Wednesday, December 14, 2022

Northampton Symphony Orchestra concert

14 December 2022

The Northampton Symphony Orchestra’s Christmas Cracker concert has become a much-loved annual fixture in the calendar which always feels to me like the start of Christmas. I can remember when it still felt daring for members of the orchestra to don santa hats and reindeer antlers for the second half of the concert. These days the whole event feels like a massive fancy dress party - for the orchestra and the audience. This year we were playing Dan Welcher’s narrated piece ‘Haleakala: How Maui Snared The Sun’ - a Polynesian folk tale that tells the story of how Maui captured the sun and caused the summer and winter seasons - so the orchestra’s dress code was Christmas jumpers or Hawaiian shirts. As I don’t own either of these I started searching online and found a wonderfully garish Hawaiian shirt, decorated with tiny French horns. I shared this with my fellow horn players who loved the idea of us all wearing matching shirts. Sadly we then spotted that these shirts would be coming from the United States and wouldn’t be delivered until after the concert. By this time we were all hooked on the idea and determined to make it happen. Rather brilliantly, Callie Scully bought some cheap, fairly plain Hawaian shirts from Asda and printed a series of transfers of French horns which she painstakingly ironed onto the shirts for all six of us. Some of the horns ended up being blue or pink because the transfers quickly used all her yellow printer ink, but we liked the somewhat psychedelic mixture of colours. Callie brought the shirts to our penultimate rehearsal but didn’t bring them into the hall, as we didn’t want the rest of the orchestra to see them until the concert. So at the end of the rehearsal we went out to Callie’s car in the car park where she handed out the shirts - covered by bin bags to keep them secret - and, at Josh’s suggestion we all then split in different directions! This excellent example of ingenuity and everyday creativity was a great success and the horn shirts attracted much praise at the concert. ‘Haleakala’ is a really effective piece of storytelling, excellently narrated for us by John Griff, with the orchestra creating some fascinating filmic audio effects. And I got to start the whole piece by blowing a conch shell which created a beautiful resonant note. Our recent Christmas Cracker concerts have featured lots of film music, alongside the usual festive tunes. This year was a bit different with the programme including an eclectic mix of classical pieces. Our Artistic Director, John Gibbons, had come up with the idea of conjuring up a Christmas stocking, stuffed with oranges (Prokofiev’s suite from ‘The Love for Three Oranges’) and a toy train (‘Pacific 231’ by Arthur Honegger) - though I think he may have run out of ideas at that point. Nevertheless it was a lovely concert at the Spinney Theatre in Northampton: it was wonderful to have a large audience and the welcome return of mulled wine and mince pies for the first time since the pandemic.

Friday, December 09, 2022

'The Ink Black Heart' by Robert Galbraith

9 December 2022

I have been enjoying ‘The Ink Black Heart’ - the sixth Cormoran Strike detective novel by J K Rowling (writing as Robert Galbraith) - which I am reading as an unabridged audio book, narrated by Robert Glenister. Like the Harry Potter series, the Strike novels seem to be getting longer and longer: the audio version of ‘The Ink Black Heart’ lasts nearly 33 hours. This feels too long - it would definitely have benefited from an edit - but it is an enjoyable and intriguing crime thriller. This time Strike and his partner Robin Ellacott enter the world of online gaming, YouTube and Twitter. Some of the chatroom conversations are a bit tedious to listen to as an audio book, with every @ and # pedantically read out, and the extensive cast of suspects is multiplied by their online pseudonyms. But it’s an engaging puzzle. I think I now actually look forward to spotting J K Rowling’s odd misunderstandings of budget hotels (see my review here of the previous Strike novel, ‘Troubled Blood’, in January 2021). The descriptive writing is often a bit clunky, and some of the online terminology also feels slightly suspect: does anyone refer to their “Instagram page”? But the best tribute I can pay to ‘The Ink Black Heart’ is that I have 3 hours left to listen to but I decided not to rush through it at high speed in order to write this review!

Friday, December 02, 2022

'Stay with Me' by Lorraine Ellison

2 December 2022

Once again I am indebted to Jess Gillam’s podcast ‘This Classical Life’ for drawing my attention to an artist I hadn’t come across before. Lorraine Ellison was an American soul singer and songwriter who died in 1983 at the age of 51. I have been listening to her 1969 album ‘Stay with Me’. The title-track is her best known recording but was only made at a last-minute booking, following a studio cancellation by Frank Sinatra, for whom a 46-piece orchestra had already been hired. The song is only three and half minutes long but feels like an epic - incredibly theatrical with a soaring chorus that punches you in the face. Lorraine Ellison’s voice is powerful and pure, bringing her experience of singing in gospel groups to R&B. ‘You Don’t Know Nothing About Love’ shows off her brilliant high register and she deserves comparison with Aretha Franklin and Dionne Warwick. Listen for yourself at: https://www.youtube.com/watch?v=6pDBuPK0_DU

Friday, November 25, 2022

'Klara and the Sun' by Kazuo Ishiguro

25 November 2022

I’ve long been an admirer of the novels of Kazuo Ishiguro. A few years ago I was lucky to see him at the Royal Festival Hall, in conversation with another of my favourite novelists, David Mitchell (reviewed here in February 2016). As well as Kazuo Ishiguro’s wonderful 1989 Booker Prize winning novel ‘The Remains of the Day’, I also really enjoyed 'When We Were Orphans' and even the impenetrably surreal dreamworld of 'The Unconsoled'. I have just finished his latest book, ‘Klara and the Sun’. Set in the near future, this is the tale of an artificial intelligence android, developed to serve as a child’s companion or Artificial Friend (AF). The story is told in the first person by the AF, Klara, a naive narrator whose voice reminded me of the child narrators of ‘The Trouble with Goats and Sheep’ by Joanna Cannon (reviewed here in January 2022) and Mark Haddon’s 'The Curious Incident of the Dog in the Night-time'. This technique allows the reader gradually to piece together how this future world differs from the present day. There’s an ominous feeling throughout, as you quickly realise that Klara’s optimistic vision of the world is likely to be unravelled once she has experienced more of it. ‘Klara and the Sun’ reminded me most of the dark future reality of Ishiguro’s 2005 novel 'Never Let Me Go' (reviewed here in September 2006) but I don’t think it worked as effectively, not achieving the same level of emotional connection with the characters and their plight.

Friday, November 18, 2022

'The Banshees of Inisherin' by Martin McDonagh

18 November 2022

Last Friday we were at the Curzon cinema at Milton Keynes Gallery to see 'The Banshees of Inisherin', the new film written and directed by Martin McDonagh. If you are familiar with McDonagh's previous plays and films, including 'The Lieutenant of Inishmore', 'Hangmen' (reviewed here in March 2016), 'In Bruges',  'The Guard' and 'Three Billboards Outside Ebbing, Missouri', you will have an idea of what to expect. 'The Banshees of Inisherin' is a very black comedy - incredibly funny but with some brutal violence. Set on a small island, off the coast of Ireland, the film reunites the stars of 'In Bruges', Colin Farrell and Brendan Gleeson, together with a terrific performance from Kerry Condon (who was in 'Three Billboards'). Farrell and Gleeson play two friends who spend every afternoon together in the village pub, until one day Colm (Gleeson) decides, for no obvious reason, that he no longer likes Pádraic (Farrell) and doesn't want to speak to him ever again. Pádraic's attempts to understand and reverse this change of heart lead to a series of increasingly violent confrontations between the two former best friends. (Warning: animals never fare well in Martin McDonagh stories.) The film is beautifully shot, laugh-out-loud funny, shocking and moving. I enjoyed it as an absurdist black comic tale. But when I belatedly (on the journey home from the cinema) spotted an underlying allegory (which I won't give away here) I began to wonder whether this is Martin McDonagh's masterpiece. Much as I felt about the enigmatic film 'Caché' by Michael Haneke (reviewed here in May 2006) I now want to see 'The Banshees of Inisherin' again immediately to test my theories on what it's really about.

Friday, November 11, 2022

‘De Todas las Flores’ by Natalia Lafourcade

11 November 2022

Natalia Lafourcade is a Mexican singer/songwriter who, over the past 20 years, has become one of the most successful singers in Latin America - having won 2 Grammy Awards and 13 Latin Grammy’s. I’ve been listening to her new album ‘De Todas las Flores’ - a collection of original songs that draw on Mexican traditional music but also incorporate gentle dreamy pop music and jazz. There’s a laid-back Brazilian bossa nova feel to several tracks. The album was recorded entirely on analogue tape and unrehearsed. The acoustic instrumentation, slick arrangements and quiet vocals suggest a group playing late at night in the corner of a classy bar. Here’s a sample of the album: https://www.youtube.com/watch?v=KpwSV1QBd8M

Thursday, November 03, 2022

‘To Be Taught if Fortunate’ by Becky Chambers

3 November 2022

Becky Chambers writes gentle, charming science fiction novels that imagine a multi-species universe where everyone is mostly kind and polite to each other. Through showing how beings with completely different metabolisms and methods of communication can manage to understand each other and get along, she makes us think about issues of diversity and inclusion closer to home. I would recommend her Wayfarer series of novels (starting with ‘The Long Way to a Small, Angry Planet’), each of which is a completely different type of story in a completely different setting, subtly linked to the rest of the series by one or two common characters. I’ve just finished reading ‘To Be Taught if Fortunate’ - her lovely bite-sized stand-alone novella which focuses on the human crew of a spaceship on an exploratory mission which takes them many light-years, and therefore many decades, from Earth. Becky Chambers doesn’t write conventional SciFi battles, mystery or horror: she is more interested in science than fiction, thinking plausibly about how life might arise and develop on different worlds. She creates likeable characters and places them in challenging situations where they need to work together to survive.

