3 March 2016
The composer Dmitri Shostakovich certainly lived in interesting times. Julian Barnes' new novel 'The Noise of Time' (which I have just finished reading as an unabridged audio book, narrated by Daniel Philpott) fictionalises the remarkable true story of an artist constantly challenged by the controlling interest in his art taken by the Soviet state. In 1936, when Shostakovich's opera 'Lady Macbeth of Mtsensk' (described by Pravda as “muddle instead of music”) is banned, apparently at Stalin's behest, the composer assumes it is only a matter of time before he will be forced to surrender his life. Reluctant to flee into exile (as Stravinsky had done), and concerned for how his actions will impact upon the lives of his family and friends, Shostakovich finds himself a reluctant collaborator with Stalin's regime. Is he coward or pragmatist? It is scary to wonder how we each might have behaved in a similar situation. Julian Barnes suggests that the composer's yearning to continue living and composing steers him away from martyrdom but leads him into uncomfortable compromises. In 1948 when Stalin asks the composer to represent the Soviet Union at the Congress for World Peace, Shostakovich arrives in New York shortly after a Russian woman has defected by jumping out the window of the Russian Consulate building. A protester on the street outside the building holds a placard imploring “Shostakovich! Jump thru the window!” but, of course, he doesn't. 'The Noise of Time' is a fascinating book but feels more like a biography than a novel. Although Julian Barnes has imagined Shostakovich's point of view and describes particular scenes in detail, the book presents a fairly factual account of his life. The narrative structure, built around three key moments, each twelve years apart, and featuring several recurring themes and motifs, has the feel of a piece of music – a literary symphony. But it's a melancholy refrain about an imperfect man coping badly with an impossible situation. Shostakovich lived until 1975 and, towards the end of his life, made increasing use, in his string quartets, of the musical instruction 'morendo' (dying away). As Julian Barnes says: few composers finish their lives with a major chord played fortissimo.
Thursday, March 03, 2016
Friday, February 26, 2016
'As You Like It' by William Shakespeare
26 February 2016
On Thursday I was at Cineworld in Milton Keynes to see the live broadcast of Polly Findlay's new production of 'As You Like It' at the National Theatre. This modern dress version of Shakespeare's reliable comedy is a lovely theatrical experience, dominated by a wonderful double act and a stunning coup de théâtre. Rosalie Craig as Rosalind and Patsy Ferran as Celia are both outstanding and form the warm, funny heart of the production. Ferra – who was Portia in Polly Findlay's RSC production of 'The Merchant of Venice' (reviewed here in August 2015) – is a great comic actor whose reactions tend to draw your attention away from whoever is speaking. And Craig's infectious smile forms the lasting impression of the evening, leaving the audience similarly grinning. The relationship between the two characters is natural and incredibly believable. The other star of the production is Lizzie Clachan's amazing set – and particularly its moment of transformation into the Forest of Arden which is worth the price of admission alone. I don't want to spoil the effect if you haven't seen it but this stunning use of the massive space in the Olivier Theatre will linger long in the memory. The other really innovative aspect of this production is the use of a choir, scattered amongst the trees of the forest throughout the play, who provide a variety of sound effects (birdsong, sheep etc) as well as performing some beautifully strange choral music composed for the production by Orlando Gough.
On Thursday I was at Cineworld in Milton Keynes to see the live broadcast of Polly Findlay's new production of 'As You Like It' at the National Theatre. This modern dress version of Shakespeare's reliable comedy is a lovely theatrical experience, dominated by a wonderful double act and a stunning coup de théâtre. Rosalie Craig as Rosalind and Patsy Ferran as Celia are both outstanding and form the warm, funny heart of the production. Ferra – who was Portia in Polly Findlay's RSC production of 'The Merchant of Venice' (reviewed here in August 2015) – is a great comic actor whose reactions tend to draw your attention away from whoever is speaking. And Craig's infectious smile forms the lasting impression of the evening, leaving the audience similarly grinning. The relationship between the two characters is natural and incredibly believable. The other star of the production is Lizzie Clachan's amazing set – and particularly its moment of transformation into the Forest of Arden which is worth the price of admission alone. I don't want to spoil the effect if you haven't seen it but this stunning use of the massive space in the Olivier Theatre will linger long in the memory. The other really innovative aspect of this production is the use of a choir, scattered amongst the trees of the forest throughout the play, who provide a variety of sound effects (birdsong, sheep etc) as well as performing some beautifully strange choral music composed for the production by Orlando Gough.
Thursday, February 25, 2016
'Poppy + George' by Diane Samuels
25 February 2016
Watford Palace Theatre has a strong commitment to new writing and it was good to be there last Saturday to see 'Poppy + George' – a new play by Diane Samuels. Set in a dressmaker's workshop in London in 1919, 'Poppy + George' explores changing gender roles in a world still coming to terms with the transformations caused by the Great War. Jennie Darnell's production had much to commend, including a wonderful set by Ruari Murchinson and great acting by all four cast members. And it was interesting to see the use of music hall songs and comic routines in Watford Palace Theatre, which was itself a music hall in the early twentieth century. But the play felt like it still needed some work to make it click. There was an inconsistency of tone that made it hard to know what level of realism was being aimed for. From the opening scene it was immediately obvious to the audience that the young man, George the chauffeur, was being played by a female actor. But it took the whole first half of the play before we were presented with the revelation that George was a woman pretending to be a man. Once the 'secret' was out the play became much more interesting, comparing two approaches to how women might assume roles previously reserved for men. The contrast between the comedy of the music hall female impersonator and the seriousness of the woman living as a man was also cleverly constructed. George's story reminded me of Jackie Kay's novel 'Trumpet' (reviewed here in September 2011) but Diane Samuels' play didn't feel quite as effective as it could have been.
Watford Palace Theatre has a strong commitment to new writing and it was good to be there last Saturday to see 'Poppy + George' – a new play by Diane Samuels. Set in a dressmaker's workshop in London in 1919, 'Poppy + George' explores changing gender roles in a world still coming to terms with the transformations caused by the Great War. Jennie Darnell's production had much to commend, including a wonderful set by Ruari Murchinson and great acting by all four cast members. And it was interesting to see the use of music hall songs and comic routines in Watford Palace Theatre, which was itself a music hall in the early twentieth century. But the play felt like it still needed some work to make it click. There was an inconsistency of tone that made it hard to know what level of realism was being aimed for. From the opening scene it was immediately obvious to the audience that the young man, George the chauffeur, was being played by a female actor. But it took the whole first half of the play before we were presented with the revelation that George was a woman pretending to be a man. Once the 'secret' was out the play became much more interesting, comparing two approaches to how women might assume roles previously reserved for men. The contrast between the comedy of the music hall female impersonator and the seriousness of the woman living as a man was also cleverly constructed. George's story reminded me of Jackie Kay's novel 'Trumpet' (reviewed here in September 2011) but Diane Samuels' play didn't feel quite as effective as it could have been.
Friday, February 19, 2016
David Mitchell and Kazuo Ishiguro in conversation
19 February 2016
On Thursday I was at the Royal Festival Hall to see two of my favourite contemporary British novelists, David Mitchell and Kazuo Ishiguro, in conversation with each other. It was a fascinating event – a free-flowing discussion without a chair that was completely compelling. Both authors clearly knew each other's novels extremely well and they quizzed each other about technique, genre, plot and much more. Short film clips were used as a prompt to move the conversation on but I suspect they could have carried on their conversation all night without these. In my review here of David Mitchell's latest novel 'Slade House' (in November 2015) I noted the similarities to Kazuo Ishiguro's evocation of dreaming, 'The Unconsoled', so it was wonderful to hear the authors themselves discussing the links between their works. The two writers were a great double act – Kazuo Ishiguro's serious, taciturn delivery contrasting with David Mitchell's smiling enthusiasm. It was refreshing to see a literary event that was not about blatantly plugging their latest novels. And it was great to see a huge audience (of more than 1,000 people I think) for a fairly cerebral literary discussion.
On Thursday I was at the Royal Festival Hall to see two of my favourite contemporary British novelists, David Mitchell and Kazuo Ishiguro, in conversation with each other. It was a fascinating event – a free-flowing discussion without a chair that was completely compelling. Both authors clearly knew each other's novels extremely well and they quizzed each other about technique, genre, plot and much more. Short film clips were used as a prompt to move the conversation on but I suspect they could have carried on their conversation all night without these. In my review here of David Mitchell's latest novel 'Slade House' (in November 2015) I noted the similarities to Kazuo Ishiguro's evocation of dreaming, 'The Unconsoled', so it was wonderful to hear the authors themselves discussing the links between their works. The two writers were a great double act – Kazuo Ishiguro's serious, taciturn delivery contrasting with David Mitchell's smiling enthusiasm. It was refreshing to see a literary event that was not about blatantly plugging their latest novels. And it was great to see a huge audience (of more than 1,000 people I think) for a fairly cerebral literary discussion.
