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Posts Tagged ‘Wilton’s Music Hall’

What a great idea to create a modern stage version of Charles Dickens’ Sketches by Boz, his short pieces for newspapers which preceded his first novel. Another great idea to get star playwright James Graham to nurture eight young writers, each to contribute a story to accompany his four, and to stage it at Wilton’s, a very Dickensian venue which was around when the original sketches appeared.

The twelve tales cover a diverse range of subjects, from a troubled relationship played out during a Mayoral election, through the life of a Scottish drag queen to a sophisticated crime and the sighting of a rare songbird. Instead of telling them sequentially, though, they are interwoven, and this is where it went wrong for me, as it made for a fragmentary evening of uneven writing.

The five performers do very well, switching characters and stories with the turn of a head or the donning of a hat, and Thomas Hescott’s staging, on a raised platform which dealt well with Wilton’s usually challenging sight-lines, using minimal props but excellent projections by Daniel Denton, served them well enough. In the end though, the constant switching between stories inhibited your enjoyment of them and eventually became irritating.

An ambitious and clever idea that sadly didn’t live up to its promise.

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Opera

ENO took Britten’s folk opera / operetta Paul Bunyan to Wilton’s Music Hall, where it somehow fitted like a glove. It’s an odd mythical concoction about the American Dream, but its real strength is its lyrical score, which showed off the young singers and chorus brilliantly. It seemed darker than the previous two occasions I’ve seen it, which seemed appropriate given recent events.

My 2018 Proms ended on a high the night before the Last Night with a lovely performance of Handel’s Theodora by Arcangelo and five excellent soloists. Despite being a chamber ensemble and small choir, they filled the RAH. The countdown to Proms 20-19 begins!

My only visit to WNO at the WMC in Cardiff this autumn was for Prokofiev’s epic War & Peace. It’s a flawed opera, with the first half a series of scenes lacking cohesion, and I thought their decision to translate it into English was a mistake as it came over as clunky, but the soloists were terrific and above all the second half showed off both the chorus and orchestra to thrilling effect.

Classical Music

For some reason, I was disappointed in the Berlioz Prom. It wasn’t the musicianship, which was extraordinary, but maybe it was a programme of lesser Berlioz. I just didn’t think it did The Orchestre Revolutionnaire et Romantique, John Elliott Gardiner, favourite Joyce DiDonato and viola player Antoine Tamestit justice. The rest of the audience and the critics appeared to disagree, so maybe it was just an off night for me.

A double-dip of two Proms in one evening proved very rewarding indeed, starting with a superb performance of Britten’s War Requiem from the Royal Scottish National Orchestra & Chorus, probably my favourite choral work, and continuing with 60 mins of 850 years of late night polyphony from the ever wonderful Tallis Scholars; it’s amazing how those 30 or so voices fill the Royal Albert Hall.

The Parry centenary concert at Wigmore Hall was a delightful way to spend an hour on a Sunday afternoon. Songs by him and his friends and contemporaries were beautifully sung by Louise Alder & Nicky Spence accompanied by William Vann and it was all very uplifting. Back in the same venue the following lunchtime, soprano Lucy Crowe and pianist Joseph Middleton gave another lovely recital of English song from Purcell to Ireland, Walton and Michael Head, an early 20th century composer new to me. The folk song encores proved to be the highlight.

Art

As if to compensate for the hugely disappointing exhibition at the Weiner Gallery, Magic Realism: Art in Weimar Germany 1919-33 at Tate Modern was a real treat, with artists new to me as well as those like Otto Dix I’ve seen vast amounts of this summer. Across the Bridge, Artist Rooms: Jenny Holzer was worth popping into, though much of it goes over my head.

A visit to Cornwall meant a second visit to Tate St. Ives, which had a hit-and-miss exhibition of Patrick Heron. I loved some of the colourful abstractions, but much of it left me cold.