Tuesday, October 25, 2022

Northampton Symphony Orchestra concert

25 October 2022

Last Saturday I played in the first Northampton Symphony Orchestra concert of the orchestra's 2022-23 season - a wonderfully varied programme which attracted a packed audience to St Matthew's Church in Northampton. The concert opened with 'An American in Paris' by George Gershwin, which NSO last played in 2010 (reviewed here in April 2010). Hearing the piece again also brought back happy memories of Christopher Wheeldon's brilliant stage adaptation (of the Vincente Minnelli film) in London in 2017 (reviewed here in April 2017). It was a bright, cheerful performance with a great trumpet solo by Terry Mayo and a perfect lugubrious tuba solo towards the end by Nick Tollervey.  We followed this popular work with another perennial favourite, Sergei Rachmaninoff's 'Rhapsody on a Theme of Paganini', with the Ukrainian pianist Dinara Klinton. Dinara previously played with the Northampton Symphony Orchestra in 2017 when she dazzled in the ‘Piano Concerto for the Left Hand’ by Maurice Ravel - a performance that no-one who was at the concert will ever forget (reviewed here in November 2017). Famous for the slow, lush, romantic 18th variation, the 'Rhapsody on a Theme of Paganini' is a challenging piece to pull together, full of fast variations with flurries of piano notes punctuated by precisely placed orchestral stabs. So it was worrying when we discovered, during our final rehearsal on Saturday afternoon, that our pianist's train had been delayed and she might not arrive in time to run through the piece with the orchestra. We started to play it through without the piano solo and, while we were playing (and unseen by conductor John Gibbons) Dinara Klinton ran up the central aisle of the church, threw herself onto the piano stool and instantly joined in the music, just in time to launch into a cadenza - without having removed her backpack from her shoulders. She gave a stunning performance in the concert, taking much of the piece at a dramatically fast pace and lovingly playing with the tempo (and our expectations) in the slow passages. It was a privilege to be accompanying her. We finished the concert with 'Symphony No 9' by Ralph Vaughan Williams - celebrating the composer's 150th anniversary this month with his final symphony. It's a serious, dramatic work, not very well known and not the easiest piece to understand, but it really grew on me as I got to know it over the past couple of months. And it was interesting how much better it seemed to work in performance than rehearsal - perhaps needing the additional concentration and pin-drop silences that you only get in a live concert. Among many fantastic solos, the stand out moments for me were Dan Newitt's gorgeous flugel horn solo in the second movement, the violin solo by orchestra leader Emily Groom and the distinctive saxophone passages, excellently played by Eva Jennings and Vicki Reamsbottopm. It was a great concert which felt like our most complete performance for some time.

Thursday, October 20, 2022

'Towards the End of the Morning' by Michael Frayn

20 October 2022

Michael Frayn's 1967 novel 'Towards the End of the Morning' depicts a bygone era of Fleet Street newspaper offices - young men in suits spending their days staring out of the window, the slow manual compilation of nature notes and crossword clues, a mysterious unseen Editor, long liquid lunches and the dream of escaping the dead-end of print journalism through appearances on radio, or even television. It's a gentle, poignant satire punctuated by some brilliant set-piece farce scenes. The whimsical tone reminded me of Jerome K Jerome's 'Three Men in a Boat', daydreaming through slow, endless days and never taking itself too seriously. 'Towards the End of the Morning' is a slight novel but Michael Frayn manages to draw sympathetic, likeable characters who may be flawed, and ultimately doomed, but feel like friends.

‘John Gabriel Borkman’ by Henrik Ibsen

20 October 2022

On Saturday we were at the Bridge Theatre in London to see Henrik Ibsen’s 1896 play ‘John Gabriel Borkman’ in a new version by Lucinda Coxon, from a literal translation by Charlotte Barslund. This story of a disgraced former banker, imprisoned for speculating with his investors' money, feels all too topical. It’s a play with three leads - the titular banker, his wife and her sister - and Nicholas Hytner’s production boasts three star performances, from Simon Russell Beale, Claire Higgins and Lia Williams. Simon Russell Beale’s Borkman bears a striking resemblance (both physically and behaviourally) to a recent UK Prime Minister, and ends up looking like a blatant audition for King Lear. (Regular readers may remember I am patiently waiting for Simon Russell Beale to play Lear - see my review of his Prospero in ‘The Tempest’ here in November 2016.) I particularly liked the comic exchanges between Borkman and Vilhelm Foldal (Michael Simkins) which were wittily scripted and delivered in perfect dead-pan. But I felt Lia Williams stole the show with her performance as Ella. I had a feeling we had seen her on stage before and I now see I reviewed her super Rosalind in ‘As You Like It’ here in November 2005. I really enjoyed ‘John Gabriel Borkman’, more so for not having seen it before and discovering the unravelling plot for the first time.

Friday, October 14, 2022

‘All’s Well That Ends Well’ by William Shakespeare

14 October 2022

On Saturday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see the RSC production of ‘All’s Well That Ends Well’ directed by Blanche McIntyre. I had only seen ‘All’s Well That Ends Well’ once before - in a Royal Exchange Theatre production at Upper Campfield Market in Manchester in 1996. It is sometimes described as one of the ‘problem plays’, with an uncomfortable plot that is essentially: girl falls in love with boy - boy rejects girl - girl persuades king to force boy to marry her against his will - boy runs away - girl stalks boy across Europe, tricks him into sleeping with her by pretending to be the girl he actually loves and thereby forces him to return to her. It is also one of those Shakespeare plays that feels like he is trying out ideas that he will use to greater effect elsewhere. The imprisonment, blindfolding and humiliation of Parolles, for example, has a clear connection with the treatment of Malvolio in ‘Twelfth Night’. Blanche McIntyre gives the play a contemporary setting, with social media feeds projected across the back of the stage - which does prove useful in clarifying some of the main off-stage plot developments. The acting was impressive and entertaining, with a great central performance by Rosie Sheehy as Helena. But it’s not a great play.

BBC Young Musician 2022

14 October 2022

One of the lesser-noticed impacts of the Covid-19 pandemic was how it broke my proud record of having reviewed here every one of the biennial BBC Young Musician competitions since 2006. The 2020 competition was interrupted by lockdown, with the Concerto Final eventually going ahead in May 2021. I did manage to watch it - and percussionist Fang Zhang was a worthy winner - but it took place while we were away on holiday and I wasn’t able to post my review. I am delighted to say that normal service has been resumed in 2022, and even more delighted to say that the television coverage of this year’s BBC Young Musician was the best I can remember. Wonderfully the BBC bowed to the inevitable and asked Jess Gillam (a finalist in 2016) to present the coverage, as a double-hander with the equally impressive Alexis Ffrench. And remarkably (and I like to think this must be in part a result of my moaning here since 2008) they have finally reinstated a final that features five full concertos - rather than cruelly depriving two of the five category winners from their moment on stage accompanied by an orchestra, as has happened since 2010. It was brilliant to watch the live broadcast, on Sunday evening, of five full back-to-back concertos - a thrilling, incredibly varied and fantastically moving concert. I was very smug at having correctly predicted all five finalists from watching their category finals (which moved me to tears several times). But I must admit I was completely wrong-footed by the decision to award the overall title of BBC Young Musician 2022 to the percussionist Jordan Ashman. He was brilliant, and gave a very impressive performance of the spectacular Percussion Concerto  by Jennifer Higdon, but I really thought the choice was going to be between two of the other finalists. Nevertheless the whole competition was really enjoyable and very fully and respectfully presented. Finally BBC Young Musician is once again as good as it used to be!

You can read all my previous posts about BBC Young Musician at: http://culturaldessert.blogspot.com/search/label/BBCYoungMusician

Friday, October 07, 2022

‘Jack Absolute Flies Again’ by Richard Bean and Oliver Chris

7 October 2022

Just over ten years ago the National Theatre had a big hit with ‘One Man, Two Guvnors’ - Richard Bean’s loose adaptation of Carlo Goldoni’s play ‘The Servant of Two Masters’ (reviewed here in October 2011) which was a great star vehicle for James Corden. Now Richard Bean and Oliver Chris (who was in the original cast of ‘One Man, Two Guvnors’) have taken a similar approach to Richard Brinsley Sheridan’s classic restoration comedy ‘The Rivals’ to create ‘Jack Absolute Flies Again’. This sets the action in 1940 in the grounds of an English stately home which has been commandeered to host an RAF squadron. The National Theatre production, directed by Emily Burns (which we saw this week at The Odeon in Milton Keynes as an NT Live filmed broadcast) boasts a beautiful set by Mark Thompson. ‘Jack Absolute Flies Again’ is cartoonishly broad comedy - extremely silly but enjoyably likeable. From the start there is plenty breaking of the fourth wall (with characters pointing out “that didn’t happen in the original!”). Caroline Quentin’s Mrs Malaprop stretches her malapropisms to the limit and beyond, before playing with our expectations. The cast are all having a ball - and there is a great 1940s dance sequence. But Richard Bean and Oliver Chris also manage to inject a little serious wartime poignancy into the pantomime.

Friday, September 30, 2022

‘Apples Never Fall’ by Liane Moriarty

30 September 2022

I’m new to the Australian novelist Liane Moriarty (the author of ‘Big Little Lies’ and ‘Nine Perfect Strangers’, both now adapted for TV) and have really enjoyed reading her 2021 novel ‘Apples Never Fall’. This is a family story, very much in the same territory as the novels of Anne Tyler, where the subtle interactions between siblings and parents tell so much while saying so little. But ‘Apples Never Fall’ also cleverly weaves in a genuinely gripping mystery plot which Liane Moriarty resolves very satisfyingly, with painstaking attention to detail: every little incident comes to have some significance as the truth is revealed. The relationships between the four tennis-playing Delaney children and their professional tennis coach parents reminded me a little of Jesse Armstrong’s brilliant black comedy-drama TV series ‘Succession’. This is a dysfunctional family full of regret and recrimination but whose members still love each other deeply. I’m looking forward to reading more Liane Moriarty novels soon.