'Purity' by Jonathan Franzen
19 February 2016
Jonathan Franzen’s wonderful 2001 novel ‘The Corrections’ cleverly made the reader sympathise simultaneously with people who held completely opposing points of view – turning apparently unlikeable characters into sympathetic people. Franzen's new novel 'Purity' seems to reverse this approach: the more we get to know each of the main characters, exploring their backstories in lengthy flashbacks, the less likeable they seem to become. 'Purity' (which I have just finished reading as an unabridged audio book, narrated by Dylan Baker, Jenna Lamia and Robert Petkoff) is another mammoth novel addressing 'state of the nation' issues while focussing on the minutae of family life – with much in common with 'The Corrections' and Franzen's 2010 novel 'Freedom' (reviewed here in April 2012). In 'Purity' he tackles the Internet and the world of Julian Assange, Edward Snowden et al. Large parts of the book portray events in East Germany prior to the collapse of the Berlin Wall. The prose is beautifully written but the subject matter is often quite grim and each section of the book – exploring events through the eyes of each of the principal characters in turn – is incredibly long, making it difficult to remember characters and events from the earlier chapters when you finally return to them near the end of the book. The main protagonist, a young woman called Purity, is nicknamed Pip – suggesting parallels with 'Great Expectations', particularly when we learn that Pip may well be about to come into a fortune – but the potential links to Dickens feel disappointingly under-explored. Jonathan Franzen is a fascinating and impressive novelist but I would not recommend new readers to start with 'Purity'.
Jonathan Franzen’s wonderful 2001 novel ‘The Corrections’ cleverly made the reader sympathise simultaneously with people who held completely opposing points of view – turning apparently unlikeable characters into sympathetic people. Franzen's new novel 'Purity' seems to reverse this approach: the more we get to know each of the main characters, exploring their backstories in lengthy flashbacks, the less likeable they seem to become. 'Purity' (which I have just finished reading as an unabridged audio book, narrated by Dylan Baker, Jenna Lamia and Robert Petkoff) is another mammoth novel addressing 'state of the nation' issues while focussing on the minutae of family life – with much in common with 'The Corrections' and Franzen's 2010 novel 'Freedom' (reviewed here in April 2012). In 'Purity' he tackles the Internet and the world of Julian Assange, Edward Snowden et al. Large parts of the book portray events in East Germany prior to the collapse of the Berlin Wall. The prose is beautifully written but the subject matter is often quite grim and each section of the book – exploring events through the eyes of each of the principal characters in turn – is incredibly long, making it difficult to remember characters and events from the earlier chapters when you finally return to them near the end of the book. The main protagonist, a young woman called Purity, is nicknamed Pip – suggesting parallels with 'Great Expectations', particularly when we learn that Pip may well be about to come into a fortune – but the potential links to Dickens feel disappointingly under-explored. Jonathan Franzen is a fascinating and impressive novelist but I would not recommend new readers to start with 'Purity'.
Hampton Court Palace
19 February 2016
Last Sunday we made our first visit to Hampton Court Palace – Henry VIII's royal palace on the banks of the Thames in Surrey. Hampton Court is one of those iconic historic buildings that feels immediately familiar. We worked our way through the historic maze and explored the parts of the palace that showcase the influence of Henry VIII and William III. It's a huge site that you could easily spend all day discovering. One of our highlights was the newly opened Cumberland Art Gallery – a small suite of rooms in the centre of the palace that now houses a selection of paintings from the Royal Collection. These include works by Rembrandt, Caravaggio, Gainsborough and a whole room of Canalettos.
Last Sunday we made our first visit to Hampton Court Palace – Henry VIII's royal palace on the banks of the Thames in Surrey. Hampton Court is one of those iconic historic buildings that feels immediately familiar. We worked our way through the historic maze and explored the parts of the palace that showcase the influence of Henry VIII and William III. It's a huge site that you could easily spend all day discovering. One of our highlights was the newly opened Cumberland Art Gallery – a small suite of rooms in the centre of the palace that now houses a selection of paintings from the Royal Collection. These include works by Rembrandt, Caravaggio, Gainsborough and a whole room of Canalettos.
Friday, February 12, 2016
'The Herbal Bed' by Peter Whelan
12 February 2016
I discovered this week that Shakespeare's last direct descendant is buried in Abington Church in Northampton. Elizabeth, Shakespeare's granddaughter, ended her life as Lady Barnard, wife of the MP for Huntingdon. This added a local angle to the Northampton Royal & Derngate production of Peter Whelan's play 'The Herbal Bed' which we saw at the Royal Theatre in Northampton last Saturday. Elizabeth appears as a young girl in the drama, playing in the garden of her parents, Susanna and Dr John Hall, in Stratford-upon-Avon. This is the first revival of Whelan's play since the original Royal Shakespeare Company production in 1996. It deals with the actual allegations that Shakespeare's daughter, Susanna, had an affair with a married neighbour. She was acquitted by an ecclesiastical court in Worcester in 1613 but 'The Herbal Bed' looks at what might have led to the allegations and how it might have affected all those involved. It's a cleverly constructed play: there is a great scene where four characters have agreed to support each other by embroidering the truth but each have been given a slightly different version of the story they are intending to stick to. William Shakespeare himself is peripheral to the play and does not appear as a character but is, nonetheless, a powerful off-stage presence. Whelan resists the temptation to throw in Shakespearean references or mimic the bard: this is more a social history of the period. James Dacre's production was impressive and the cast were all strong, though the show was stolen by Jonathan Fensom's beautiful set which inventively recreated both the garden at Hall Croft and Worcester Cathedral very effectively on the stage.
I discovered this week that Shakespeare's last direct descendant is buried in Abington Church in Northampton. Elizabeth, Shakespeare's granddaughter, ended her life as Lady Barnard, wife of the MP for Huntingdon. This added a local angle to the Northampton Royal & Derngate production of Peter Whelan's play 'The Herbal Bed' which we saw at the Royal Theatre in Northampton last Saturday. Elizabeth appears as a young girl in the drama, playing in the garden of her parents, Susanna and Dr John Hall, in Stratford-upon-Avon. This is the first revival of Whelan's play since the original Royal Shakespeare Company production in 1996. It deals with the actual allegations that Shakespeare's daughter, Susanna, had an affair with a married neighbour. She was acquitted by an ecclesiastical court in Worcester in 1613 but 'The Herbal Bed' looks at what might have led to the allegations and how it might have affected all those involved. It's a cleverly constructed play: there is a great scene where four characters have agreed to support each other by embroidering the truth but each have been given a slightly different version of the story they are intending to stick to. William Shakespeare himself is peripheral to the play and does not appear as a character but is, nonetheless, a powerful off-stage presence. Whelan resists the temptation to throw in Shakespearean references or mimic the bard: this is more a social history of the period. James Dacre's production was impressive and the cast were all strong, though the show was stolen by Jonathan Fensom's beautiful set which inventively recreated both the garden at Hall Croft and Worcester Cathedral very effectively on the stage.
Friday, February 05, 2016
'Areas of High Traffic' by Damien O'Kane
5 February 2016
I've been enjoying 'Areas of High Traffic' – the new album from Irish folk singer, banjo player and guitarist Damien O'Kane. This is a collection of mostly traditional Irish songs in contemporary arrangements which sound more like gentle rock music than folk. This approach to reworking traditional folk songs has a lot in common with O'Kane's English contemporary, Jim Moray (reviewed here in August 2008 and July 2011), though based more around a band of musicians than the electronica often used by Moray. Damien O'Kane, who comes from Coleraine, has a gentle singing voice and has created some beautiful arrangements – delicate easy listening with a hint of melancholy. And if you listen carefully you can pick out the distinctive voice of Damien O'Kane's wife Kate Rusby (reviewed here in June 2006) on backing vocals.
I've been enjoying 'Areas of High Traffic' – the new album from Irish folk singer, banjo player and guitarist Damien O'Kane. This is a collection of mostly traditional Irish songs in contemporary arrangements which sound more like gentle rock music than folk. This approach to reworking traditional folk songs has a lot in common with O'Kane's English contemporary, Jim Moray (reviewed here in August 2008 and July 2011), though based more around a band of musicians than the electronica often used by Moray. Damien O'Kane, who comes from Coleraine, has a gentle singing voice and has created some beautiful arrangements – delicate easy listening with a hint of melancholy. And if you listen carefully you can pick out the distinctive voice of Damien O'Kane's wife Kate Rusby (reviewed here in June 2006) on backing vocals.
Friday, January 29, 2016
'Les Liaisons Dangereuses' by Christopher Hampton
29 January 2016
I've never been to the Donmar Warehouse in London but the live broadcast of the Donmar production of 'Les Liaisons Dangereuses' (which I watched at Cineworld in Milton Keynes yesterday) made it look like the perfect intimate venue for this most intimate of plays. The small Donmar stage was arranged as a candlelit drawing room with the 251 audience seats inches away from the actors on three sides, making you feel you were in the room with Valmont and Merteuil – even from the vantage point of the cinema screen. Christopher Hampton's play, based on the 18th century epistolary novel by Pierre Choderlos de Laclos, starts as farce and ends as tragedy. I had not seen the play before and I think I have only seen the famous Stephen Frears film once on television (though I would strongly recommend Milos Forman's 1989 film 'Valmont' – an alternative adaptation of the original novel starring Colin Firth and Annette Benning) but the characters, plot and even the dialogue felt incredibly familiar. It's dark and witty and both Janet McTeer (as La Marquise de Merteuil) and Dominic West (as Le Vicomte de Valmont) were excellent. Janet McTeer has a wonderful way of dropping her voice for each bitingly bitchy aside and manages to be simultaneously charming and deeply sinister. The cinema screening featured a live interval interview with Christopher Hampton and the director Josie Rourke in which Rourke entertainingly got a fit of giggles. Her production has a fin de siècle feel, anticipating the coming French revolution by starting in grandeur and heading towards decay as more and more paintings are removed from the walls and the furniture is covered by dust sheets. But it was the acting that shone and you can sample the delicious vocal performances with a free download of members of the Donmar cast reading some of the letters from the original novel at http://www.audible.co.uk/donmar.
