette Parker Young Artists and Southbank Sinfonia were stunning, but the production was awful. One of those occasions when it’s best to shut your eyes.

Classical Music

Another delightful lunchtime Prom at Cadogan Hall, this time counter-tenor Iestyn Davies and soprano Carolyn Sampson, both of whom are terrific soloists, but together make a heavenly sound. I was less keen on the six Mendelssohn songs than the six Quilter’s and even more so the glorious six Purcell pieces. It was a joyful, uplifting hour.

Juditha triumphans is a rare opera / oratorio by Vivaldi that was brilliantly performed at the Barbican by the Venice Baroque Orchestra and a superb quintet of female singers including Magdalena Kozena as Juditha. It took a while to take off, but it then soared, and the second half was simply stunning.

Visiting the LSO Steve Reich at 80 concert at the Barbican was a bit of a punt which really paid off. The three pieces added up to a feast of modernist choral / orchestral fusions. The composer was present and received an extraordinary ovation from a surprisingly full house.

Berlioz Requiem is on a huge scale, so the Royal Albert Hall was the perfect venue, and it was Remembrance Sunday, so the perfect day too. The BBC Symphony Orchestra, with ten timpanists and an enormous brass section of 50 or 60, occasionally drowned out all three choirs (!) but it was otherwise a thrilling ride.

Joyce DiDonato‘s latest recital with the wonderful baroque ensemble Il Pomo d’Oro was a bit if a disappointment. It had some extraordinary musical high spots, but the selection could have been better and she didn’t really need the production (lights, projections, haze, costumes, face painting and a dancer!). It didn’t help that the stage lights sometimes shone into the eyes of large chunks of the audience, including me, blinding them and sending me home with a headache.

At the Royal Academy of Music their Symphony Orchestra was conducted by Sir Mark Elder in a lunchtime concert of Shostakovich’s 5th Symphony and it was thrilling. Sir Mark did another of his fascinating introductory talks, this time illustrated with musical extracts.

The BBC Singers gave a lovely curtain-raising concert of unaccompanied seasonal music by British composers at St Giles Cripplegate, half from the 20th century and half from the 21st, before the BBC SO‘s equally seasonal pairing of Rimsky-Korsakov’s Christmas Eve Suite and Neil Brand’s A Christmas Carol for orchestra, choir and actors in the Barbican Hall. This was a big populist treat.

I’ve heard a lot of new classical music since I last heard John Adams‘ epic oratorio El Nino, so it was good to renew my acquaintance and discover how much I still admire it. 270 performers on the Barbican stage provide a very powerful experience – the LSO, LSC, a youth choir and six excellent American soloists who all know the work. Thrilling.

Canadian bass-baritone Gerald Finley, accompanied by Sir Antonio Pappano on piano no less, gave a superb but sparsely attended recital at the Barbican Hall. It was an eclectic, multi-lingual and highly original selection, beautifully sung. More fool those who stayed away from this absolute treat.

The standards of amateur choirs in the UK are extraordinary, and the London Welsh Chorale are no exception. Their lovely Christmas concert at St. Sepulchre-without-Newgate included extracts from Handel’s Messiah, Vivaldi’s Gloria plus songs and carols. The soprano and mezzo soloists were superb too.

Dance

Rambert’s ballet set to Haydn’s oratorio The Creation at Sadler’s Wells was one of the best dance evenings of recent years. If you shut your eyes, this would be a world class concert with three fine soloists, the BBC Singers and the Rambert Orchestra. With a gothic cathedral backdrop, the dance added a visual dimension which wasn’t literal but was beautifully impressionistic and complimentary.

English National Ballet had the inspired idea to ask Akram Khan to breathe new life into Giselle and at Sadler’s Wells boy did he do that. It’s an extraordinarily powerful, mesmerising and thrilling combination of music, design and movement. From set, costumes and lighting to an exciting adapted score and the most stunning choreography, this is one of the best dance shows I’ve ever seen.