‘Venomous Lumpsucker’ by Ned Beauman

30 September 2022

Regular readers may remember that I'm a big fan of the young British novelist Ned Beauman. I loved his last book ‘Madness is Better Than Defeat’ (reviewed here in October 2017) which was clever, surprising, baffling, hilarious, and completely bonkers. Ned Beauman’s new novel ‘Venomous Lumpsucker’ (which I’ve just finished reading as an unabridged audio book, narrated by John Hastings) is set in the near future and takes on themes of climate change and species extinction. I had forgotten how much I love the absurd, almost poetic nature of the names he invents for characters and, in this book particularly, the Latin names of obscure species, the constant repetition of which (especially when you are listening to the audio book) have a hypnotic quality. In ‘Venomous Lumpsucker’ Beauman takes us to future versions of several Northern European countries which are recognisable but quirkily different from present day. This slightly adjusted parallel world reminded me of the bizarre alternative-reality visions of the UK in the novels of Jasper Fforde (see for example 'Early Riser', reviewed here in October 2018). But Ned Beauman, while often very funny, is more interested in ideas than gags. And his ideas are fascinating as he explores where climate change and current policies might logically take the world. ‘Venomous Lumpsucker’ is a picaresque journey around the Baltic and the cast of eccentric characters that our two protagonists meet along the way made me think of Douglas Adams’ ‘The Hitchhiker's Guide to the Galaxy’. But I didn’t enjoy this book as much as Ned Beauman’s previous novels. ‘Venomous Lumpsucker’ has too many lengthy interludes to explain its ideas, at the expense of plot, and lacked the comic set-pieces of his earlier books.  If you haven't experienced Ned Beauman yet I would still suggest you start with 'The Teleportation Accident' (reviewed here in July 2013).

Friday, September 23, 2022

'Watch Her Fall' by Erin Kelly

23 September 2022

I hadn’t heard of the thriller writer Erin Kelly before we saw her at the Ampthill Literary Festival earlier this year (reviewed here in April 2022) talking about the process of writing her latest book ‘Watch Her Fall’ during lockdown. I read ‘Watch Her Fall’ on holiday last week and I would strongly recommend it. It’s a psychological thriller about a dancer, which uses ‘Swan Lake’ as its inspiration and structure. The book is very cleverly plotted: it is really hard to see where it is going and Erin Kelly very effectively pulls the rug out from under you on several occasions with some stunning twists. A good twist needs to be both unexpected and believable and it is a sign of the writer’s skill that I now want to read the whole book again to spot the little clues I should have seen the first time around.

Norway

23 September 2022

We enjoyed our holiday in the Norwegian fjords on the P&O cruise ship Iona last week but we were fairly unlucky with the weather, with lots of heavy rain coinciding with our time ashore. It was still good to revisit Stavanger, Olden, Alesund and Bergen but my photos are less spectacular than those from our previous trips to Norway. Iona is the biggest cruise ship we have been on (5,200 passengers) and is in its first season. It’s a beautiful new ship and we really enjoyed the food and the entertainment: it just would have been nice to have a little sunshine!

Friday, September 09, 2022

'Much Ado About Nothing' by William Shakespeare

9 September 2022

It was very strange to be taking our seats to watch a Shakespeare comedy just as we heard the news of the passing of Queen Elizabeth II. We were at the Curzon Cinema at Milton Keynes Gallery to see the NT Live broadcast of ‘Much Ado About Nothing’ from the National Theatre in London. National Theatre Artistic Director Rufus Norris appeared on screen, wearing a black tie, to announce that the show would go ahead, following a minute’s silence and the playing of the national anthem. It felt like a hand-brake turn to then launch into Simon Godwin’s screwball comedy production of ‘Much Ado About Nothing’, set in an Art Deco hotel in 1930s Italy. Simon Godwin is one of my favourite theatre directors (see, for example, my review of his National Theatre production of George Bernard Shaw's 'Man and Superman' in May 2015). His ‘Much Ado’ started as very broad comedy, with Katherine Parkinson’s Beatrice and John Heffernan’s Benedick milking every line for laughs. But as the play turned darker the pathos was all the more affecting for its contrast with the earlier pantomime clowning and both the leads were very moving as well as funny. This ensemble performance also included impressive and very believable performances from Eben Figueiredo as Claudio, David Judge as Don John and Phoebe Horn as Margaret. And David Flynn’s blend of dimness, slapstick and a hint of being slightly more knowing than he first appeared made his Dogberry more genuinely funny than usual.
 

Friday, September 02, 2022

Edinburgh Festivals 2022

2 September 2022

It was great to be back at the Edinburgh Festivals last week, for the first time since 2018. It did feel a little less busy than our last pre-pandemic festival, and the streets were strewn with rubbish because of strike action affecting bin collection. Nevertheless, in most aspects it did seem like things were getting back towards normal. We managed to see 27 shows during our week in Edinburgh - almost all of a surprisingly high standard. We saw two brilliant orchestral concerts at the Usher Hall as part of the Edinburgh International Festival: the Czech Philharmonic, conducted by Semyon Bychkov, gave a stunning performance of Mahler’s ‘Symphony No 7’; and the Philadelphia Orchestra, conducted by Yannick Nézet-Séguin, were incredibly engaging and entertaining in Florence Price’s ‘Symphony No 1’. This symphony, premiered in 1932, was the first work by a Black woman composer to be performed by a major US orchestra and it’s a lovely piece which deserves to be more widely performed. At the Edinburgh International Book Festival we saw the actor Alan Cumming talking about his recent memoir ‘Baggage’. Our pick of the Edinburgh Fringe Festival included fringe veteran comedian Simmon Munnery - on particularly good form this year - and our belated discovery of the wonderfully funny and likeable musical duo Jonny & The Baptists (see: https://www.youtube.com/watch?v=OdR8e08ng9M). We enjoyed two excellent quintessential fringe one-person biographical plays: Alison Skilbeck’s ‘Mrs Roosevelt Flies to London’ and Tayo Aluko’s ‘Call Mr. Robeson’. Seeing the Royal Lyceum Theatre Edinburgh production of ‘The Strange Undoing of Prudencia Hart’ by David Greig and Wils Wilson in the amazing setting of the University of Edinburgh Playfair Library felt like proper ‘event theatre’ and was great fun. Emily Bruni was brilliant in Matt Wilkinson’s one-woman play ‘Psychodrama’ at the Traverse Theatre. And we rounded off our week in Edinburgh with another outstanding solo performance - Samuel Barnett in ‘Feeling Afraid as If Something Terrible Is Going to Happen’, written by Marcelo Dos Santos and directed by Matthew Xia, at the Roundabout at Summerhall. As always Edinburgh in August felt like a cultural top-up which should keep us going for the next year.

Wednesday, August 17, 2022

'The Hanging Tree' by Ben Aaronovitch

17 August 2022

It was 2018 when I discovered Ben Aaronovitch’s series of novels about London police officer Peter Grant who is seconded to the Metropolitan Police’s secret division of wizards dealing with magic and supernatural crimes. ‘Rivers of London’ (reviewed here in June 2018) was a very entertaining blend of real-world policing and fantasy that was clever, thrilling and very funny. Since then I’ve been gradually working my way through the other books in the series and I’ve just finished the sixth novel ‘The Hanging Tree’, which I read as an unabridged audio book, narrated by Kobna Holdrook-Smith. I think this was the best yet - beginning to bring together the historical backstory of magical practitioners that Peter Grant has been trying to understand, and taking Peter and his wizard boss, Detective Chief Inspector Nightingale, ever closer to their arch-enemy – The Faceless Man. It’s a peculiar combination of crime fiction and fantasy, rooted in a very real contemporary London but forever slipping into the magical demi-monde - and never taking itself too seriously.

Friday, August 12, 2022

'Prima Facie' by Suzi Miller

12 August 2022

On Tuesday we were at the Curzon Cinema at Milton Keynes Gallery to see the NT Live screening of 'Prima Facie' by Suzi Miller from the Harold Pinter Theatre in London. This new play is presented as a partnership with the charity The Schools Consent Project which was set up in 2014 by barrister Kate Parker to send lawyers into schools to teach 11-18 year olds the legal definition of consent and key sexual offences. 'Prima Facie' looks at the issue of consent through the story of Tessa Ensler, a young barrister who has made a name for herself defending men accused of sexual assault. It's a remarkable one-woman play which marks Jodie Comer's West End debut. Justin Martin's production uses an inventive set by Miriam Buether framed with towering bookshelves filled with legal ring binders, and features music by Rebecca Lucy Taylor AKA Self Esteem. Suzi Miller's script is powerful, witty and cleverly constructed. But this is very much Jodie Comer's show and she is superb. Like many monologues, the script would make a good radio play. But Jodie Comer's physical acting is fascinating, constantly moving the furniture to construct different scenes in her story, leaping onto the desk to deliver a speech and pouring a full glass of water perfectly without looking. And her facial expressions, wonderfully clear in close-up in the cinema screening, tell much of the story by themselves. She has an incredible skill for accents (as she demonstrated in 'Killing Eve'), here seamlessly switching between two characters when recounting a conversation. It's a captivating, compelling masterclass in dramatic storytelling which reminded me of Kizzy Dunn’s brilliant one-woman performance of ‘Henry V’ that we saw at the Edinburgh Fringe four years ago (reviewed here in August 2018). 'Prima Facie' is an amazing show - funny, distressing and enraging: an extraordinary solo performance by Jodie Comer.