I've never been to the Donmar Warehouse in London but the live broadcast of the Donmar production of 'Les Liaisons Dangereuses' (which I watched at Cineworld in Milton Keynes yesterday) made it look like the perfect intimate venue for this most intimate of plays. The small Donmar stage was arranged as a candlelit drawing room with the 251 audience seats inches away from the actors on three sides, making you feel you were in the room with Valmont and Merteuil – even from the vantage point of the cinema screen. Christopher Hampton's play, based on the 18th century epistolary novel by Pierre Choderlos de Laclos, starts as farce and ends as tragedy. I had not seen the play before and I think I have only seen the famous Stephen Frears film once on television (though I would strongly recommend Milos Forman's 1989 film 'Valmont' – an alternative adaptation of the original novel starring Colin Firth and Annette Benning) but the characters, plot and even the dialogue felt incredibly familiar. It's dark and witty and both Janet McTeer (as La Marquise de Merteuil) and Dominic West (as Le Vicomte de Valmont) were excellent. Janet McTeer has a wonderful way of dropping her voice for each bitingly bitchy aside and manages to be simultaneously charming and deeply sinister. The cinema screening featured a live interval interview with Christopher Hampton and the director Josie Rourke in which Rourke entertainingly got a fit of giggles. Her production has a fin de siècle feel, anticipating the coming French revolution by starting in grandeur and heading towards decay as more and more paintings are removed from the walls and the furniture is covered by dust sheets. But it was the acting that shone and you can sample the delicious vocal performances with a free download of members of the Donmar cast reading some of the letters from the original novel at http://www.audible.co.uk/donmar.
Friday, January 22, 2016
'Junun' by Shye Ben Tzur, Jonny Greenwood and the Rajasthan Express
22 January 2016
'Junun' is a wonderfully hard-to-categorise album of music by the Israeli composer Shye Ben Tzur, recorded with a troupe of Sufi qawwali musicians and Radiohead's Jonny Greenwood in a 600-year-old Mehrangarh Fort in Jodhpur, Rajasthan. I liked it already from that description but the experience of listening to the music didn't disappoint. Harmonium, the vocal qawwali chorus and Indian percussion are joined by a six-piece brass section, guitar, bass, electronics, solo vocalists, the bowed sarangi and kamayacha (lutes). The result is surprisingly gentle, cheerful music with a haunting, mystical quality. Hard to categorise, hard to describe but easy to listen to and very rewarding.
'Junun' is a wonderfully hard-to-categorise album of music by the Israeli composer Shye Ben Tzur, recorded with a troupe of Sufi qawwali musicians and Radiohead's Jonny Greenwood in a 600-year-old Mehrangarh Fort in Jodhpur, Rajasthan. I liked it already from that description but the experience of listening to the music didn't disappoint. Harmonium, the vocal qawwali chorus and Indian percussion are joined by a six-piece brass section, guitar, bass, electronics, solo vocalists, the bowed sarangi and kamayacha (lutes). The result is surprisingly gentle, cheerful music with a haunting, mystical quality. Hard to categorise, hard to describe but easy to listen to and very rewarding.
Thursday, January 14, 2016
'Her Story' by Sam Barlow
14 January 2016
It's taken more than 10 years for me to get round to reviewing a computer game here but this week I have become hooked on 'Her Story' – a narrative game for PC, Mac and iOS, written and directed by Sam Barlow and starring the actor Viva Seifert. Although it is packaged and sold as a game, 'Her Story' feels more like a TV detective serial, albeit with a high level of interactivity as you can watch the story unfolding in an almost infinite number of permutations. You use a 1990s Windows desktop to access a database of short video clips which show a woman answering questions in a police interview room. She has come to the police station to her report her husband as missing but there seems to be much more to her story. The video clips are mostly less than a minute long and rather than watching them in straightforward chronological order you select individual clips by typing terms into a search box. This allows you to piece together what has happened by picking up on particular names or words from a previous answer and investigating them further. You never hear the police questions – just the interviewee's answers. And a timecode indicates that the database seems to contain several different interviews with the same woman over a period of weeks in the summer of 1994. The story is very cleverly constructed: even if you stumble across a vital clue very early on you won't appreciate its significance until much later. It's very satisfying as you begin to make sense of the mystery and test your theories by further word searches. But there is a strong element of ambiguity which I suspect means that you may never clarify every detail of the plot. And just as you think you've got it all worked out you begin to realise that you are playing a specific role in this story yourself. 'Her Story' is a rather brilliant exercise in non-linear narrative – intriguingly addictive.
It's taken more than 10 years for me to get round to reviewing a computer game here but this week I have become hooked on 'Her Story' – a narrative game for PC, Mac and iOS, written and directed by Sam Barlow and starring the actor Viva Seifert. Although it is packaged and sold as a game, 'Her Story' feels more like a TV detective serial, albeit with a high level of interactivity as you can watch the story unfolding in an almost infinite number of permutations. You use a 1990s Windows desktop to access a database of short video clips which show a woman answering questions in a police interview room. She has come to the police station to her report her husband as missing but there seems to be much more to her story. The video clips are mostly less than a minute long and rather than watching them in straightforward chronological order you select individual clips by typing terms into a search box. This allows you to piece together what has happened by picking up on particular names or words from a previous answer and investigating them further. You never hear the police questions – just the interviewee's answers. And a timecode indicates that the database seems to contain several different interviews with the same woman over a period of weeks in the summer of 1994. The story is very cleverly constructed: even if you stumble across a vital clue very early on you won't appreciate its significance until much later. It's very satisfying as you begin to make sense of the mystery and test your theories by further word searches. But there is a strong element of ambiguity which I suspect means that you may never clarify every detail of the plot. And just as you think you've got it all worked out you begin to realise that you are playing a specific role in this story yourself. 'Her Story' is a rather brilliant exercise in non-linear narrative – intriguingly addictive.
Thursday, January 07, 2016
'Number 11' by Jonathan Coe
7 January 2016
It must have been around 1996 when we discovered Jonathan Coe's novel 'What a Carve Up' in a second-hand bookshop in Cambridge. Never having heard of the author or the book we were attracted simply by the shiny cover (with its juxtaposition of Yuri Gagarin and Shirley Eaton) and by the price (I think it was just 99p!). We quickly realised what a comic gem we had stumbled upon. Jonathan Coe is now one of my favourite contemporary novelists. His 2001 novel 'The Rotters' Club', its TV adaptation and its sequel 'The Closed Circle' (2004) brought Coe greater public attention. I've enjoyed all his novels and have written here about 'The Rain Before It Falls' (in August 2008), 'The Terrible Privacy of Maxwell Sim' (August 2011) and 'Expo 58' (September 2013). But it is his dark satire on the Thatcherite 1980s, published in 1994, that remains my favourite. It was a real thrill, therefore, to discover that Jonathan Coe has now written a sequel (of sorts – perhaps more of a companion piece) to 'What a Carve Up'. 'Number 11' catalogues Cameron's Coalition Government Britain – with its food banks, reality TV, closing libraries and exploitation of migrant workers. The novel (which I have just read as an unabridged audio book, narrated by Jessica Hynes and Rory Kinnear) has an episodic structure – a set of short stories that take some time to reveal the links between them. And, though few members of the infamous Winshaw family survived the denouement of the original novel, their ghosts hang heavy over modern Britain as their protégés and disciples seem to hold the reins of power. It's a bleak but very funny tale and Coe is in playful mood. The number 11 appears in a variety of guises (it seems to be the number of every significant house in the story) and there is more than a hint of “turning it up to 11”. We also return to the 1961 British film, 'What a Carve Up' which provided the driving narrative of the original novel – or rather to its successor 'What a Whopper' (more of a companion piece than a sequel). In fact 'Number 11' ends up as a bumper Quality Street tin of themes, motifs and cultural references – and is all the more fun for it. There is a relatively self-contained detective story sandwiched in the middle of the book that is so beautifully constructed and wittily concluded I felt like applauding when it ended. 'Number 11' is inevitably not quite as stunning as its brilliant precursor but its a bravura encore that had me seething with rage at the modern world while simultaneously unable to stop myself beaming with joy.