Michael Keegan-Dolan’s Swan Lake the following week, also at Sadler’s Wells, wasn’t such a success, and steered even further away from its inspiration. It revolved around a 36-year old single man whose mother was desperate to marry off, but there were lots of references to depression and madness. I’m afraid I didn’t find the narrative very clear, its relationship to the ballet is a mystery to me and it’s more physical theatre than dance. It had its moments, but it was not for me I’m afraid.

Back at Sadler’s Wells again for The National Ballet of China‘s Peony Pavilion, a real east-meets-west affair. Ancient Chinese tale, classical ballet with elements of Chinese dance, classical music with added Chinese opera. Lovely imagery and movement. I loved it.

New Adventures’ Red Shoes at Sadler’s Wells might be the best thing they’ve done since the male Swan Lake. With a lush Bernard Herman mash-up score, great production values and Matthew Bourne’s superb choreography, it’s a great big populist treat.

Contemporary Music

Camille O’Sullivan brought an edginess to the songs of Jacques Brel which I wasn’t comfortable with at first but then she alternated them with beautifully sung ballads and I became captivated. She inhabited the songs, creating characters for each one. Her encore tributes to Bowie & Cohen were inspired.

There were a few niggles with Nick Lowe‘s Christmas concert at the Adelphi Theatre – it started early (!), the sound mix wasn’t great and he gave over 30 minutes of his set to his backing band Los Straightjackets (who perform in suits, ties & Mexican wrestler masks!) but (What’s so funny ’bout) Peace Love & Understanding has never sounded more timely and the closing acoustic Alison was simply beautiful. He’s still growing old gracefully.

Film

I loved Ron Howard’s recreation of the Beatles touring years in Eight Days a Week, plus the remastered Shea Stadium concert which followed. What was astonishing about this was that they were completely in tune with all that crowd noise and no monitors or earphones!

Bridget Jones Baby was my sort of escapist film – warm, fluffy and funny – and it was good to see Rene Zellweger and Colin Frith on fine form as the now much older characters.

I, Daniel Blake made me angry and made me cry. Thank goodness we’ve got Ken Loach to show up our shameful treatment of the disabled. Fine campaigning cinema.

I loved Nocturnal Beasts, a thriller that’s as close to the master, Hitchcock, as I’ve ever seen. I was gripped for the whole two hours.

Fantastic Beasts lived up to its hype. Though it is obviously related to Harry Potter, it’s its own thing which I suspect will have quite a series of its own. Starting in NYC, I reckon it will be a world tour of locations for future productions.

Kiwi film The Hunt for the Wilderpeople is a very funny, heart-warming affair with a stunning performance by a young teenager, Julian Dennison, matched by a fine one from Sam Neill.

I loved A United Kingdom, based on the true story of Botswana’s Seretse Khama, leader from mid-60s independence to 1980. It’s the true story of a country that has been a beacon of democracy in a continent of corruption.

The Pass must be one of the most successful stage-to-screen transfers ever. I was in the front row at the Royal Court upstairs, but it seemed even tenser on screen. Good that three of the four actors made the transfer too.

One of my occasional Sunday afternoon double-bills saw Arrival back-to-back with Sully. The former was my sort of SciFi, with the emphasis on the Sci, and it gripped me throughout. I’m also fond of true stories & the latter delivered that very well.

I liked (Star Wars) Rogue One, but it was a bit slow and dark (light-wise) to start with, then maybe too action-packed from then. I’m not sure I will do 3D again too; it’s beginning to feel too low definition and overly blurry for a man who wears glasses.

Art

Sally Troughton‘s installations in the Pump House Gallery at Battersea Park didn’t really do much for me, but Samara Scott‘s installations in the Mirror Pools of its Pleasure Garden Fountains certainly did. A combination of dyed water and submerged fabrics created lovely reflective effects.

There was so much to see in the V&A’s You Say You Want a Revolution? Records and Rebels 1966-1970. It was an astonishing five years and the exhibition covers music, art, design, fashion, politics, literature…..you name it. I shall have to go again to take it all in.

Wifredo Lam is a Cuban artist I’ve never heard of, getting a full-blown retrospective at Tate Modern. There was too much of his late, very derivative abstract paintings, but it was still overall a surprising and worthwhile show.

