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Posts Tagged ‘Omar Ebrahim’

This is a cross between London Road, the NT’s ground-breaking verbatim ‘musical’ about the Ipswich prostitute murders, and those terrific ‘tribunal’ plays at the Tricycle, but without the depth of either. Though there is much to admire and enjoy, it seemed ever so slight to me. Though the writers are experienced as director, actor and MD, I wondered if their lack of experience as writers showed.

The full title is The Public Administration & Constitutional Affairs Committee takes oral evidence on Whitehall’s relationship with Kids Company. In Robert Jones uber-realistic design, we are in the public gallery of one of the committee rooms in Portcullis House. The charity’s founder, Camila Batmanghelidjh, and its Chairman, the BBC Creative Director Alan Yentob, are being questioned by MP’s, interspersed with the evidence of others who’d been employed by or involved with the charity which spent nearly £50m of tax-payers money in questionable ways without much management control, it seems.

It doesn’t really come to any conclusions, but it implies that though her heart was in the right place, she was unqualified for her role and many, including Yentob and government ministers, were under her spell. All of the questions and evidence are taken from the transcripts, and some dialogue is sung, including a number of short songs, to piano and string accompaniment. Tom Deering’s music is good, but I’m not sure the musical form adds anything, like it did in London Road.

The trouble is it’s an insubstantial 75 minutes, so it’s unable to do the subject justice. Almost as soon as it got going it was over, which is a shame as the creative and performing contributions are good. The vocal honours belong to Omar Ebrahim as Yentob and Sandra Marvin as Batmanghelidgh and there’s fine acting from another seven performers as the five MP’s, including Bernard Jenkin and Kate Hoey, the committee clerk and assistant.

All I could think of at the end was why on earth there hasn’t been a more thorough public inquiry about this; it was tax-payers money, after all. A missed opportunity, I’d say, and not very good value at 50p per minute!

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MUSIC

Rufus Wainwright’s solo show at Sadler’s Wells took place on the stage of his opera, which opened there the night before. In the first half we were asked not to applaud as he walked on, during the set and as he walked off. He entered bedecked in a cloak with a train longer than the stage, walking as if leading a funeral procession. What followed was effectively a requiem for his recently deceased mother – the whole of the new album played in near darkness against a backdrop of giant projections of his eyes covered in black make-up. The voice still extraordinary, the piano playing with the power of an orchestra, this staging was deeply moving, very sad but musically stunning. In the second half he was back to his charming knowingness playing a real ‘best of’ set chosen by fans voting on his web site. He ended with his mother’s ‘Walking Song’ but couldn’t complete it without a tear – and some of us who loved his mother’s music shared it. He forgot his words or notes rather more than was acceptable, but in the end you only remember the wonderful songs, gorgeous baritone voice and rich piano accompaniment. Surreal but sublime.

At the Royal Court, they sometimes showcase work-in-progress and I went to Ten Plague Songs (actually, I think there were 16), a song cycle about the 17th century London plague by young musicals composer Connor Mitchell and playwright Mark Ravenhill. The singers included 80’s pop star Marc Almond, modern opera favourite Omar Ebrahim and musical’s veteran Nigel Richards and it was staged by opera director Stewart Laing, but I’m afraid it did little for me. The music was rather inaccessible and the lyrics not particularly striking. The last song (before the epilogue) was terrific, but by then it was a bit late.

Paul Brady’s London concert was his first in what seems like ages. What I remember most about the last one was how he annoyed much of the audience by banging on about how Irish immigrants were treated by the UK; on this occasion he prefaced the same song, Nothing But The Same Old Story,  with a rather defensive ‘this could be any country….’! This is one of his best songs; unfortunately, it showed up almost everything else as bland MOR music, a transition to which has been going on for years but now seems complete. He’s certainly lost his edge and I suspect I won’t be seeing him again. Judging by his inability to fill that many seats at the Shepherd’s Bush Empire (they closed the second and third levels completely) I suspect I’m not on my own.

OPERA

I Saw Rufus Wainwright’s first opera, Prima Donna, at the Manchester International Festival last summer (see July 2009 archive) and thought it was an impressive debut. This new production at Sadler’s Wells improves on that staging but if anything it’s slipped back musically, particularly in the first act. The new tenor isn’t good enough for the part, and Rebecca Bottone is again sometimes shrill and sometimes inaudible over the overloud orchestra which the new conductor fails to deal with. The second act though is masterly, there’s some gorgeous music, Janis Kelly is even better than before and the ending is now terrific. For his second opera, lets see something just as romantic but also more dramatic; there’s not a lot of story here for 130 minutes playing time.

DANCE

I’ve seen Mark Morris’ masterpiece L’Allegro, Il Penseroso ed Il Moderato three times in the last 15 years but the last was 10 years ago, so withdrawal symptoms had set it. Despite the fact that he created this 22 years ago, it’s still the most uplifting show – a gorgeous Handel oratorio, beautifully played and sung, with designs in primary colours and costumes in pastel chiffon and dancing that is flowing, funny and bright. Bring on No 5…..

Pictures from an Exhibition is a hybrid theatre / dance piece given a couple of nights at Sadler’s Wells following a longer run at the much smaller Young Vic last year. Based on and featuring Mussorgsky’s music, with the composer as a central character in what appears to be a biographical piece, it’s rather hit-and-miss. There are some great moments, but there are lots of almost silent interludes too and it just doesn’t flow. It seemed like work-in-progress to me and a rather slight 60 minutes.

 OTHER

A visit with the RA friends to Skinner’s Hall was a rare opportunity to see Frank Brangwyn’s murals. I got really interested in this Welsh artist when I went to a museum in Bruges devoted to him – he left much of his work to his adopted city rather than his home city of Swansea, which seems to me to be a shame as I’m not sure many people ever go to see it! Anyway, they were fascinating and the rest of the hall and the history of this livery company were bonuses.

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