It must have been around 1996 when we discovered Jonathan Coe's novel 'What a Carve Up' in a second-hand bookshop in Cambridge. Never having heard of the author or the book we were attracted simply by the shiny cover (with its juxtaposition of Yuri Gagarin and Shirley Eaton) and by the price (I think it was just 99p!). We quickly realised what a comic gem we had stumbled upon. Jonathan Coe is now one of my favourite contemporary novelists. His 2001 novel 'The Rotters' Club', its TV adaptation and its sequel 'The Closed Circle' (2004) brought Coe greater public attention. I've enjoyed all his novels and have written here about 'The Rain Before It Falls' (in August 2008), 'The Terrible Privacy of Maxwell Sim' (August 2011) and 'Expo 58' (September 2013). But it is his dark satire on the Thatcherite 1980s, published in 1994, that remains my favourite. It was a real thrill, therefore, to discover that Jonathan Coe has now written a sequel (of sorts – perhaps more of a companion piece) to 'What a Carve Up'. 'Number 11' catalogues Cameron's Coalition Government Britain – with its food banks, reality TV, closing libraries and exploitation of migrant workers. The novel (which I have just read as an unabridged audio book, narrated by Jessica Hynes and Rory Kinnear) has an episodic structure – a set of short stories that take some time to reveal the links between them. And, though few members of the infamous Winshaw family survived the denouement of the original novel, their ghosts hang heavy over modern Britain as their protégés and disciples seem to hold the reins of power. It's a bleak but very funny tale and Coe is in playful mood. The number 11 appears in a variety of guises (it seems to be the number of every significant house in the story) and there is more than a hint of “turning it up to 11”. We also return to the 1961 British film, 'What a Carve Up' which provided the driving narrative of the original novel – or rather to its successor 'What a Whopper' (more of a companion piece than a sequel). In fact 'Number 11' ends up as a bumper Quality Street tin of themes, motifs and cultural references – and is all the more fun for it. There is a relatively self-contained detective story sandwiched in the middle of the book that is so beautifully constructed and wittily concluded I felt like applauding when it ended. 'Number 11' is inevitably not quite as stunning as its brilliant precursor but its a bravura encore that had me seething with rage at the modern world while simultaneously unable to stop myself beaming with joy.
Monday, December 14, 2015
Northampton Symphony Orchestra concert
14 December 2015
The Northampton Symphony Orchestra's annual Christmas Cracker Concert always feels like the start of the festive season. It's a lovely family-friendly Sunday afternoon celebration of Christmas music, which each year seems to feature the orchestra wearing ever more ridiculous attire. The prize this year must go to my fellow horn player Ian Frankland who played the entire second half of the concert dressed as a giant Christmas cracker! Sunday's concert was the first Christmas Cracker for our new regular conductor John Gibbons, who also took on the role of compère. Our theme was 'Christmas in the Toy Box' – a programme including Leon Jessel's 'Parade of the Tin Soldiers' and music by Randy Newman from the film 'Toy Story'. We also played Malcolm Arnold's 'Fantasy on Christmas Carols' and the 'Sleigh Rides' by Frederick Delius and Leroy Anderson (finishing with a pair of braying trumpets to surprise our regular audience). But the main attraction was 'Paddington Bear's First Concert' – one of the best works for orchestra and narrator – in which Herbert Chappell creates an extensive theme and variations from his signature tune for the old BBC TV 'Paddington'. Michael Bond's story is quintessential 'Paddington' and our performance on Sunday was brilliantly brought to life by former NSO conductor Graham Tear whose Paddington, Mrs Bird and Mr Gruber were spot on!
The Northampton Symphony Orchestra's annual Christmas Cracker Concert always feels like the start of the festive season. It's a lovely family-friendly Sunday afternoon celebration of Christmas music, which each year seems to feature the orchestra wearing ever more ridiculous attire. The prize this year must go to my fellow horn player Ian Frankland who played the entire second half of the concert dressed as a giant Christmas cracker! Sunday's concert was the first Christmas Cracker for our new regular conductor John Gibbons, who also took on the role of compère. Our theme was 'Christmas in the Toy Box' – a programme including Leon Jessel's 'Parade of the Tin Soldiers' and music by Randy Newman from the film 'Toy Story'. We also played Malcolm Arnold's 'Fantasy on Christmas Carols' and the 'Sleigh Rides' by Frederick Delius and Leroy Anderson (finishing with a pair of braying trumpets to surprise our regular audience). But the main attraction was 'Paddington Bear's First Concert' – one of the best works for orchestra and narrator – in which Herbert Chappell creates an extensive theme and variations from his signature tune for the old BBC TV 'Paddington'. Michael Bond's story is quintessential 'Paddington' and our performance on Sunday was brilliantly brought to life by former NSO conductor Graham Tear whose Paddington, Mrs Bird and Mr Gruber were spot on!
Friday, December 11, 2015
'Robin Hood: The Arrow in the Oak' by Sue Sachon
11 December 2015
On Saturday we were back at the TADS Theatre in Toddington for the amateur theatre group's annual pantomime. Each year they present a wholly original pantomime, written by a member of the company. This year the show was Sue Sachon's 'Robin Hood: The Arrow in the Oak'. All the usual pantomime elements were incorporated into a story that drew on some lesser known legends of Robin Hood as well as turning the famous archery contest into an X-factor-style talent contest. The cast were great. I particularly enjoyed the performances by Elizabeth Hall and Emily Venn as the Sheriff of Nottingham's henchmen – they looked like they were having a ball! The whole thing was great fun but the best moment was in the kitchen scene where the chef sneezed and a small child in the audience automatically, quietly and very politely said “bless you”.
On Saturday we were back at the TADS Theatre in Toddington for the amateur theatre group's annual pantomime. Each year they present a wholly original pantomime, written by a member of the company. This year the show was Sue Sachon's 'Robin Hood: The Arrow in the Oak'. All the usual pantomime elements were incorporated into a story that drew on some lesser known legends of Robin Hood as well as turning the famous archery contest into an X-factor-style talent contest. The cast were great. I particularly enjoyed the performances by Elizabeth Hall and Emily Venn as the Sheriff of Nottingham's henchmen – they looked like they were having a ball! The whole thing was great fun but the best moment was in the kitchen scene where the chef sneezed and a small child in the audience automatically, quietly and very politely said “bless you”.
'A God in Ruins' by Kate Atkinson
11 December 2015
Kate Atkinson's novel 'Life After Life' (reviewed here in June 2013) was a family saga with a twist, following Ursula Todd through a series of interrupted versions of her life with a Groundhog Day structure. Though Ursula's life, spanning most of the twentieth century, is the focus of the book, it is the love story of her younger brother Teddy and his childhood sweetheart Nancy that forms the emotional heart of the novel. Kate Atkinson has now returned to the Todd family with 'A God in Ruins' – a sequel or companion piece to 'Life After Life' (which I have just finished reading as an unabridged audio book, narrated by Alex Jennings) which tells Teddy's story. Kate Atkinson is an ambitious novelist whose beautifully written prose creates very easily accessible books that play mischievously with the form of the novel. In 'A God in Ruins' she abandons the tricksy stop-start format of 'Life After Life' in favour of painting a picture of Teddy's life which jumps forwards and backwards in time, only gradually filling in the gaps. This jigsaw plot wrong-foots the reader as many of our assumptions and theories are disproved. Atkinson also pulls the rug from under fans of the previous novel by showing Teddy to have had a fairly dull life, his romance with Nancy proving not to have been quite so perfect as Ursula thought it. 'A God in Ruins' is dominated by Teddy's wartime service as a bomber pilot: the descriptions of bombing missions over Germany are detailed and harrowing and this experience colours all of Teddy's later life and relationships. 'A God in Ruins' is a uniformly melancholy book and often feels quite slow (and maybe over long) but I can forgive it much for its ending – do read right to the end for a satisfyingly clever twist. 'A God in Ruins' is sad, slow, frustrating but also rather brilliant.
Kate Atkinson's novel 'Life After Life' (reviewed here in June 2013) was a family saga with a twist, following Ursula Todd through a series of interrupted versions of her life with a Groundhog Day structure. Though Ursula's life, spanning most of the twentieth century, is the focus of the book, it is the love story of her younger brother Teddy and his childhood sweetheart Nancy that forms the emotional heart of the novel. Kate Atkinson has now returned to the Todd family with 'A God in Ruins' – a sequel or companion piece to 'Life After Life' (which I have just finished reading as an unabridged audio book, narrated by Alex Jennings) which tells Teddy's story. Kate Atkinson is an ambitious novelist whose beautifully written prose creates very easily accessible books that play mischievously with the form of the novel. In 'A God in Ruins' she abandons the tricksy stop-start format of 'Life After Life' in favour of painting a picture of Teddy's life which jumps forwards and backwards in time, only gradually filling in the gaps. This jigsaw plot wrong-foots the reader as many of our assumptions and theories are disproved. Atkinson also pulls the rug from under fans of the previous novel by showing Teddy to have had a fairly dull life, his romance with Nancy proving not to have been quite so perfect as Ursula thought it. 'A God in Ruins' is dominated by Teddy's wartime service as a bomber pilot: the descriptions of bombing missions over Germany are detailed and harrowing and this experience colours all of Teddy's later life and relationships. 'A God in Ruins' is a uniformly melancholy book and often feels quite slow (and maybe over long) but I can forgive it much for its ending – do read right to the end for a satisfyingly clever twist. 'A God in Ruins' is sad, slow, frustrating but also rather brilliant.