South Africa: the art of a nation was a small but excellent exhibition covering thousands of years from early rock art to contemporary paintings and other works. Most of the old stuff was from the British Museum’s own collection, so in that sense it was one of those ‘excuses for a paying exhibition’ but the way they were put together and curated and the addition of modern art made it worthwhile.

The Picasso Portraits exhibition at the NPG was a lot better than I was expecting, largely because of the number of early works, which I prefer to the more abstract late Picasso. Seeing these does make you wonder why he departed from realism, for which he had so much talent.

Abstract Expressionism at the Royal Academy was also better than expected, largely because of the range of work and the inclusion of artists I didn’t really know. I do struggle with people like Pollock and Rothko though, and can’t help thinking they may be taking the piss!

The Taylor Wessing Photographic Portrait Prize exhibition, back at the NPG, seemed smaller than usual, but just as high quality. I do love these collections of diverse subjects and styles.

Back at the Royal Academy, Intrigue: James Ensor by Luc Tuymans was a very interesting exhibition of the work of an underrated Belgian master (with an obsession with masks and skeletons!) curated by a contemporary Belgian artist. I’ve seen samples of his work in my travels, but it was good to see it all together, and I liked the curatorial idea too.

At Tate Modern, a double-bill starting with a Rauschenberg retrospective. I’ve been underwhelmed by bits of his work I’ve come across in my travels, but this comprehensive and eclectic show was fascinating (though I’m still not entirely sold on his work!). The second part was Radical Eye, a selection from Elton John’s collection of modernist photography (with more Man Ray’s that have probably ever been shown together). It’s an extraordinary collection and it was a privilege to see it.

Star Wars Identities at the O2 exceeded my expectations, largely because of the idea of discovering your own Star Wars identity by choosing a character and mentor and answering questions on behaviour and values and making choices at eight ‘stations’ en route which were recorded on your wristband, in addition to film clips, models, costumes etc. The behavioural, career and values stuff was well researched and the whole experience oozed quality.

I didn’t think many of the exhibits in Vulgar: Fashion Redefined at the Barbican were vulgar at all! It was an exhibition made up entirely of costumes, so it was never going to be my thing, but it passed a pre-concert hour interestingly enough.

Read Full Post »

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.

 

Read Full Post »

A lean month once you take out 10 days in Scotland and 6 days at the Olympics or Paralympics as either volunteer or spectator!

There was a pair of Proms – Bernstien’s Mass and Elgar’s The Apostles. The former is a favourite rarely performed so much-anticipated (particularly as almost all of the vocal and orchestral inputs were Welsh!), but I’m afraid it didn’t quite live up to the anticipation. The weak link for me was Morten Frank Larsen in the key role of ‘The Celebrant’ . There were no weak links in The Apostles where Mark Elder, The Halle and all six soloists shone in this underrated oratorio.

At Sadler’s Wells Theatre, I caught the last performance of the revival of Matthew Bourne’s 9-year-old Play Without Words, a dance piece based on the film The Servant, with a terrific jazz score. It was as good as I remembered, sexy slick and truly unique.

British Design 1948-2012 (so good, I wanted to steal a lot of the 50’s-70’s stuff!) and Heatherwick Studio (which by the time I got there included the prototype for his extraordinary Olympic cauldron). The post-war years really did produce iconic designs and the exhibition captured the best of it in almost every form. Thomas Heatherwick works across a lot of forms and his exhibition was simply enthralling. Has there ever been a more inventive designer?

Portrait of London at the Wandsworth Museum showcased photos of London in general and the borough of Wandsworth in particular and it was fascinating. I took in their permanent collection for the first time and was particularly delighted to see them covering the late 19th century tradition in Earlsfield of electing a ‘fool’s mayor’; somehow that feels so up-to-date!