Renzo Piano: The Art of Making Buildings at the Royal Academy covered his illustrious career from before the Pompidou Centre to The Shard by focusing on sixteen projects, built and unbuilt (yet). The trouble was it was all very static – each project a table on which there were notes, drawings and models with more drawings and photos on the walls around. The most interesting project was one I’m unlikely to ever see, in New Caledonia, in the Pacific Ocean! For architects and architectural students only, I’d say.

Film

BlacKkKlansman wasn’t an easy watch, but its humour and its chilling ending were enough to make it well worth seeing.

I enjoyed The Children Act, the second film of the summer featuring the consequences of Jehovah’s Witnesses fundamentalism, especially for Emma Thompson’s deeply touching performance.

Crazy Rich Asians was a great advert for the Singapore Tourist Authority, but I rather overdosed on rich Asians, crazy or otherwise. It had its funny moments, but there weren’t enough of them to warrant the reviews that sent me to see it.

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Actor Paterson Joseph was brought up believing that British (and London) black history began in the 20th century, but when he realised this wasn’t true he set about writing about a historical black British figure, and Charles Ignatius Sancho is the one he chose. He tells his story as a monologue, but also appears as himself, to tell us why and how.

Sancho came to Britain as an orphan child and a slave, working at first for three maiden sisters in Greenwich before being taken in by the Duke of Montagu. He was treated as their bit of ‘exotica’ and encouraged to read, moving on to both write and compose. His portrait was painted by Thomas Gainsborough and he eventually became a free man, grocer, father and, as a property owner, the first black man to vote.

Joseph starts as himself before becoming Sancho, as he sits for Gainsborough. He breaks the fourth wall on other occasions and by doing so creates an extraordinary engagement with his audience, and empathy both for his subject and himself. His performance and personality are animated, with a beaming smile and much eye contact with us. Not only is it a fascinating story, but it’s a completely engaging experience which fits Wilton’s period setting like a glove.

Great storytelling and an afternoon of great warmth in a diverse audience who rose to their feet in tribute to both the storyteller and his subject.

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This musical by Frank Loesser came ten years after his classic Guys & Dolls and is the only other one of his seven shows that have stood the test of time. It seems to attract star names – Matthew Broderick in the 1995 Broadway revival and Daniel Radcliffe in the 2011 Broadway revival. This less starry but hugely entertaining revival is in the lovely Wiltons Music Hall, London’s last.

Window cleaner J Pierrepont Finch reads the book that gives the show its title and sets about using every trick in it to get a job and rise through the ranks. He gets the job by namedropping, then gets promotions through humility, sycophancy and clever mirroring the President’s background and interests, all the while outsmarting his nephew Bud Frump. He ends up leapfrogging the President himself to become Chairman and it ends with a hint of White House ambition, which is impeccable timing for a 56-year-old show! It’s a good score, with some well known numbers like I Believe In You and Brotherhood Of Man, played well by an nine-piece band under Ben Ferguson. Loesser’s lyrics are sharp and witty and there’s a very funny book by Guys & Dolls collaborator Abe Burrows plus Jack Weinstock and Willie Gilbert.

Director Benji Sperring brought a great sense of fun to the very different Toxic Avenger last year at Southwark Playhouse and he does the same here, bringing three of that show’s terrific cast too. Wilton’s multi-level stage is used to great effect in Mike Lees’ design, with a two-story ‘corporate wall’ backdrop with elevator doors on the bottom level and the band on top. His colourful costumes make you smile. Marc Pickering is terrific as Finch, with a cheeky grin and glint in his eye, illuminated after every coup. His Toxic Avenger colleagues Hannah Grover and Lizzii Hills are excellent as his love interest and the President’s bit on the side respectively. It’s another show, like Promises Promises, also at Southwark last year, with a Personnel Manager (!) and Matthew Whitby is outstanding in this role. Daniel Graham does a fine turn as the spoilt brat nephew with a propensity for tantrums and Richard Emerson gives three great cameos, despite the dodgy wig in the third. It’s great to see such a seasoned musical performer as Andrew C Wadsworth impressing as JB. Geri Allen, Maisy Bowden and Nuwan Hugh Perera make up this small but very talented cast.