Friday, December 04, 2015
The Polka Dots
4 December 2015
On Saturday we were at the Abbey Theatre in St Albans to see The Polka Dots – a female vocal trio who sing close harmony swing in the style of the Andrews Sisters. Their material includes songs from the 1920s, 30s, 40s and 50s as well as more contemporary repertoire (including Sade, Amy Winehouse, George Michael and Caro Emerald songs) but all sung (to backing tracks) in big-band arrangements. The Polka Dots are very impressive singers and their between-songs patter and banter are charming – with three strong personalities shining through. With the addition of some slickly co-ordinated dancing this added up to a very entertaining evening. And it seemed like most of the enthusiastic, packed audience were Polka Dots regulars.
On Saturday we were at the Abbey Theatre in St Albans to see The Polka Dots – a female vocal trio who sing close harmony swing in the style of the Andrews Sisters. Their material includes songs from the 1920s, 30s, 40s and 50s as well as more contemporary repertoire (including Sade, Amy Winehouse, George Michael and Caro Emerald songs) but all sung (to backing tracks) in big-band arrangements. The Polka Dots are very impressive singers and their between-songs patter and banter are charming – with three strong personalities shining through. With the addition of some slickly co-ordinated dancing this added up to a very entertaining evening. And it seemed like most of the enthusiastic, packed audience were Polka Dots regulars.
Friday, November 27, 2015
'The Winter's Tale' by William Shakespeare
27 November 2015
On Thursday I was at Leighton Buzzard Theatre to see the live screening of the Kenneth Branagh Theatre Company production of 'The Winter's Tale' from the Garrick Theatre in London. It was great to see Branagh on stage again: his performance as Leontes reminded me of seeing him in Chekhov’s ‘Ivanov’ (reviewed here in September 2008). He is a very physical performer, his whole body crumpling as he discovers the devastating news of his son's death. It was also wonderful to see Judi Dench as Paulina, exuding a moral authority but also a mischievous humour. Kenneth Branagh and Rob Ashford previously co-directed the 2013 Manchester International Festival production of Macbeth (reviewed here in July 2013). Their 'Winter's Tale' felt like a fairly old-fashioned production, without many bells and whistles, with the focus on the acting – which was of a universally high standard. And the 'exit pursued by a bear' – so often a risible moment – used video projection to make it savagely frightening.
On Thursday I was at Leighton Buzzard Theatre to see the live screening of the Kenneth Branagh Theatre Company production of 'The Winter's Tale' from the Garrick Theatre in London. It was great to see Branagh on stage again: his performance as Leontes reminded me of seeing him in Chekhov’s ‘Ivanov’ (reviewed here in September 2008). He is a very physical performer, his whole body crumpling as he discovers the devastating news of his son's death. It was also wonderful to see Judi Dench as Paulina, exuding a moral authority but also a mischievous humour. Kenneth Branagh and Rob Ashford previously co-directed the 2013 Manchester International Festival production of Macbeth (reviewed here in July 2013). Their 'Winter's Tale' felt like a fairly old-fashioned production, without many bells and whistles, with the focus on the acting – which was of a universally high standard. And the 'exit pursued by a bear' – so often a risible moment – used video projection to make it savagely frightening.
Bellowhead
27 November 2015
As a result of the recent attacks at the Bataclan in Paris, we arrived at the Riverside Theatre in Aylesbury on Sunday to discover a massive queue down the street, waiting to go through newly introduced security checks to get into the Bellowhead concert. This was my last chance to see Bellowhead, now well into their farewell tour before disbanding after 12 years together. I have written often here about English folk music's unique 'big band' and it was wonderful to see them one last time on Sunday. Support was provided by Keston Cobblers Club – a great young band who sound a lot like Beirut (reviewed here in November 2006 and October 2007). Bellowhead were on top form, playing for more than an hour and half, with the audience eating out of their hands. They sounded magnificent and all eleven musicians looked like they were having a ball. The recent English folk music revival has been strongly influenced by many musicians whose parents were part of the last great folk revival in the 1960s, and who have grown up in folk music families whilst assimilating a wide range of pop and rock music. When the duo Spiers and Boden, themselves already established folk music stars, invented a folk big band which brought together musicians from folk, classical and jazz backgrounds they created a unique sound. They may not always have pleased folk purists but when we look back on this golden period in English folk music I suspect Bellowhead will be remembered as its iconic band and I will be proud to be able to say I saw them.
As a result of the recent attacks at the Bataclan in Paris, we arrived at the Riverside Theatre in Aylesbury on Sunday to discover a massive queue down the street, waiting to go through newly introduced security checks to get into the Bellowhead concert. This was my last chance to see Bellowhead, now well into their farewell tour before disbanding after 12 years together. I have written often here about English folk music's unique 'big band' and it was wonderful to see them one last time on Sunday. Support was provided by Keston Cobblers Club – a great young band who sound a lot like Beirut (reviewed here in November 2006 and October 2007). Bellowhead were on top form, playing for more than an hour and half, with the audience eating out of their hands. They sounded magnificent and all eleven musicians looked like they were having a ball. The recent English folk music revival has been strongly influenced by many musicians whose parents were part of the last great folk revival in the 1960s, and who have grown up in folk music families whilst assimilating a wide range of pop and rock music. When the duo Spiers and Boden, themselves already established folk music stars, invented a folk big band which brought together musicians from folk, classical and jazz backgrounds they created a unique sound. They may not always have pleased folk purists but when we look back on this golden period in English folk music I suspect Bellowhead will be remembered as its iconic band and I will be proud to be able to say I saw them.
Bedford Choral Society concert
27 November 2015
On Saturday I was at Bedford Corn Exchange for my first concert with the Bedford Sinfonia, accompanying Bedford Choral Society in a programme of music by Mendelssohn. Mendelssohn's 'Symphony No 2, Hymn of Praise (Lobgesang)' is a mammoth work in eleven movements – a hybrid symphony-cantata. The movements vary in style and musical forces, featuring three vocal soloists and passages of recitative. We also played 'Die erste Walpurgisnacht' – a later Mendelssohn cantata with a similar structure. Conductor Ian Smith very effectively corralled the orchestra, chorus and soloists and the tenor Ben Thapa stood out with a particularly expressive performance.
On Saturday I was at Bedford Corn Exchange for my first concert with the Bedford Sinfonia, accompanying Bedford Choral Society in a programme of music by Mendelssohn. Mendelssohn's 'Symphony No 2, Hymn of Praise (Lobgesang)' is a mammoth work in eleven movements – a hybrid symphony-cantata. The movements vary in style and musical forces, featuring three vocal soloists and passages of recitative. We also played 'Die erste Walpurgisnacht' – a later Mendelssohn cantata with a similar structure. Conductor Ian Smith very effectively corralled the orchestra, chorus and soloists and the tenor Ben Thapa stood out with a particularly expressive performance.
Wednesday, November 18, 2015
Northampton Symphony Orchestra concert
18 November 2015
When the programme was originally chosen, no-one could have anticipated the poignancy our Northampton Symphony Orchestra French-themed concert was going to have last Saturday – less than 24 hours after the Paris attacks. Our new regular conductor, John Gibbons, introduced the concert by asking for a minute's silence to reflect on the devastating events in France. Emerging from the silence, the pianissimo side drum rhythm at the start of Ravel's 'Bolero' can never have sounded so eerie and Andrea Patis's opening flute solo was particularly moving. The concert showcased some magnificent flute playing, with former NSO member Jenny Dyson appearing as the soloist in the 'Flute Concerto' by Jacques Ibert. Jenny gave a stunning performance of this fiendishly difficult piece in which she always appeared totally in command. Sadly the orchestra's leader, Stephen Hague, was unable to play in the concert as the result of an accident but this meant that the duet between the solo flute and violin in the slow movement of the concerto featured our former leader, Trevor Dyson, beautifully accompanying his own daughter. Ravel was the main focus of the concert with 'La Valse' closing the first half, followed after the interval by Ravel's orchestration of Mussorgsky's 'Pictures at an Exhibition'. 'La Valse' is an amazing piece which uses the Viennese waltz as the basis for a complex, playful and dizzying whirl towards an abrupt conclusion. 'Pictures at an Exhibition' included excellent solos by players throughout the orchestra, led by Nick Bunker's opening trumpet 'Promenade'. The finale, 'The Great Gate of Kiev', was a brilliant, powerful ending to an emotional concert.
When the programme was originally chosen, no-one could have anticipated the poignancy our Northampton Symphony Orchestra French-themed concert was going to have last Saturday – less than 24 hours after the Paris attacks. Our new regular conductor, John Gibbons, introduced the concert by asking for a minute's silence to reflect on the devastating events in France. Emerging from the silence, the pianissimo side drum rhythm at the start of Ravel's 'Bolero' can never have sounded so eerie and Andrea Patis's opening flute solo was particularly moving. The concert showcased some magnificent flute playing, with former NSO member Jenny Dyson appearing as the soloist in the 'Flute Concerto' by Jacques Ibert. Jenny gave a stunning performance of this fiendishly difficult piece in which she always appeared totally in command. Sadly the orchestra's leader, Stephen Hague, was unable to play in the concert as the result of an accident but this meant that the duet between the solo flute and violin in the slow movement of the concerto featured our former leader, Trevor Dyson, beautifully accompanying his own daughter. Ravel was the main focus of the concert with 'La Valse' closing the first half, followed after the interval by Ravel's orchestration of Mussorgsky's 'Pictures at an Exhibition'. 'La Valse' is an amazing piece which uses the Viennese waltz as the basis for a complex, playful and dizzying whirl towards an abrupt conclusion. 'Pictures at an Exhibition' included excellent solos by players throughout the orchestra, led by Nick Bunker's opening trumpet 'Promenade'. The finale, 'The Great Gate of Kiev', was a brilliant, powerful ending to an emotional concert.