A trip to a multi-story car park in Shoreditch was an unusual experience, specifically to see the 16 BMW Art Cars over six floors, painted by the likes of Andy Warhol, David Hockney, Roy Liechtenstein et al. A quirky, interesting diversion rather than spectacular art, unlike the Bauhaus – Art as Life show at the Barbican Art Gallery which was an extraordinary review of the impact of this short-lived design ‘movement’. Covering everything from architecture, fashion, painting, sculpture, graphics, toys, furniture and performance, their influence was so much more than you’d ever imagine could be achieved in just 14 years.

RGS Travel Photography Exhibition looks like becoming as much of a tradition as the International Photography Exhibition in Edinburgh – and has exactly the same impact of making me feel inadequate as a photographer. I love the way that here they exhibit many of them in the open air and the fact it specialises on travel makes it even more up my street.

Read Full Post »

Well, either this has improved immeasurably since opening or I’m easily pleased. Put off initially by the obscene ticket prices (top price £85 – 30% higher than any West End musical), then by the mediocre blogs and reviews and on arrival at the theatre by the £6 programme, things didn’t look promising…….but I absolutely loved it!

I’ve only seen the show twice before – in 1998 in the West End when Gemma Craven was a rather glib Nellie but Bertice Reading a terrific Bloody Mary and at the NT in 2001 when Philip Quast was an excellent Emile but John Napier’s designs and Matthew Bourne’s choreography were the stars. Neither was cast as well as this, where every role is well played and beautifully sung. The musical standards are particularly high with the orchestra playing the score so well both the overture and entr’acte were highlights in themselves.

Samantha Womack is a revelation – sweet-voiced and gorgeous, with an excellent American accent, riding Nellie’s emotional roller coaster superbly. Jason Howard (well, I think it was him – I refused to pay the £6 for the programme!) is excellent, with a lovely baritone voice that does full justice to the songs Rogers & Hammerstein wrote for Emile. Daniel Koek is a fine voiced, handsome Joe and Loretta Ables Sayre a darker Bloody Mary than we’re used to. Alex Fearns showed us his musical comedy credentials in the touring version of the Menier’s Little Shop of Horrors and he confirms them here with a brilliant characterisation as Billis.

In addition to its exceptional musical standards, where this production scores for me is on an emotional level. You really do engage with the characters, their novel situation and their love – it is often deeply moving. The show was way ahead of its time in the 50’s with a war setting and racism to the fore, and with such wonderful songs (and boy, what a score!) it’s easy to bury the issues in the palm trees and grass skirts. They’ve certainly not done that here and for me that’s the real success of Bartlett’s Sher’s production.

Read Full Post »

Prokofiev’s score for this ballet – and his Romeo & Juliet – is at least as good as any of Tchaikovsky’s and in my opinion it’s so much better when danced in a fluid modern way than in a fusty classical style. When Matthew Bourne first staged it 13 years ago, I enjoyed it a lot and was a bit surprised it wasn’t as much of a hit as his now legendary staging of Swan Lake, so it was good to get a second look.

To all intents and purposes it’s the story we all know, though Cinderella’s family is expanded to include three step-brothers, the prince is an airman, the fairy godmother is a male angel and the ball is an evening at the Cafe de Paris dance hall……and it all takes place in the blitz…..and it works! Cinderella goes to ‘the ball’ in a motorcycle sidecar. The step-sisters are ugly on the inside so we’re spared grotesques. Though the airman searches for Cinderella with her shoe in hand, we get none of the try-it-on stuff; instead we’re whisked through the streets of London, in the Underground and on the Embankment. There isn’t much of a wedding, but we see them off on their honeymoon from Platform 12 at Paddington Station (somewhat spookily, an hour later I was departing from Platform 13 at Paddington!).

Bourne’s choreography is, as always, fresh and fluid. I’m not sure who danced who at the performance we attended, but I don’t think it matters – they were all great. I was nervous that he’d dispensed with a live orchestra, but surprised that this didn’t actually bother me – maybe because the recorded sound was superb and the occasional integration of a blitz soundscape very successful. I would have complimented Lez Brotherston’s designs, but I understand he doesn’t want to be referred to in blogs, so I won’t.

This is the great populist modern dance style that made Bourne’s name and on this showing, he’s lost none of his creativity and talent. Another Christmas treat!

Read Full Post »