Tuesday, August 09, 2022

'As You Like It' by William Shakespeare

9 August 2022

Last Friday evening we were at Wrest Park in Silsoe to see an outdoor performance of ‘As You Like It’ by the Lord Chamberlain’s Men who specialise in very traditional productions of Shakespeare plays, with an all male cast and Elizabethan costume – giving you a good idea of what it must have been like to see the plays when they were first performed. A year ago, at the same venue, we saw their production of ‘Macbeth’ (reviewed here in August 2021). ‘As You Like It’ provided another opportunity to see one of Shakespeare’s gender-swapping comedies making much more sense than it usually does - as we experienced with the Lord Chamberlain’s Men production of ‘Twelfth Night’ (reviewed here in August 2009). Somehow, with a female actor playing a woman pretending to be a man you never believe anyone would actually fall for the disguise. But when (as it would have been in Shakespeare’s time) it is a male actor playing a woman dressed as a man, it is easier to suspend your disbelief and go with the plot. Peter Stickney’s production of ‘As You Like It’ was great fun, with a very impressive cast including stand-out performances by Ben Lynn as Rosalind and Jonny Warr as Celia.

Monday, August 01, 2022

WOMAD 2022

1 August 2022

Last weekend saw the return of the WOMAD Festival after a two-year break for the pandemic, and celebrating 40 years since the first ‘World of Music, Arts and Dance’ Festival in Shepton Mallet in 1982. I first went to WOMAD in 2003 and I’ve been at every UK WOMAD Festival since. WOMAD moved to its current home - the enormous Charlton Park, near Malmesbury in Wiltshire - in 2007, and it was lovely to return there last Friday in glorious sunshine. Over the weekend I managed to see 16 full performances, and caught snippets of many others. I enjoyed Khiyo, a band from Bangladesh and the UK who play a rock-version of Bengali folk and film songs. Sam Amidon from Vermont USA gave a stunning performance on the Charlie Gillett Stage, reinterpreting early 20th century American folk music for a contemporary audience. It was lovely to see the Gambian kora player Sona Jobarteh talking about her music and playing duets with her 15-year-old son on balafon in the intimate World Rhythms tent. And it was a real treat to finally get the chance to see the poet and rapper Kae Tempest (whose recordings I have written about here before - in October 2014, October 2016 and August 2019) performing the new album ‘The Line Is A Curve’ in its entirety, to a packed Siam Tent. I liked Afghan singer Elaha Soroor’s collaboration with the group Kefaya - turning Afghan folk songs into rock, electronica and dub. It was wonderful to see Nitin Sawhney again - the highlight of my first WOMAD in 2003 - giving a brilliant performance on Saturday evening. But my pick of WOMAD 2022 was the amazing Korean band ADG7 (Ak Dan Gwang Chil). The group consists of six traditional musicians playing acoustic Korean instruments, accompanying three flamboyantly dressed female vocalists with impressively choreographed routines. They take Korean shamanic folk traditions and present them in a catchy K-pop style. The concept sounds horrendous but the result is surprisingly wonderful. To give you a flavour, here is a clip of the band performing at Womex in 2019: https://www.youtube.com/watch?v=r9XTmH8U4nA You can see a selection of my photos from this year’s WOMAD Festival at: https://culturaloutlook.blogspot.com/search/label/WOMAD2022

Wednesday, July 27, 2022

David Sedaris

27 July 2022

When we last saw the American humourist David Sedaris at the Derngate in Northampton (reviewed here in June 2015) he was careful to avoid using any material that had previously been used on his BBC Radio 4 show, treating us to new writing and work in progress. Last Sunday we were at the Corn Exchange in Cambridge for another evening of David Sedaris reading his essays, and almost all the pieces he read were written since he finished his latest book in February this year. It still seems odd sitting in a theatre watching a writer simply reading aloud - but he does it so well! I was struck by how many of his anecdotes seem to come from things people say to him at his book signings. So it was fascinating to see the enormous queue in the foyer at the end of the evening as everyone waited for their moment with David Sedaris, and their opportunity to be featured in his next collection.

Friday, July 22, 2022

'Great Circle' by Maggie Shipstead

22 July 2022

I bought Maggie Shipstead’s novel 'Great Circle' purely on the following short recommendation in The Guardian: "shortlisted for the Booker and now the Women’s prize, this is the story of an early female aviator and the Hollywood star who investigates the mystery of her disappearance. A gloriously immersive historical epic." I wasn’t disappointed: ‘Great Circle’ is a compelling saga covering more than 100 years, beautifully written and elegantly constructed. The central tale of the life of aviator Marion Graves is framed by the modern-day story of the making of a film about her. We also see Marion’s life through the perspectives of some of her closest friends and family and through the ‘found narratives’ of letters, diaries and memoirs. It’s an engaging and wide-ranging journey through the first half of the 20th century, interspersed with factual accounts of the achievements of other early aviators. Marion faces some grim challenges - both in her chosen profession and her personal life - which are not always easy reading. But there’s a lightness and wit to Maggie Shipstead’s writing and there is fun to be had for the reader in knowing more about what actually happened to Marion than those making the film have discovered. ‘Great Circle’ feels like an instant classic: I didn’t want it to finish.

Friday, July 15, 2022

‘Wrong Place Wrong Time’ by Gillian McAllister

15 July 2022

When we saw the thriller writer Erin Kelly at the Ampthill Literary Festival earlier this year (reviewed here in April 2022), one of the authors she recommended was Gillian McAllister. I have just finished reading ‘Wrong Place Wrong Time’ - the new novel by Gillian McAllister (as an unabridged audio book, narrated by Lesley Sharp) and I loved it. This is a crime thriller with a twist. Jen - a successful Liverpool solicitor - witnesses an horrific murder directly outside her house. This traumatic experience has a profound effect on her and when she wakes up the following morning she discovers that it is actually the previous morning and the murder hasn’t happened yet. Armed with her knowledge of the future could she prevent the crime from being committed? The device of travelling back in time to relive the same events in order to try to change their outcome reminded of ‘The Seven Deaths of Evelyn Hardcastle’ by Stuart Turton (reviewed here in April 2019) and the Netflix series ‘Russian Doll’. But ‘Wrong Place Wrong Time’ is less concerned with the science fiction of time travel and more an exercise in searching your own memory for clues that were there all the time but that you hadn’t noticed before. There were multiple twists in Jen’s story, almost all of which caught me completely by surprise. But the really clever thing about Gillian McAllister’s novel is how it manages to replicate Jen’s experience for the reader, showing you that you had read the clues to each unexpected twist earlier in the book without noticing their significance. I had no idea where the plot was taking me and this made it a very enjoyable and ultimately satisfying read.

Wednesday, July 13, 2022

'The Importance of Being Earnest' by Oscar Wilde

13 July 2022

On Saturday we were at the Roman Theatre of Verulamium in St Albans to see the OVO Theatre open-air production of Oscar Wilde’s ‘The Importance of Being Earnest’. Like their adaptation of ‘The Merry Wives of Windsor’ which we saw at the same venue in 2020 (reviewed here in September 2020) the play was interspersed with live music performed by the cast, this time featuring a jazz band interpreting modern pop songs in a 1920s swing style. The production, directed by Adam Nichols and Matt Strachan and musically directed by Tom Cagnoni, was great fun. ‘The Importance of Being Earnest’ is such a brilliant play it would be hilarious if you just read the words directly from the script but an excellent cast added a real panache. Charlie Clee was perfect as Algernon Montcrieff but I thought Paul Manuel almost stole the show as Lane the butler - all the funnier for playing it very straight and drole in the manner of Jeeves, and joining in the musical numbers in a bemused expression. It was a lovely afternoon but the heat was hard work for an outdoor audience with no shade to shelter in. By the second half we had retreated to the back row so we could try to escape the sun under an umbrella - feeling like Cecily and Gwendolen in the garden of Jack Worthing’s country house.

‘The Southbury Child’ by Stephen Beresford

13 July 2022

Last Thursday we were back at the Bridge Theatre in London to see ‘The Southbury Child’ - a new play by Stephen Beresford, directed by Nicholas Hytner. Alex Jennings plays a Church of England vicar who provokes hostility in his rural Devon parish by not allowing a young mother to decorate the church with Disney balloons for her child’s funeral. The drama takes place around the kitchen table of the vicarage as various local residents plead with the vicar to relax his principled stand in sympathy with the emotional devastation of the family dealing with the loss of a child. Stephen Beresford’s script finds gentle humour within a tragic situation and has the feel of an Alan Bennett play. ‘The Southbury Child’ is entertaining and thought provoking, with an impressive cast including Phoebe Nicholls as the vicar’s wife.

Wimbledon 2022

13 July 2022

We had a fantastic day at Wimbledon on the middle Saturday of the Championships on Court Number One. We saw Nick Kyrgios beat Stefanos Tsitsipas in what many commentators said was the game of the tournament and was certainly the most exciting match we have ever seen in many years of going to Wimbledon. It was a high-quality, but extremely bad-tempered, battle which ended just after 9pm under the roof - making the final set even more dramatic and incredibly noisy. Our seats were high up in the stadium and at times it was quite difficult to know what was going on between the players and the umpire without consulting the BBC Sport app. But it was an electric atmosphere: a genuinely thrilling experience. Earlier we had seen the impressive run of British player Liam Broady come to an end in straight sets against Alex de Minaur. We also witnessed Alize Cornet completely outplaying the World No. 1 and No. 1 seed Iga Swiatek - which was set to have been the story of the day before Kyrgios vs Tsitsipas.