Monday, November 09, 2015
'The Phantom of the Opera'
9 November 2015
On Sunday we were at The Stables in Wavendon to the 1925 silent film of 'The Phantom of the Opera' accompanied with live music from the group Minima. This event was part of the national BFI initiative 'LOVE: Films to Fall in Love With… Films to Break Your Heart'. Minima is a four-piece rock band that specialises in writing and performing new scores for silent films. It was fascinating to see this classic horror film, featuring an iconic performance by Lon Chaney, on a big screen with live music. The film has an odd feel for a modern audience: the changes in our attitudes to mental illness and facial disfigurement since 1925 make the plot more uncomfortable than intended but also the exaggerated acting style of silent movies appears unintentionally comic now. The incredibly abrupt ending of the film left the audience more amused than shocked. But there were some truly scary moments: the scene where a giant chandelier falls from the theatre ceiling to crush members of the opera audience felt shockingly real. And the artistic use of shadows in the cellars of the opera house was very effective. Visually the film is stunning, with some amazing crowd scenes. And the Paris Opera itself is the star of the show – a beautiful building, lovingly presented on screen. The black and white film had later been 'colourised' with successive scenes tinted in different colours to emphasise the change of location and mood. But apparently, when the film was originally released in 1925, it contained 17 minutes of colour footage – an early example of Process 2 Technicolor (a two-colour system). The surviving two-colour scene (the Bal Masqué) has a peculiarly psychedelic look that fits the growing panic and hysteria of the plot.
On Sunday we were at The Stables in Wavendon to the 1925 silent film of 'The Phantom of the Opera' accompanied with live music from the group Minima. This event was part of the national BFI initiative 'LOVE: Films to Fall in Love With… Films to Break Your Heart'. Minima is a four-piece rock band that specialises in writing and performing new scores for silent films. It was fascinating to see this classic horror film, featuring an iconic performance by Lon Chaney, on a big screen with live music. The film has an odd feel for a modern audience: the changes in our attitudes to mental illness and facial disfigurement since 1925 make the plot more uncomfortable than intended but also the exaggerated acting style of silent movies appears unintentionally comic now. The incredibly abrupt ending of the film left the audience more amused than shocked. But there were some truly scary moments: the scene where a giant chandelier falls from the theatre ceiling to crush members of the opera audience felt shockingly real. And the artistic use of shadows in the cellars of the opera house was very effective. Visually the film is stunning, with some amazing crowd scenes. And the Paris Opera itself is the star of the show – a beautiful building, lovingly presented on screen. The black and white film had later been 'colourised' with successive scenes tinted in different colours to emphasise the change of location and mood. But apparently, when the film was originally released in 1925, it contained 17 minutes of colour footage – an early example of Process 2 Technicolor (a two-colour system). The surviving two-colour scene (the Bal Masqué) has a peculiarly psychedelic look that fits the growing panic and hysteria of the plot.
'Slade House' by David Mitchell
9 November 2015
David Mitchell's crazy, brilliant, ridiculous and wonderful book, 'The Bone Clocks' (reviewed here in October 2014) was my Pick of the Year 2014. It was a wonderful surprise therefore to discover, a couple of weeks ago, that David Mitchell was about to publish another new novel so soon after 'The Bone Clocks' – and a delight to learn that 'Slade House' returns to the same (parallel) universe of that previous novel. 'Slade House' (which I read as an unabridged audio book, narrated by Tania Rodrigues and Thomas Judd) is a short ghost story for Halloween 2015 that acts as a bonus DVD extra for fans of 'The Bone Clocks' or a taster for those who haven't read the earlier book. It recounts five episodes, each nine years apart, beginning in 1979 and finishing on 27 October 2015. It was a pleasure to be immersed in David Mitchell's rich prose again. He paints a host of characters, through first person narration, that are each quickly distinct and believable. And he renders each historical period with deft touches and avoidance of cliché. 'Slade House' is a macabre tale that still manages to be engaging and funny. Mitchell is a playful writer, disguising a range of cultural references within the text and reintroducing characters from his previous novels. 'Slade House' contains elements of 'Alice in Wonderland' and Kazuo Ishiguro's evocation of dreaming, 'The Unconsoled'. It's a slight novel and the plot structure is fairly predictable but there was one great twist that I really didn't see coming. It was very enjoyable to return to the world of 'The Bone Clocks' but I hope David Mitchell's next novel will take us into new territory.
David Mitchell's crazy, brilliant, ridiculous and wonderful book, 'The Bone Clocks' (reviewed here in October 2014) was my Pick of the Year 2014. It was a wonderful surprise therefore to discover, a couple of weeks ago, that David Mitchell was about to publish another new novel so soon after 'The Bone Clocks' – and a delight to learn that 'Slade House' returns to the same (parallel) universe of that previous novel. 'Slade House' (which I read as an unabridged audio book, narrated by Tania Rodrigues and Thomas Judd) is a short ghost story for Halloween 2015 that acts as a bonus DVD extra for fans of 'The Bone Clocks' or a taster for those who haven't read the earlier book. It recounts five episodes, each nine years apart, beginning in 1979 and finishing on 27 October 2015. It was a pleasure to be immersed in David Mitchell's rich prose again. He paints a host of characters, through first person narration, that are each quickly distinct and believable. And he renders each historical period with deft touches and avoidance of cliché. 'Slade House' is a macabre tale that still manages to be engaging and funny. Mitchell is a playful writer, disguising a range of cultural references within the text and reintroducing characters from his previous novels. 'Slade House' contains elements of 'Alice in Wonderland' and Kazuo Ishiguro's evocation of dreaming, 'The Unconsoled'. It's a slight novel and the plot structure is fairly predictable but there was one great twist that I really didn't see coming. It was very enjoyable to return to the world of 'The Bone Clocks' but I hope David Mitchell's next novel will take us into new territory.
Thursday, November 05, 2015
'Gaslight' by Patrick Hamilton
5 November
For those of obsessed by 'The Archers' on BBC Radio 4, the excruciating Rob Titchener's ever-increasing control over his new wife, Helen, is one of those storylines that feels both unbearable and completely compelling drama. So it was intriguing, this week, to see a famous precursor of Rob's psychological marital manipulation in Patrick Hamilton's 1938 play 'Gaslight' – which gave its name to a scientific phenomenon. 'Gaslighting' is defined as “manipulating a person by psychological means into questioning his or her own sanity”. The play is set in 1880 and paints a harrowing picture of the power of the Victorian husband. Lucy Bailey's new production, which we saw at the Royal Theatre in Northampton on Tuesday, uses an exaggerated perspective set by William Dudley to frame a modern take on a very old-fashioned play (owing something, perhaps, to Stephen Daldry's famous production of 'An Inspector Calls'). The inventive use of projection to create an apparently never-ending staircase spiralling high above the stage echoed the sense of panic and entrapment that Bella Manningham feels in her house and in her marriage. An excellent cast (Jonathan Firth, Tara Fitzgerald, Alexandra Guelff and Paul Hunter) was augmented by members of local amateur theatre companies (now, wonderfully, a standard practice at the Royal & Derngate). 'Gaslight' is a disturbing play but avoids descending into melodrama and The Royal & Derngate production is very impressive.
For those of obsessed by 'The Archers' on BBC Radio 4, the excruciating Rob Titchener's ever-increasing control over his new wife, Helen, is one of those storylines that feels both unbearable and completely compelling drama. So it was intriguing, this week, to see a famous precursor of Rob's psychological marital manipulation in Patrick Hamilton's 1938 play 'Gaslight' – which gave its name to a scientific phenomenon. 'Gaslighting' is defined as “manipulating a person by psychological means into questioning his or her own sanity”. The play is set in 1880 and paints a harrowing picture of the power of the Victorian husband. Lucy Bailey's new production, which we saw at the Royal Theatre in Northampton on Tuesday, uses an exaggerated perspective set by William Dudley to frame a modern take on a very old-fashioned play (owing something, perhaps, to Stephen Daldry's famous production of 'An Inspector Calls'). The inventive use of projection to create an apparently never-ending staircase spiralling high above the stage echoed the sense of panic and entrapment that Bella Manningham feels in her house and in her marriage. An excellent cast (Jonathan Firth, Tara Fitzgerald, Alexandra Guelff and Paul Hunter) was augmented by members of local amateur theatre companies (now, wonderfully, a standard practice at the Royal & Derngate). 'Gaslight' is a disturbing play but avoids descending into melodrama and The Royal & Derngate production is very impressive.