It isn’t up there with Guys and Dolls, but it’s worthy of revival. I last saw it in Chichester twelve years ago, but I missed the Walthamstow Rose & Crown Theatre production three years ago. I can’t recall another London production in my theatre-going lifetime. This was only the fifth performance so it was a touch ragged (particularly the scene changes) and the broad style won’t be to everyone’s taste, particularly more conservative musical theatre lovers, but I thought it was great fun in a great venue.

 

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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.

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The original NT production of Peter Shaffer’s most famous play was before my time in London, but I did see Peter Hall’s 1998 revival (with David Suchet and Michael Sheen), and a subsequent production at Wilton’s Music Hall ten years ago (with Matthew Kelly and Jonathan Broadbent). What makes this Michael Longhurst revival stand out for me is the additional impact of live music by 20 members of Southbank Sinfonia and 6 opera singers. 

Most scholars believe the central premise – that Salieri’s jealousy of Mozart’s talent led him to spike his career, and ultimately poison him – is untrue, and indeed Shaffer never suggested his play was anything other than fiction. It seems to have the Rimsky-Korsakov opera Mozart & Salieri as it’s origin, which the Arcola gave us an opportunity to see this year as part of Grimeborn. This is Shaffer’s rewrite, which begins and ends more than thirty years after Mozart’s death, with Saleiri riddled with guilt and regret. We them flash back to see how their respective careers unfold chronologically. Salieri does his utmost to place obstacles before Mozart whilst posing as his friend and advocate. He is particularly baffled and annoyed that his god has bestowed such talent on someone so uncouth. Two Counts at the court of Joseph II do some of Salieri’s bidding, such as insisting on the removal of the marriage dance from The Marriage of Figaro lest it break Joseph’s rule of no ballets in opera. Mozart becomes increasingly unbalanced as he battles against such restraint and dies writing his Requiem. 

The orchestra aren’t in a pit, but move with the action, as do the singers, playing as they stand and even whilst they move. The two narrators, the Venticelli, become part of them, carrying instruments when they aren’t narrating the story. It’s a brilliant idea, which adds so much to the shape and flow of the piece. Lucien Msamati is magnificent as Salieri, managing to convey his admiration and jealousy, the torture of and triumph over his victim and his guilt and ultimately remorse. I was less convinced by Adam Gillen’s Mozart, which I felt could have been a touch more restrained. The show was still in preview when I saw it and I felt the first half needed tightening, but the second half was terrific.

Great to see it once more on a big stage like the Olivier, with so much added by the integration of live music. 

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This play is about the period during the first half of the Second World War when Benjamin Britten was in exile in New York City, staying with his friend W H Auden in a sort of up-market arty commune in a Brooklyn brownstone, with the literary editor of Harper’s Bazaar as their mentor.  Gypsy Rose Lee and novelist Carson McCullers also stayed there, and people like Picasso and Dali regularly dropped in. The parties were renowned and the lifestyle hedonistic. During their time there, Britten and Auden wrote the ground-breaking but poorly received American folk operetta Paul Bunyan. Playwright Zoe Lewis and director Oli Rose have turned this fascinating situation into a deeply dull play.

It starts with a flash forward to Britten’s tribunal (on his return) as a conscientious objector. Much is made, in flashbacks, of his mother’s recent death. A British Naval Officer comes to make the British exiles situation clear, though on what authority, in a foreign land, is unclear. Other than that, it’s mostly dull conversations, excessive drinking and the on-off lesbian relationship between Lee & McCullers. It doesn’t really go anywhere and the journey is very dull. 

Part of the problem is that it’s difficult to convey such an interesting situation with just four main characters. The absence of Britten’s partner Peter Pears in particular is mystifying; they were virtually inseparable. The characters are merely sketched and both the structure and dialogue are weak. Ryan Sampson and John Hollingsworth do the best they can with the material they’re given to create Britten and Auden respectively. Ruby Bentall tries too hard and seems uncomfortable conveying McCullers masculinity. Sadie Frost doesn’t really act, she poses.

A big disappointment.

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