Friday, July 01, 2022

Spiers & Boden

1 July 2022

Last Friday we were at the Stables in Wavendon to see English folk duo Spiers & Boden. John Spiers (melodeon) and Jon Boden (fiddle) are the founders of the wonderful folk big band Bellowhead (reviewed here on many occasions, most recently in December 2020). We last saw them as a duo in 2008 (also at the Stables, reviewed here in December 2008) and it's wonderful to see the two of them touring together again after many years devoted to Bellowhead and their own individual projects. Friday's concert mainly featured tracks from their 2021 album 'Fallow Ground' - a great collection of traditional songs and their own new tunes. Spiers & Boden do sound (unsurprisingly) like Bellowhead without the other instruments, and Jon Boden is a brilliant front man, even when his band is simply John Spiers. Here’s one of the tracks from their new album: https://www.youtube.com/watch?v=poFJINnaA4w

Thursday, June 23, 2022

'Lockdown in Little Grimley' and 'Murder in Little Grimley' by David Tristram

23 June 2022

We had only recently discovered the TADS amateur theatre group in our neighbouring village, Toddington, when we saw their hilarious production of David Tristram's wonderfully silly detective spoof 'Inspector Drake and the Black Widow' in 2009 (reviewed here April 2009). Since then we've been back to the lovely little TADS Theatre to see three more 'Inspector Drake' plays. On Saturday we were at TADS to see two one-act plays by David Tristram from his Little Grimley series about a less than perfect amateur theatre group. 'Lockdown in Little Grimley' saw the fictional company's four actors reuniting to work on their first post Covid production (complete with plenty of jokes about toilet rolls and facemasks). And 'Murder in Little Grimley' further stretched the boundaries of meta fiction with the Toddington amateur theatre group playing the Little Grimley amateur theatre group devising a new murder mystery play about the death of a sweet shop owner whilst also becoming implicated in the actual death of a sweet shop owner. These plays reminded me of The Farndale Avenue Housing plays (such as 'The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of Macbeth’ - a comedy by William Shakespeare, David McGillivray and Walter Zerlin Jnr, reviewed here in November 2016). Both Little Grimley plays had the characteristic David Tristram zany surreality and corny gags, though they felt a bit slight compared to the Inspector Drake plays. But David Sachon's production was great fun with a very strong cast and it was lovely to see some TADS regulars again after the long break imposed by the pandemic.

Friday, June 17, 2022

Canada and Alaska

17 June 2022

We had an amazing holiday over the past couple of weeks - driving through the Canadian Rockies, followed by a cruise from Vancouver to Alaska. We visited Canmore, Banff, Lake Louise, Jasper, Golden, Kelowna and Vancouver in Canada, including two journeys along the incredible Icefields Parkway - which must be one of the most stunning drives in the world. We had some lovely weather but it was still cold in the mountains, with many of the lakes frozen. We were fortunate to see black bears on six separate occasions (and fortunate that all were from a safe distance!). On our cruise we sailed around the Glacier Bay National Park - one of the most beautiful landscapes I have seen, but it was sad to see the extent to which climate change is affecting the glaciers. One of our highlights was a boat trip along the Tracy Arm Fjord near Juneau during which we saw lots of wildlife and got a close-up view of the deep blue colours of the South Sawyer Glacier. You can see a very small selection from the thousands of photos I took at: https://culturaloutlook.blogspot.com/search/label/Canada-Alaska2022

Tuesday, May 24, 2022

Northampton Symphony Orchestra concert

24 May 2022

Our Northampton Symphony Orchestra concert last Saturday was dedicated to the memory of Luke Roskams, a long-time member of the orchestra who died suddenly and unexpectedly in April 2021. Luke was a violinist who played for many years with the Orchestra of the Welsh National Opera before moving to Northampton. Our concert featured Luke’s son Benjamin Roskams playing Max Bruch’s ‘Violin Concerto No. 1’ - a gorgeously romantic work that felt particularly poignant. Ben had previously played Bruch's 'Scottish Fantasy' with us (reviewed here in June 2015) and the ‘Romantic Fantasy’ by Arthur Benjamin (reviewed here in February 2019) and it was great to have the opportunity to hear him again. It was a stunning and very moving performance. We started the concert with another emotional piece, the orchestral rhapsody ‘A Shropshire Lad’ by George Butterworth - a young English composer who was killed by a sniper at the Battle of the Somme in 1916 at the age of 31. It’s a beautiful pastoral piece in the style of Vaughan-Williams, which we last played in a NSO concert in 2014 (reviewed here in October 2014). Our performance on Saturday featured some wonderfully delicate playing by the violas and clarinets. We started the second half of the concert with Samuel Barber’s haunting ‘Adagio for Strings’ - a piece that has become increasingly used in memorium. The concert finished with one of the works we played during lockdown in the NSO online rehearsals using Jamulus (open source low latency software), the ‘Symphony in D minor’ by Cesar Franck. This symphony was incredibly popular with audiences in the early twentieth century but then fell out of fashion and is now rarely performed. It’s a very likeable, tuneful piece and our performance featured impressive solos by Jo Bell on cor anglais, Rowena Bass on harp and Ian Jones on horn. It was a lovely concert.

Thursday, May 19, 2022

'Lucky Stiff' by Lynn Ahrens and Stephen Flaherty

19 May 2022

On Friday we were back at the tiny TADS Theatre in Toddington for the first time since October 2019 - not for a TADS performance but to see another very impressive amateur theatre group, St Andrew’s Players from Luton. They were performing the 1988 musical ‘Lucky Stiff’ with book and lyrics by Lynn Ahrens and music by Stephen Flaherty, based on the 1983 novel ‘The Man Who Broke the Bank at Monte Carlo’ by Michael Butterworth. ‘Lucky Stiff’ is a very silly farce about the battle to inherit the fortune of a distant uncle, which involves taking the uncle’s corpse on holiday to Monte Carlo. It’s a nicely constructed plot, with slightly more to it than first appears. The songs have a narrative style which reminded me of Stephen Sondheim and were excellently performed by a cast full of strong singers, led by Musical Director Richard Cowling and accompanied by Martin Hart. The leads, Barry Hyde and Jo Yirrell, managed to make their ridiculous characters surprisingly sympathetic. Dee Lovelock’s production was a hoot. You can see the St Andrew’s Players trailer at: https://www.youtube.com/watch?v=Am2WFLpEe_w

Friday, May 13, 2022

Tom Robinson

13 May 2022

We really enjoyed Tom Robinson’s wonderful solo gig at the splendidly refurbished Drapers’ Hall in Coventry last year (reviewed here in November 2021). But last Friday it was even better to finally see his twice-postponed appearance at The Stables in Wavendon (our tickets having been carried forward twice from the originally planned date in 2020 because of lockdown). This was a concert with his full band - including long-time collaborators Adam Philips and Lee Forsyth Griffiths - and it was great to see them back together. Having followed Tom Robinson for almost 30 years, it always surprises me how many people in the audience say they have never seen him before (about a third of this sold-out crowd). It is great that he is still picking up new fans at this late stage of his career. And Tom was in good voice, showcasing updated verses for several of his classic songs to rage against the ‘beyond parody’ behaviour of current politicians.

Friday, May 06, 2022

'Don Quixote' directed by Orson Welles

6 May 2022

This week’s ‘The Signal From David Katznelson’ newsletter describes how Katznelson has been meaning for many years to read ‘Don Quixote’ by Miguel de Cervantes and has now finally done so. His experience of tackling this genius “first modern novel” sounds remarkably similar to my own (described at length in my review here in January 2012): it was a bit of struggle but the transition into meta-fiction in the second part of the story (when the knight and his squire encounter people who have read the earlier volume and are familiar with their history) is fascinating. David Katznelson also makes the point I did in my review of James Fenton’s stage adaptation of ‘Don Quixote’ (reviewed here in January 2019) that the laughs at the expense of what is effectively mental illness feel a bit uncomfortable at times. Best of all The Signal provides a link to Orson Welles’ unfinished film of ‘Don Quixote’ - which Welles started in 1955 and was working on intermittently until his death in 1985. It’s a bizarre curio, well worth a look: https://www.youtube.com/watch?v=2RZaalXvhIk

Friday, April 29, 2022

Amp Literary

29 April 2022

On Saturday we made the short journey to the Parkside Community Hall in Ampthill to attend ‘Amp Literary’ - the Ampthill Literary Festival - an event postponed from 2020. The journalist and Sunday Times bestseller Erin Kelly spoke about her ‘psychological gothic’ novels and explained the process of writing her latest book ‘Watch Her Fall’ during lockdown. ‘Watch Her Fall’ is a thriller about a dancer, which uses ‘Swan Lake’ as its inspiration and structure. It was fascinating to hear how she had used the ballet to develop the novel. Erin Kelly was one of the most engaging, articulate and well-prepared authors I have seen at a book festival: we really enjoyed her session. It was also wonderful to rediscover the poet/comedian Henry Normal who I first saw live at a comedy club in Peterborough nearly 30 years ago. Henry Normal disappeared from view as a performer when he set up Baby Cow Productions with Steve Coogan and spent 17 years as its Managing Director. During this time he focussed on writing (he co-wrote ‘The Mrs Merton Show’ and ‘The Royle Family’) and producing shows including ‘Gavin and Stacey’, ‘Red Dwarf’, ‘The Mighty Boosh’, ‘Nighty Night’ and ‘Alan Partridge’. Since retiring from Baby Cow in 2016, Henry Normal has written and performed a lovely occasional series of BBC Radio 4 shows (all still available on BBC Sounds: https://www.bbc.co.uk/sounds/brand/b09rwvwt) which showcase his brilliant poetry. His poems are alternately childishly silly, beautiful, hilarious and breathtakingly poignant. The Scotsman newspaper called him "The Alan Bennett of poetry". I still treasure my copy of ‘Nude Modelling for the Afterlife’ - Henry Normal’s 1993 collection which I bought after seeing him at the Edinburgh Book Festival. It was very exciting to see him again after so long, in the intimate setting of the Ampthill festival. He is a brilliant performer and had the audience in the palm of his hand. He was there to promote his new book ‘The Escape Plan’  which includes all of the poems from his Radio 4 shows, together with the most popular poems from each of his previous collections. I’m looking forward to reading my signed copy! We finished our visit to Amp Literary with a very enjoyable performance from The Antipoet - an anarchic duo with their own unique blend of poetry, comedy and music.