The Unthanks
5 November 2015
On Saturday we were at The Stables in Wavendon to see The Unthanks. Now celebrating their tenth anniversary, the folk group built around sisters Rachel and Becky Unthank, draws on traditional Northumbrian folk tunes and styles to create beautiful, delicate hybrid music which often feels more like contemporary classical chamber music than folk. Originally known as Rachel Unthank and the Winterset, the band are serial collaborators and have been involved in an impressive list of innovative projects. These include: 'Songs from the Shipyards' – a soundtrack to accompany a documentary film by Richard Fenwick about the history of shipbuilding on the Tyne, Wear and Tees; an album of songs by Robert Wyatt and Antony & The Johnsons; and a UK tour with the Brighouse and Rastrick Brass Band. It was fascinating to see them performing live last weekend: their quiet, gentle music definitely benefits from the concentration you more naturally give to a live concert. There was a very high quality of singing and playing and Adrian McNally's arrangements are clever and effective. While their songs demonstrate a wide variety of styles, I did find myself yearning for a few faster tunes amongst the predominantly slow, sad numbers. So it was wonderful to both sisters putting on their clogs for a more upbeat finale. I look forward to seeing watching The Unthanks' second decade.
On Saturday we were at The Stables in Wavendon to see The Unthanks. Now celebrating their tenth anniversary, the folk group built around sisters Rachel and Becky Unthank, draws on traditional Northumbrian folk tunes and styles to create beautiful, delicate hybrid music which often feels more like contemporary classical chamber music than folk. Originally known as Rachel Unthank and the Winterset, the band are serial collaborators and have been involved in an impressive list of innovative projects. These include: 'Songs from the Shipyards' – a soundtrack to accompany a documentary film by Richard Fenwick about the history of shipbuilding on the Tyne, Wear and Tees; an album of songs by Robert Wyatt and Antony & The Johnsons; and a UK tour with the Brighouse and Rastrick Brass Band. It was fascinating to see them performing live last weekend: their quiet, gentle music definitely benefits from the concentration you more naturally give to a live concert. There was a very high quality of singing and playing and Adrian McNally's arrangements are clever and effective. While their songs demonstrate a wide variety of styles, I did find myself yearning for a few faster tunes amongst the predominantly slow, sad numbers. So it was wonderful to both sisters putting on their clogs for a more upbeat finale. I look forward to seeing watching The Unthanks' second decade.
Tom Robinson
5 November 2015
Last summer's one-off gig by Tom Robinson (reviewed here in August 2014) reminded me how much I like his music. It also reminded him how much he likes performing. After a break of more than ten years Tom Robinson is now touring again, to promote his first new album in twenty years – 'Only The Now'. The 'Mighty Sword Of Justice' tour is also supporting mental health charities including the Campaign Against Living Miserably (CALM – see: https://www.thecalmzone.net/) and the Samaritans, who were collecting donations at Tom Robinson's concert at the Public Hall in Harpenden which we were at last Friday. It was great to see Tom performing new material again (as well as his greatest hit). 'Only The Now' contains some wonderful new Tom Robinson songs that demonstrate his experience and skill as a songwriter. The tango which opens the album, 'Home in the Morning' feels instantly like classic Tom Robinson and 'Never Get Old' is a poignant anthem for his return to the rock and roll stage at the age of 65 (“Did you think we'd never get old? Take a good look at me now.”). A range of illustrious friends have contributed to the new recordings. Alongside long-time collaborators Adam Philips and Lee Forsyth Griffiths, 'Only The Now' features appearances by Billy Bragg, Martin Carthy, John Grant and Ian McKellen. Friday's gig drew a large, enthusiastic audience that clearly knew Tom Robinson's back catalogue well but also gave a warm welcome to the new songs. As he did at the Jazz Cafe gig last summer, Tom looked like he was having a ball and seemed genuinely moved by the reception his music received and the affection of the audience. Great to see him back.
Last summer's one-off gig by Tom Robinson (reviewed here in August 2014) reminded me how much I like his music. It also reminded him how much he likes performing. After a break of more than ten years Tom Robinson is now touring again, to promote his first new album in twenty years – 'Only The Now'. The 'Mighty Sword Of Justice' tour is also supporting mental health charities including the Campaign Against Living Miserably (CALM – see: https://www.thecalmzone.net/) and the Samaritans, who were collecting donations at Tom Robinson's concert at the Public Hall in Harpenden which we were at last Friday. It was great to see Tom performing new material again (as well as his greatest hit). 'Only The Now' contains some wonderful new Tom Robinson songs that demonstrate his experience and skill as a songwriter. The tango which opens the album, 'Home in the Morning' feels instantly like classic Tom Robinson and 'Never Get Old' is a poignant anthem for his return to the rock and roll stage at the age of 65 (“Did you think we'd never get old? Take a good look at me now.”). A range of illustrious friends have contributed to the new recordings. Alongside long-time collaborators Adam Philips and Lee Forsyth Griffiths, 'Only The Now' features appearances by Billy Bragg, Martin Carthy, John Grant and Ian McKellen. Friday's gig drew a large, enthusiastic audience that clearly knew Tom Robinson's back catalogue well but also gave a warm welcome to the new songs. As he did at the Jazz Cafe gig last summer, Tom looked like he was having a ball and seemed genuinely moved by the reception his music received and the affection of the audience. Great to see him back.
Thursday, October 29, 2015
Elvis Costello in conversation with Nick Hornby
29 October 2015
Going to see an author speak about their latest book can often be an underwhelming experience. Some writers turn out to be far less articulate in person than they are in writing. And even though they are speaking to an audience that may have paid a significant amount of money to see them, I've seen authors at book festival events who seem to have done no preparation and given little thought to what they were going to say. There were no such problems at the Royal Festival Hall on Thursday evening where I went to see Elvis Costello in conversation with the novelist Nick Hornby about his memoir 'Unfaithful Music & Disappearing Ink'. Unlike many authors Elvis is obviously an accomplished performer, very used to commanding a stage. I saw him play the Royal Albert Hall last year (reviewed here in October 2014). He's also a compelling raconteur and Hornby, clearly a genuine long-time fan, needed do little more than gentle prodding with random names and song titles (in the manner of Elvis's Spinning Wheel of Songs) to unleash the stories. Elvis was also meticulously prepared, slickly manipulating his iPad to share audio clips, family photos and videos on the giant screen above the stage. It was fascinating to see film of his father, Ross MacManus, singing with the Joe Loss Orchestra in the 1960s and looking the spitting image of his son. Questions from the audience prompted Elvis to share memories of particular gigs and his experiences of collaborating with Roy Orbison, Burt Bacharach and other legendary artists. One woman's question was simply "will you please play 'Indoor Fireworks' (a beautiful but largely forgotten album track from Elvis's 1986 album 'King of America') when you tour to London next year? After a very entertaining discussion, Elvis ended the evening by performing three songs, accompanying himself on acoustic guitar, and rather wonderfully including 'Indoor Fireworks'. I hadn't heard this achingly beautiful song for years: it's a miniature masterpiece which brought a tear to my eye. It was an absolutely brilliant evening and I can't wait to read the book.
Indoor fireworks
Can still burn your fingers
Indoor fireworks
We swore we were safe as houses
They're not so spectacular, they don't burn up in the sky
But they can dazzle or delight
Or bring a tear
When the smoke gets in your eyes.
Elvis Costello.
Going to see an author speak about their latest book can often be an underwhelming experience. Some writers turn out to be far less articulate in person than they are in writing. And even though they are speaking to an audience that may have paid a significant amount of money to see them, I've seen authors at book festival events who seem to have done no preparation and given little thought to what they were going to say. There were no such problems at the Royal Festival Hall on Thursday evening where I went to see Elvis Costello in conversation with the novelist Nick Hornby about his memoir 'Unfaithful Music & Disappearing Ink'. Unlike many authors Elvis is obviously an accomplished performer, very used to commanding a stage. I saw him play the Royal Albert Hall last year (reviewed here in October 2014). He's also a compelling raconteur and Hornby, clearly a genuine long-time fan, needed do little more than gentle prodding with random names and song titles (in the manner of Elvis's Spinning Wheel of Songs) to unleash the stories. Elvis was also meticulously prepared, slickly manipulating his iPad to share audio clips, family photos and videos on the giant screen above the stage. It was fascinating to see film of his father, Ross MacManus, singing with the Joe Loss Orchestra in the 1960s and looking the spitting image of his son. Questions from the audience prompted Elvis to share memories of particular gigs and his experiences of collaborating with Roy Orbison, Burt Bacharach and other legendary artists. One woman's question was simply "will you please play 'Indoor Fireworks' (a beautiful but largely forgotten album track from Elvis's 1986 album 'King of America') when you tour to London next year? After a very entertaining discussion, Elvis ended the evening by performing three songs, accompanying himself on acoustic guitar, and rather wonderfully including 'Indoor Fireworks'. I hadn't heard this achingly beautiful song for years: it's a miniature masterpiece which brought a tear to my eye. It was an absolutely brilliant evening and I can't wait to read the book.
Can still burn your fingers
Indoor fireworks
We swore we were safe as houses
They're not so spectacular, they don't burn up in the sky
But they can dazzle or delight
Or bring a tear
When the smoke gets in your eyes.
Elvis Costello.
