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Posts Tagged ‘Nick Hornby’

I was very fond of Nick Hornby’s 1995 novel. It seemed to me to be quintessentially British, so I was disappointed when it was relocated from North London to Chicago for the 2000 film. Though this musical adaptation retained its US setting for it’s Broadway premiere in 2006, it’s relocated back to London N7 for it’s UK premiere, though it is being staged south of the river!

The story of Rob, the nerdy record shop owner, and his love life felt retro at the time of the book and film, but seems even more retro today. This adaptation distills it into the tale of Rob and current girlfriend Laura, with nods to the lives of shop hangers-on Dick and Barry, and the music scene and record collector obsessions as a backdrop. There are song lists for things like break-ups and mixtapes with strict rules. Rob’s ex’s make regular appearances in a large number of flashbacks and fantasy & dream sequences.

Tom Kitt’s eclectic score has particularly good lyrics by Amanda Green and it’s extremely well played by Paul Schofield’s band (members uncredited, sadly) and very well sung by the whole cast. David Shields excellent design makes great use of the small space, with clever transformations from shop to flat and more. It’s an impressive musical theatre directorial debut from Tom Jackson Greaves whose choreographic experience shines through, and I liked his use of the space in front of the stage and the aisle. Oliver Ormson and Shanay Holmes are both very good as Rob and Laura and there’s a fine ensemble, with great cameos from Robert Tripolino as Ian, Carl Au as Dick and Robbie Durham as Barry. We even get turns from Neil Young and Bruce Springsteen (Joshua Dever)!

With all the to-ing and fro-ing across the Atlantic, it does appear to have lost its sense of place and time and become a bit of an indeterminate transatlantic anywhere, anytime. David Lindsay-Abaire’s American book has been adapted for London by Vikki Stone and it might be this, and the vanilla pop-rock musical styles, which contribute most to the loss of some of Nick Hornby’s charming source. I think it’s a very good production of an OK show. It doesn’t feel like a Broadway show and I can see why it was curtailed after 18 previews and 13 post-press performances (and why its taken 13 years to get here). I suspect it fares much better on this scale, more intimate, with a talented and enthusiastic young cast, and I was glad I caught it.

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Contemporary Music

I’ve been to enough Ben Folds concerts to know that they can be can be hit-and-miss affairs. He often fools around so much, at the expense of musical quality, but at his February Hammersmith Apollo concert he got it just about right. The songs from Lonely Avenue (penned with novelist Nick Hornby) worked as well on stage as they do on record, but it was the older stuff which really came alive – and he has the most tuneful fans as the choruses proved conclusively!

Classical Music

The classical month started with a lunchtime concert at Wigmore Hall, part of the YCAT season dedicated to providing early recital experience for young artists. This one showcased soprano Caroline MacPhie accompanied by Joseph Middleton and you’d never believe it was her first recital if you didn’t know, such was the quality of her singing and her confidence. It was a hugely ambitious programme  that packed in 21 twentieth century songs by Rodrigo, Poulenc, Britten and Bridge in Spanish, French, Russian and English! In truth, I thought it was a little heavy for lunchtime and a little less volume and more subtlety would have helped, but the ambition and talent is unquestionable. One to watch.

Opera

Lucrezia Borgia sees the ENO missing another opportunity to encourage talented young opera directors in favour of film director opera virgins. As if uncomfortable leaving his comfort zone, Mike Figgis framed his opera debut with four films, which were frankly more dramatic than anything on stage. With cardboard cut out sets and static singers, it looked dreadfully old-fashioned. The English libretto was occasionally silly (perhaps not surprising as it was translated by the conductor, Paul Daniel – is ENO determined to cross disciplines!), but thankfully there was some good singing.

Dance

It’s taken me 10 years to see Ballet Black (on their 10th anniversary!) and very impressive they were too. The four short pieces in the first half showed off their style and range, but it was Will Tuckett’s Orpheus one-act ballet that followed that was the highlight. It was in the Linbury Studio, so by law it had to have a Tuckett work, obviously.

Film

Brighton Rock was better than the reviews, but there was still something missing. Both the city and the period looked great and with a cast like Helen Mirren, Andrea Risborough, John Hurt and Phil Davies it was watchable, if a little slow at times.

True Grit is an extraordinary piece of film-making, even if it isn’t really my sort of film – too violent, I’m afraid. The cinematography is gorgeous and the performances are terrific, with Jeff Bridges better than he’s ever been and Matt Damon unrecognisable; the young girl, though, stole the show.

I hadn’t read the book of Never Let Me Go. I decided to go and see it despite the reviews because it had two of my favourite young actors – Carey Mulligan and Andrew Garfield. It’s very John Wyndham, but I’m afraid I found the basic premise a bit preposterous and the film was very slow and very dull.

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