Friday, April 22, 2022

'Henry V' by William Shakespeare

22 April 2022

On Thursday we were at the Odeon in Milton Keynes to see the NT Live screening of Max Webster’s new production of ‘Henry V’ recorded live at the Donmar Warehouse in London, starring Kit Harrington. This modern dress production creates a disturbingly realistic picture of war in Europe. The intimate setting of the tiny Donmar auditorium gives a claustrophobic feel to the battle scenes. Kit Harrington is very impressive as the King, showing his transition from party animal to inspirational patriotic leader to a cruel victor, guilty of war crimes. Andrew T Mackay’s excellent original music uses a quartet of operatic voices within the cast to evoke an eerie melancholy. And Millicent Wong is great as the Chorus, joining in as part of Henry’s army rather than standing aloof from the action.

Thursday, April 21, 2022

'Straight Line Crazy' by David Hare

21 April 2022

Robert Moses was a legendary urban planner in New York State during the first half of the twentieth century. He invented the concept of the State Park, transforming Long Island into a series of parks to provide leisure opportunities for the workers of New York, to the annoyance of the wealthy families who owned large swathes of the area. He achieved his vision with determination and impatience that didn't wait to be given permission to proceed, often literally bulldozing through, ignoring legal obstacles. And his obsession with the motor car as the vehicle of liberation (despite not driving himself) made many of his developments inaccessible to the poorest communities, with no rail or bus provision. Moses was a fascinating, controversial, larger than life character and I can see the attraction for David Hare, whose new play 'Straight Line Crazy' we saw at the Bridge Theatre in London last Friday. Hare has chosen to dramatise two particular incidents from the life of Robert Moses - in 1926 and 1955 - which form the two acts of his play. Both stories would have made brilliant episodes of the design podcast '99% Invisible' or BBC2 documentaries but they don't quite add up to a completely satisfying stage play. The writing is witty and entertaining but it often feels a bit too much like a George Bernard Shaw play where the characters have unrealistically lengthy conversations about ideas. Nevertheless, we enjoyed Nicholas Hytner's production and its great cast, which included Samuel Barnett, Siobhan Cullen and a show stealing turn from Danny Webb as the sweary, cigar smoking New York Governor, Al Smith. But the main attraction was the chance to see Ralph Fiennes as Robert Moses. I had seen Fiennes in the live broadcasts of Simon Godwin's National Theatre productions of 'Man and Superman' (reviewed here in May 2015) and 'Antony and Cleopatra' (reviewed here in December 2018) but I had never seen him in person before. He didn't disappoint: Fiennes is a compelling presence, a very physical actor whose movement reveals the mood and thinking of his character. His careful attention to gesture and stance reminded me of seeing Kenneth Branagh on stage in 'Ivanov' (reviewed here in September 2008). And his transformation into the older Moses of Act 2 is subtle and convincing. 'Straight Line Crazy' was obviously conceived as a star vehicle for Ralph Fiennes. It's not a perfect play but well worth seeing as an acting tour de force.

Van Gogh Self Portraits

21 April 2022

When we visited the Van Gogh Museum in Amsterdam, in October 2019, rather than just following everyone into the first room on the ground floor, we thought we would try to beat the crowds by starting on the top floor and working our way down. Unfortunately this wonderful gallery, devoted solely to the life of Vincent Van Gogh, tells his story chronologically, starting with his birth. We managed to start our visit (spoiler!) with his suicide and bizarrely then followed his progress as a painter backwards! Despite this we really enjoyed the museum - and would highly recommend a visit. Last Friday we were at the newly refurbished Courtauld Gallery at Somerset House in London to see the Van Gogh Self Portraits exhibition. In total Van Gogh painted 35 self portraits: this exhibition has assembled 16 of them, including some of the most well known. It’s a small exhibition, but that allows you to spend plenty of time with each picture. And because it is the same face featured in each portrait, the contrast in styles and techniques feels even more fascinating. It’s a lovely exhibition, and it was also great to visit the Courtauld’s permanent collection and to see the beautifully restored rooms which only reopened last November.

Wednesday, April 13, 2022

Glenn Tilbrook

13 April 2022

We probably all know the feeling when you go to a concert you have been really looking forward to and, just as it is about to start, you realise there is going to be a support act before the main attraction. But the support act slot is where many artists get their first break, and I have seen many really impressive support acts. I often wonder how artists choose their support acts: I guess you would want someone who your fans will appreciate - so music of the same broad genre but not too close to your own style because you don't want anyone outshining you at your own game. So when we went to The Stables in Wavendon last Friday to see Glenn Tilbrook from Squeeze, I was surprised that the unintroduced young male singer-songwriter who strode on stage to open the concert seemed to echo Glenn Tilbrook's impressively intricate guitar style and had a falsetto voice that sounded remarkably like the Squeeze front-man. Then, from a few of his comments between songs, I realised we were watching Leon Tilbrook - Glenn's son. Like his father, he is an amazing guitar player and his songs were catchy and likeable. And, like all the best support acts,  he didn't outstay his welcome (and returned to duet with his dad in a couple of encores later in the evening). When we last saw Squeeze (at Milton Keynes Theatre, reviewed here in October 2015) Glenn Tilbrook's voice was sounding as good as it had in Squeeze's 1980s heyday. Though he is now a few years older (and strangely looking increasingly like Brian Wilson from the Beach Boys) his voice is still pure and clear. This solo performance gave me a chance to hear most of my favourite Squeeze songs in stripped down arrangements - and to appreciate even more the songwriting genius of Tilbrook and Chris Difford. As I've said here before, you know more Squeeze songs than you realise you do: they have an incredible back catalogue. But it was also interesting to hear Glenn Tilbrook performing some of the covers he recorded for his YouTube channel during lockdown, including the Human League's 'Don't You Want Me'. It was a fantastic gig.

Thursday, April 07, 2022

Seville

7 April 2022

We had a lovely holiday in Seville last week – our first trip abroad since 2019. We stayed in a hotel in the middle of the maze-like alleys of Barrio de Santa Cruz - the old Jewish quarter. The weather was lovely – particularly when we heard it had been snowing back home! The old centre of Seville is beautiful. We loved Plaza de Espana - a spectacular fairytale crescent building and courtyard with canals full of rowing boats: it was easy to see why it is often used as a film set. I think the highlight of our visit was the Real Alcazar – the Royal Palace - a fascinating collection of buildings and gardens in Moorish styles with lots of painted tiles, water features and spectacular wooden ceilings. The gardens were extensive and stunning, with palm trees, peacocks, grottos, water gardens and hundreds of orange trees. We saw gardeners shaking oranges out of the trees and gathering them in buckets. Seville Cathedral is also very impressive - the largest gothic church in the world which features the tomb of Christopher Columbus and the stairless Giralda Tower (which you climb via an unusual set of sloping ramps). We also caught the train to Cordoba to visit the Mezquita Mosque-Cathedral - an incredible building: the candy-stripe double-arched columns seem endless, stretching off in mirror-like perspective, but the huge gothic Catholic cathedral inserted into the centre of the older mosque is truly bizarre - a surreal juxtaposition. We visited some beautiful art galleries in Seville and attended a concert by the young Spanish saxophone quartet Synthèse Quartet. But above all it was just lovely to be somewhere different after so long and to remember how good it feels to be on holiday.

Thursday, March 24, 2022

'Our Friends in the North' by Peter Flannery

24 March 2022

The 1996 BBC TV adaptation of Peter Flannery’s ‘Our Friends in the North’ would be one of my ‘Desert Island TV serials’ (see my review here in April 2006 for the others). It is an epic tale of the lives of four friends from the 1960s to the 1990s (and through them the recent political history of the country). Now Peter Flannery has adapted the story for BBC Radio 4 as a series of 45-minute radio plays, with the promise of a new final episode set in the year 2020, 25 years after the original series finale. I’ve only listened to the first episode (1964) so far but already I’m hooked. The structure, with most episodes set in the year of a UK general election and all featuring substantial doses of pop music from the year in question, nicely balances the personal journeys of the four lead characters from youth to middle age with the macro political context. ‘Our Friends of the North’ takes on the high-rise planning scandal in the North East, corruption in the Metropolitan Police, the miners’ strike and much more. But ultimately it’s a moving study of four friends, their ambitions and failures. I’m really looking forward to revisiting their stories over the coming weeks. You can listen to ‘Our Friends in the North’ at: https://www.bbc.co.uk/programmes/m0015b7p

Tuesday, March 15, 2022

Northampton Symphony Orchestra concert

15 March 2022

Saturday’s Northampton Symphony Orchestra concert was both a glorious celebration of being back together in person for live music-making on a grand scale, and a reflection of our lockdown experience. In 2020, unable to meet as normal, the NSO experimented with online rehearsals using Jamulus (open source low latency software). Each week a small group of us played through orchestral repertoire together online. There were plenty of frustrating technical issues and the sound quality was not wonderful but, in the height of lockdown, it was a really enjoyable and rewarding experience (see: https://www.youtube.com/watch?v=XK4JrGDc7AA). As it was impossible to assemble a full symphony orchestra on Jamulus we were limited to playing orchestral pieces for which our Music Director, John Gibbons, had a piano transcription so he could fill in the missing parts. One of the works I most enjoyed playing on Jamulus was ‘Symphony No. 2’ by Sergei Rachmaninoff - a huge romantic masterpiece. It was a particularly emotional experience to be sitting in my dining room, with headphones on, playing the achingly beautiful slow movement with friends across the Internet, during such a strange and unsettling period in all our lives. 

When we were finally able to return to face-to-face orchestra rehearsals in 2021, albeit with social distancing and other safety measures, we started by playing through a series of shorter pieces each week. One of the works John Gibbons selected for these first tentative steps to bring the orchestra back together was Carl Nielsen's ‘Helios Overture’ - a lovely evocation of a day - from sunrise to sunset - on a Greek island. 

Last Saturday, in the third concert of our 2021-22 season, the NSO played both the ‘Helios Overture’ and Rachmaninoff’s ‘Symphony No 2’ at St Matthew’s Church in Northampton, together with the ‘Piano Concerto No 2’ by Dimitri Shostakovich. I was really looking forward to the concert but wary that this was going to be an ambitious and exhausting programme. To make sure we would be able to cope with the sheer stamina needed to get through the hour-long symphony, and being particularly nervous that it was still all too possible that we might lose some players at the last minute with positive tests for Covid-19, I assembled seven horn players rather than the usual four, enabling us to share the pieces between us. Fortunately all seven horn players were able to take part in the concert, though we did lose several other members of the orchestra because of Covid and had to find some late replacements who did a fantastic job. This meant we were able to play the ‘Helios Overture’ with seven horns doubling up the four parts, which I thought sounded wonderful (though I may be a little biassed!). 

I didn’t play in the Shostakovich concerto but I really enjoyed listening to a stunning performance by the pianist Maria Marchant. Shostakovich wrote the concerto for his teenage son Maxim to play and it’s a very playful, personal piece with a particularly gorgeous romantic second movement. It was an emotional concert in many ways, starting with the Ukrainian national anthem and with Maria Marchant playing a Ukrainian folk song as her encore. 

Rachmaninoff’s ‘Symphony No 2’ provided a rousing romantic finale, featuring a beautiful clarinet solo by Naomi Muller. It was great fun to perform the symphony as part of a large orchestra in front of a packed audience, in contrast to the experience of playing it in a small group, each isolated in our own homes. 

Our next NSO concert, on 21 May, features the ‘Symphony in D minor’ by Cesar Franck - another of the pieces we played on Jamulus. I’m really looking forward to it.

Thursday, March 10, 2022

Buckingham Palace Garden

10 March 2022

On Sunday we were in London for a guided tour of the Buckingham Palace Garden. While large crowds gathered in front of the Palace for the Changing of the Guard It was fascinating to be part of a small group taken around the 39 acre garden behind the Palace. This large green space in the centre of the city was much more like one of the London Royal Parks than the formal gardens I had been expecting. Our guide told us about the work of the Palace gardeners and recent changes to the garden to improve biodiversity. It was also interesting to see the Royal Mews and the back of Buckingham Palace at close quarters - a rare glimpse into a hidden world.

Friday, March 04, 2022

'The Book of Dust - La Belle Sauvage' by Philip Pullman, adapted by Bryony Lavery

4 March 2022

Nicholas Wright’s two-part stage adaptation of Philip Pullman’s ‘His Dark Materials’ novels, premiered in Nicholas Hytner’s production at the National Theatre in London in 2004, felt like a landmark theatrical moment. The use of puppets, operated on stage by black-clad puppeteers, as the animal daemons - the physical manifestation of the human soul - was beautifully done, preceding the National Theatre production of Michael Morpurgo’s ‘War Horse’ by three years. The cast, led by Anna Maxwell Martin as Lyra, included three young actors who would star in Nicholas Hytner’s National Theatre production of ‘The History Boys’ by Alan Bennett later in 2004 and have since become very familiar names - Samuel Barnett, Dominic Cooper and Russell Tovey. ‘His Dark Materials’ was also the professional stage debut for Ben Wishaw, who was about to be thrust into the limelight as the lead in Trevor Nunn's 2004 production of Hamlet at the Old Vic. I have fond memories of our trips to the National Theatre in 2004 to see both parts of ‘His Dark Materials’, so when I learned that Nicholas Hytner was to direct an adaptation, by Bryony Lavery, of Philip Pullman’s prequel ‘La Belle Sauvage’ (reviewed here in November 2017) I quickly bought tickets as a Christmas present for Jeannie - only to discover that she had bought tickets to the same show as my Christmas present! Having returned one set of tickets, last Saturday we made our first visit to the Bridge Theatre - Nick Starr and Nicholas Hytner’s new commercial theatre on the south bank of the Thames next to Tower Bridge. ‘La Belle Sauvage’ is the first of Pullman’s new trilogy of novels ‘The Book of Dust’. It tells the story of Lyra as a baby, through the eyes of twelve-year-old Malcolm Polstead. Malcolm lives with his parents at the Trout Inn outside Oxford, across the river Thames from Godstow Priory where Lyra has been given sanctuary to hide her from the Magisterium. The whole story takes place on or around the River Thames, with a biblical flood taking Malcolm and Lyra as far as our actual location next to London’s Tower Bridge. Whereas the 2004 production of ‘His Dark Materials’ featured a spectacular revolving set on the huge stage of the Olivier Theatre, ‘La Belle Sauvage’ makes brilliant use of the amazing recent technological advances in video projection, turning a bare black stage into the flowing river and much more. The interplay of the actors, Malcolm’s canoe and the swirling projections is visually stunning. And Nicholas Hytner has once again turned to a group of young actors whose progress it will now be fascinating to watch. Samuel Creasey - who plays Macolm Polstead very much in the style of that other History Boy, James Corden - is making his first professional stage appearance, as is Heather Forster - who plays his daemon, Asta. They are joined by Ella Dacres as Alice Parslow - who is a comparable veteran, having previously appeared in one professional production at the National Theatre. They are all excellent, giving a real emotional heart to the story. The puppet daemons seem less surprising than they did 18 years ago but they are still very effective, their glowing eyes dragging our attention around the darkened stage. Above all it was wonderful to be back in a theatre for the first time in ages. ‘La Belle Sauvage’ was gripping, beautiful, funny and incredibly emotional - a perfect Christmas present.

Friday, February 25, 2022

'Morgan's Passing' by Anne Tyler

25 February 2022

Anne Tyler is one of the great contemporary American novelists. I have long admired her understated masterpieces - which never stray far from Baltimore and focus almost exclusively on domestic family life but still manage to say so much about the world. It was fascinating to hear a rare interview with Anne Tyler on Desert Island Discs on BBC Radio 4 this week (you can listen at: https://www.bbc.co.uk/programmes/m0014p3b) just after I had finished reading her 1980 novel ‘Morgan’s Passing’. Having recently read her most recent (and possibly final) short novel ‘Redhead by the Side of the Road’ (reviewed here in October 2021) it was interesting to go back to this much earlier work. ‘Morgan’s Passing’ felt like a prototype for the books I think of as quintessential Anne Tyler, such as 'Noah's Compass' (reviewed here in May 2010), 'The Beginner's Goodbye' (reviewed here in March 2013), 'Dinner at the Homesick Restaurant' (reviewed here in July 2014) and 'A Spool of Blue Thread' (reviewed here in March 2015). All the familiar Anne Tyler elements are present but the structure of ‘Morgan’s Passing’ is a little more experimental. Morgan Gower, is a likeable but exasperating eccentric - a familiar Anne Tyler character but it is unusual that he is the main protagonist rather than an amusingly embarrassing peripheral family member. Morgan is a Walter Mitty-like daydreamer, endlessly slipping into fictional personas - entertaining to bystanders but infuriating to his wife. Also unusually, for Anne Tyler, the story spans 12 years, starting in the late 1960s. It’s an enjoyable tale but I found it hard to sympathise with Morgan and wondered whether the book would have worked better with his wife Bonny as the central character.

‘Laura Knight: A Panoramic View’

25 February 2022

Dame Laura Knight (1877 - 1970) was one of the most popular English artists of the twentieth century. On Saturday I was at Milton Keynes Gallery to see ‘Laura Knight: A Panoramic View’ - an exhibition curated by Anthony Spira and Fay Blanchard bringing together over 160 works from public and private collections to provide a fascinating overview of Knight’s career. A painter in the figurative, realist tradition, Laura Knight embraced English Impressionism. She was the perfect candidate for a biographical exhibition because her work falls neatly into a series of distinct periods, styles, locations and subjects. After her early works, painted while she was living in Staithes, North Yorkshire, she spent the First World War in Cornwall where she produced a range of rural pictures. After moving to London, Knight’s attention turned to ballet, painting some of the most famous dancers of the day from Sergei Diaghilev's Ballets Russes. Later she went on a tour with the combined Bertram Mills and Great Carmo's Circus in order to paint circus scenes. During the Second World War, Knight was an official war artist, producing portraits and posters in the socialist realist style to bolster female recruitment to the war effort. In 1946 she painted scenes from the Nuremberg war crimes trials, spending three months observing the main trial from inside the courtroom. The MK Gallery exhibition focussed on each of these periods in her life in chronological order. It was a fascinating collection of the work of this prolific and varied artist. You can see a selection of Laura Knight paintings at: https://www.youtube.com/watch?v=1-_pqbr6EjM
 


Friday, February 18, 2022

‘Jazz, Jazz, Jazz’ by The Scorpions and Saif Abu Bakr

18 February 2022

I’ve written here before about the flowering of Ethiopian popular music in the 1960s - incorporating Western instruments and influences but retaining the distinctive pentatonic scale and asymmetrical rhythms of the country's traditional music. French record producer Francis Falceto famously rediscovered vintage recordings on reel-to-reel and vinyl and reissued them on CD as the 'Éthiopiques' series (see 'the very best of éthiopiques', reviewed here in November 2007). This week I’ve discovered another strand of brilliant vintage African popular music, from a recommendation in the fascinating Substack newsletter ‘The Signal From David Katznelson’ (subscribe for free at: https://oakiedog.substack.com/). ‘Jazz, Jazz, Jazz’ is an instrumental album by Sudanese band The Scorpions and Saif Abu Bakr. Originally released in 1980, in 2018 it became the ninth instalment of Habibi Funk’s series of Arabic music reissues. The album is a cool collection of jazz, funk, rock and psychedelia with a very laid-back groove. The guitar and saxophone sound reminded me of Senegal’s Orchestra Baobab (reviewed here in June 2017). You can get a flavour of ‘Jazz, Jazz, Jazz’ at https://www.youtube.com/watch?v=R2o6mHk3QJY

Friday, February 11, 2022

'The Lincoln Highway' by Amor Towles

11 February 2022

The Lincoln Highway was the first transcontinental road across America, running from Times Square in New York City to Lincoln Park in San Francisco. In Amor Towles’ new novel, ‘The Lincoln Highway’, 18-year-old Emmett Watson, who has just been released from prison in 1954, plans a road trip with his 10-year-old brother Billy to start a new life in California - but things don’t go as planned. Like many epic heroic tales, ‘The Lincoln Highway’ starts its narrative ‘in media res’ - in the middle of the plot, but also in the middle of the Highway in rural Nebraska halfway between New York and San Francisco, because Amor Towles is not just telling us a story but telling us about story-telling. His previous novel ‘A Gentleman in Moscow’ (reviewed here in September 2021) was my Pick of the Year: it is a remarkable book - charming, moving, clever and witty. ‘The Lincoln Highway’, which I have just finished reading as an unabridged audio book, narrated by Eduardo Ballerini, Marin Ireland and Dion Graham, is a very different story but has a similar feel. The characters are wise but not always clever, naive but unexpectedly articulate, and sympathetic despite the mistakes they make and the crimes they commit. There is a folksiness to the writing that brings a flavour of Mark Twain to mid-century middle America while also nodding to the novels of John Steinbeck. But there is also an underlying parallel with the Greek heroic epics that reminded me of the Coen Brothers film ‘O Brother Where Art Thou?’ (which is based on ‘The Odyssey’ by Homer). ‘The Lincoln Highway’ alternates the narrative point of view between each of the main characters, often overlapping different views of the same scene. This allows Towles constantly to undercut our expectations and keep us guessing with small plot twists in almost every chapter. And there is a satisfyingly meticulous attention to detail, with every action having some consequence, even if it comes much later in the story. ‘The Lincoln Highway’ is a delicious novel, incredibly likeable, surprising and loveable - I was torn between racing through the book to find out what happened, and not wanting it to end. I absotively loved it.

Thursday, February 03, 2022

‘Leopoldstadt’ by Tom Stoppard

3 February 2022

On Saturday we were at the Curzon Cinema at Milton Keynes Gallery to watch the National Theatre Live recording of Tom Stoppard’s new play ‘Leopoldstadt’, directed by Patrick Marber at Wyndham's Theatre in London's West End. The play tells the story of an extended middle-class Jewish family living in Vienna from 1899 to 1955. Almost all the scenes take place in the family’s apartment, but are separated by gaps of many years. It was quite a challenge merely to keep track of the characters in the various strands of the family, as young children from one scene appear as adults in the next. But this creates a fascinating, and believable, family saga, against the ominous backdrop of the coming Holocaust. As always, Stoppard’s script is witty and intellectual - at times here becoming a little too much like a George Bernard Shaw play in which the rigorous debate of ideas over the dinner table feels a bit unrealistic. Nevertheless it’s a gripping and achingly sad journey, told very straight-forwardly. ‘Leopoldstadt’ reminded me of ‘The Hare With Amber Eyes’ (reviewed here in September 2011) in which Edmund de Waal recounts the experiences of the Viennese branch of his own Jewish family through the same period of history. I was also reminded of Ronald Harwood’s play ‘Mahler's Conversion’ which deals with the composer Gustav Mahler rejecting his Jewish background in 1897 to convert to Catholicism in order to be granted the prestigious position of Director of the Vienna Court Opera. The story of the rise and fall of a Jewish family business also made me think of that incredible staging of the tale of Lehman Brothers Bank - 'The Lehman Trilogy' by Stefano Massini, adapted by Ben Power (reviewed here in August 2019). ‘Leopoldstadt’ is excellently acted by a cast of about 30. It is a tragic story, beautifully presented.

Wednesday, January 26, 2022

‘Hag-Seed’ by Margaret Atwood

26 January 2022

I have read a few of the Hogarth Shakespeare series of books in which contemporary novelists are invited to re-imagine Shakespeare plays, including ‘The Gap of Time: The Winter's Tale Retold’ by Jeanette Winterson and 'Vinegar Girl: The Taming of the Shrew Retold' by Anne Tyler (reviewed here in July 2016). But I tend to find loosely disguised Shakespeare stories in a modern setting, with clever contemporary variations of the character names, all a bit cringe-worthy. The exception is ‘Hag-Seed: The Tempest Retold’ by Margaret Atwood, which I have just finished reading. Rather than simply transplanting the story to modern-day Canada, Margaret Atwood has the characters in her allegory version of ‘The Tempest’ (none of whom have recognisable variations of the names of Shakespeare’s characters) putting on a production of ‘The Tempest’ in a prison. The result is less a thinly-disguised retelling, more an entertaining and engaging study guide, as the prisoners discuss the characters in the play, its themes and meanings. I don’t know ‘The Tempest’ that well - I only saw the play for the first time in 2012 (reviewed here in April 2012) and, although I have seen it a couple of times since, it is not my favourite Shakespeare play. But ‘Hag-Seed’ certainly helped me to understand ‘The Tempest’ much more clearly. The device of prisoners rehearsing a play reminded me of ‘The Island’ by Athol Fugard - which I saw performed at the Edinburgh Fringe many years ago - in which two cellmates are preparing for a performance of Sophocles' ‘Antigone’. ‘Hag-Seed’ is a funny and enjoyable tale, not least because the main character - theatre director Felix Phillips - knows he is living the plot of ‘The Tempest’ because he is using it to enact a satisfying revenge on the colleagues who have usurped his position.

Friday, January 21, 2022

‘Just One Thing with Michael Mosley’

21 January 2022

I am very grateful to Gareth Coles for (repeatedly!) championing the BBC Radio 4 podcast ‘Just One Thing with Michael Mosley’. Each episode is less than 15 minutes long and, as the title suggests, focusses on just one thing you can do to improve your health and wellbeing. Michael Mosley provides very clear scientific evidence for how each of the quick simple things he looks at can benefit wellbeing. He then provides suggestions for minor changes to your daily habits that could make a major difference to your life. For example, the latest episode simply recommends standing up for a couple of minutes every hour. In each case he asks a guinea pig to test drive his hypothesis. The podcast is very persuasive precisely because it promotes very small adjustments. Some of the subjects are fairly unsurprising, for example ‘Sing’ or ‘Drink Water’, though the detailed analysis of these is still revealing. But I found the more counterintuitive topics the most interesting, such as the episodes suggesting improving your wellbeing by eating chocolate or playing video games. You can listen to ‘Just One Thing’ at https://www.bbc.co.uk/programmes/p09by3yy or wherever you get your podcasts.

Friday, January 14, 2022

'West Side Story' directed by Steven Spielberg

14 January 2022

On Saturday we were at the Odeon in Milton Keynes to see Steven Spielberg’s new film version of ‘West Side Story’. Often feted as the greatest of all musicals, I have fond memories of seeing a stage production of ‘West Side Story’ at the Opera House in Manchester many years ago and I have twice performed Leonard Bernstein’s fiendishly difficult ‘Symphonic Dances from West Side Story’ (with Northampton Symphony Orchestra - reviewed here in March 2008, and with Milton Keynes Sinfonia - reviewed here in January 2015). Spielberg’s film is a homage to the 1961 original, directed by Jerome Robbins and Robert Wise - and is notable for the involvement of Rita Moreno, who played Anita then and is now given a newly invented role as Valentina - Tony’s employer and confidante. Spielberg also invited Stephen Sondheim, who wrote the lyrics to Bernstein’s music, onto the set during the filming, though Sondheim sadly died before the film was released. Spielberg’s recreation of 1957 Manhattan is amazing, using state of the art CGI to make you feel you are there. The gritty realism sometimes sits oddly with the ensemble dance sequences in the New York streets, and uncomfortably reveals the true brutality of this version of ‘Romeo and Juliet’ with some gruesome violence. The new screenplay by Tony Kushner adds a lot of scenes of dialogue, which really help you to understand the motivations of the characters and explain their behaviour, but make the film far too long. Nevertheless, the music is fantastic (featuring the New York Philharmonic, conducted by Gustavo Dudamel), the singing is brilliant (particularly the leads - Ansel Elgort as Tony and Rachel Zegler as Maria) and the dancing is amazing (choreographed by Justin Peck, with some nice nods to Jerome Robbins).

Friday, January 07, 2022

‘The Trouble with Goats and Sheep’ by Joanna Cannon

7 January 2022

I’ve been really really enjoying Joanna Cannon’s novel ‘The Trouble with Goats and Sheep’. Set in the long hot summer of 1976, it tells the story of a small suburban cul-de-sac somewhere in England where one of the residents has gone missing. Many of the novel’s chapters are narrated in the first person by 10-year-old Grace who sets out, with her friend Tilly, to solve a mystery that neither of them really understands. Grace’s naive perspective is very endearing, allowing the reader to unravel what has happened more quickly than she does - in a similar way to Mark Haddon’s 'The Curious Incident of the Dog in the Night-time'. Grace and Tilly’s relationship is also charmingly reminiscent of Pooh and Piglet. Alternating with Grace’s narrative are chapters in the third person from the perspective of the other residents of the avenue which gradually reveal events nine years earlier which appear to have a bearing on what is happening now. I was a little disappointed that Joanna Cannon didn’t just give us the whole story through Grace’s eyes. The other chapters have to withhold information more artificially to prevent the reader from knowing the whole facts too soon. Nonetheless ‘The Trouble with Goats and Sheep’ is entertaining and intriguing with plenty of period detail from that memorable summer.