Friday, October 23, 2015
'Mothers, Daughters, Fathers, Sons – Memories of Childhood'
23 October 2015
On Friday afternoon I was at the Museum of Edinburgh on the Royal Mile to see 'Mothers, Daughters, Fathers, Sons – Memories of Childhood', an intergenerational oral history exhibition that celebrates the heritage of Chinese and South Asian older people and their UK-born family members. This exhibition, by the Minority Ethnic Carers of Older People Project (MECOPP) as part of the Luminate Festival, consists of pairs of interviews with two people from the same family (Mother/Daughter, Father/Son, Grandmother/Granddaughter etc). Written transcripts of the interviews are presented alongside a selection of family photos. These reflections on childhood explore the difficulties of early life in a variety of countries (including India, Pakistan, Vietnam and China) as well as remembering school, family life and first jobs. It is intriguing to spot the areas of overlap between the reminiscences of the older and younger generations. And it is particularly interesting to read about each family's experience of coming to live in Britain. The exhibition also includes beautiful large photographs of objects that have particular significance to the interviewees (and some of the objects themselves are also on display) – often objects that they have mentioned in their interviews. These photographs are also available as free postcards which visitors to the exhibition can take home. The exhibition involves a lot of reading but the investment of time required is well rewarded: it's a fascinating examination of families, childhood and ageing.
On Friday afternoon I was at the Museum of Edinburgh on the Royal Mile to see 'Mothers, Daughters, Fathers, Sons – Memories of Childhood', an intergenerational oral history exhibition that celebrates the heritage of Chinese and South Asian older people and their UK-born family members. This exhibition, by the Minority Ethnic Carers of Older People Project (MECOPP) as part of the Luminate Festival, consists of pairs of interviews with two people from the same family (Mother/Daughter, Father/Son, Grandmother/Granddaughter etc). Written transcripts of the interviews are presented alongside a selection of family photos. These reflections on childhood explore the difficulties of early life in a variety of countries (including India, Pakistan, Vietnam and China) as well as remembering school, family life and first jobs. It is intriguing to spot the areas of overlap between the reminiscences of the older and younger generations. And it is particularly interesting to read about each family's experience of coming to live in Britain. The exhibition also includes beautiful large photographs of objects that have particular significance to the interviewees (and some of the objects themselves are also on display) – often objects that they have mentioned in their interviews. These photographs are also available as free postcards which visitors to the exhibition can take home. The exhibition involves a lot of reading but the investment of time required is well rewarded: it's a fascinating examination of families, childhood and ageing.
Gallery Social: 'Arthur Melville: Adventures in Colour'
23 October 2015
On Friday morning I was at the Scottish National Gallery in Edinburgh for the dementia-friendly Gallery Social event, part of the Luminate Festival. This was a relaxed and informal guided tour of the 'Arthur Melville: Adventures in Colour' exhibition for anyone affected by dementia, their friends, relatives and supporters. 16 of us gathered in the Clore Education Centre for tea and cake, followed by a chance to try some of the watercolour techniques that the Scottish artist Arthur Melville (1855 – 1904) pioneered. It was fascinating to see the effects that you can create by wetting the paper with a sponge and then adding drops of watercolour paint which spread beautifully through the water. I was quite pleased with my painting but, while the rest of us were producing pretty, abstract shapes, one member of our group had finished a stunning copy of the Arthur Melville painting being used on the poster for the exhibition. Practical participation is a regular feature of the National Galleries Scotland 'Gallery Social' events, and the understanding of technique and medium that you get, even from a short practical session, makes you appreciate the paintings in the exhibition from a much more informed perspective. Our tour of the Arthur Melville exhibition offered fascinating insights into the artist's life, technical skills and subject matter. You always get so much more from looking a painting when an expert points out key features or context to you. The Gallery Social is aimed at carers as much as at those suffering from dementia and our guides never talked down to their audience, providing an enthusiastic, informed, amusing and intellectual commentary on Arthur Melville and his works. I learned a great deal about watercolours and this fascinating artist.
On Friday morning I was at the Scottish National Gallery in Edinburgh for the dementia-friendly Gallery Social event, part of the Luminate Festival. This was a relaxed and informal guided tour of the 'Arthur Melville: Adventures in Colour' exhibition for anyone affected by dementia, their friends, relatives and supporters. 16 of us gathered in the Clore Education Centre for tea and cake, followed by a chance to try some of the watercolour techniques that the Scottish artist Arthur Melville (1855 – 1904) pioneered. It was fascinating to see the effects that you can create by wetting the paper with a sponge and then adding drops of watercolour paint which spread beautifully through the water. I was quite pleased with my painting but, while the rest of us were producing pretty, abstract shapes, one member of our group had finished a stunning copy of the Arthur Melville painting being used on the poster for the exhibition. Practical participation is a regular feature of the National Galleries Scotland 'Gallery Social' events, and the understanding of technique and medium that you get, even from a short practical session, makes you appreciate the paintings in the exhibition from a much more informed perspective. Our tour of the Arthur Melville exhibition offered fascinating insights into the artist's life, technical skills and subject matter. You always get so much more from looking a painting when an expert points out key features or context to you. The Gallery Social is aimed at carers as much as at those suffering from dementia and our guides never talked down to their audience, providing an enthusiastic, informed, amusing and intellectual commentary on Arthur Melville and his works. I learned a great deal about watercolours and this fascinating artist.
'Broth' by Donna Rutherford
23 October 2015
Oliver Sacks' grandfather, who died at the age of 94, often said that his 80s had been one of the most enjoyable decades of his life. He felt “not a shrinking but an enlargement of life and perspective” (see: http://www.nytimes.com/2013/07/07/opinion/sunday/the-joy-of-old-age-no-kidding.html?_r=0). For Donna Rutherford's show 'Broth', which I saw at the Tron Theatre in Glasgow on Thursday evening as part of the Luminate Festival, Donna video-recorded a series of interviews with men and women in their 80s. She started each interview by simply asking people to tell her how their mothers or fathers used to make soup. Edited excerpts from these interviews provided the main content of the show, interspersed with music by Inge Thomson and Donna's own reflections on ageing, memories and making soup. And throughout the show Donna is making three pans of soup on the stage in front of us – a traditional vegetable broth, lentil soup and fish soup. As the ingredients begin to bubble the smells drift around the theatre evoking our own memories – and hunger! Donna's text has the beauty of a prose poem, but her delivery is so gentle and conversational it disguises the craft that has gone into the words. At the end of the show the audience is invited to taste the soup: we didn't need to be asked twice. Donna said that the audience in Edinburgh had been shy and needed coaxing out of their seats. When she performed the show in Paisley to more than 200 older people they were rather put out that they only got about a thimble-full each. The time we take to consume our soup provides the opportunity for a post-show discussion in which members of the audience comment on the video interviews and share their own reminiscences of family and soup. It's a very clever way to tackle a wide range of aspects of ageing – and the broth was delicious.
Oliver Sacks' grandfather, who died at the age of 94, often said that his 80s had been one of the most enjoyable decades of his life. He felt “not a shrinking but an enlargement of life and perspective” (see: http://www.nytimes.com/2013/07/07/opinion/sunday/the-joy-of-old-age-no-kidding.html?_r=0). For Donna Rutherford's show 'Broth', which I saw at the Tron Theatre in Glasgow on Thursday evening as part of the Luminate Festival, Donna video-recorded a series of interviews with men and women in their 80s. She started each interview by simply asking people to tell her how their mothers or fathers used to make soup. Edited excerpts from these interviews provided the main content of the show, interspersed with music by Inge Thomson and Donna's own reflections on ageing, memories and making soup. And throughout the show Donna is making three pans of soup on the stage in front of us – a traditional vegetable broth, lentil soup and fish soup. As the ingredients begin to bubble the smells drift around the theatre evoking our own memories – and hunger! Donna's text has the beauty of a prose poem, but her delivery is so gentle and conversational it disguises the craft that has gone into the words. At the end of the show the audience is invited to taste the soup: we didn't need to be asked twice. Donna said that the audience in Edinburgh had been shy and needed coaxing out of their seats. When she performed the show in Paisley to more than 200 older people they were rather put out that they only got about a thimble-full each. The time we take to consume our soup provides the opportunity for a post-show discussion in which members of the audience comment on the video interviews and share their own reminiscences of family and soup. It's a very clever way to tackle a wide range of aspects of ageing – and the broth was delicious.
'Senior Moments'
23 October 2015
Scotland Street School in Glasgow is a magnificent building designed by Charles Rennie Mackintosh. It is now a museum that tells the story of education in Scotland from 1872 to the late 20th century, complete with recreations of classrooms from different periods in the history of the school. I was there on Thursday afternoon to see 'Senior Moments', an exhibition of portraits and memories from members of Castlemilk Senior Centre – which is on display as part of the Luminate Festival. This small exhibition features 21 pairs of photographs – individual portraits of members of the Castlemilk Senior Centre today, each coupled with a photograph from their past. Each person wrote down their personal reflections on their two pictures and these words are displayed between the photographs. The project was developed by Dr John Lynn from Glasgow Caledonian University. It's fascinating to see the connections between past and present and how the people, and their lives, have changed. The stories the pictures tell are funny, revealing and poignant. It's a very interesting reflection on ageing.
Scotland Street School in Glasgow is a magnificent building designed by Charles Rennie Mackintosh. It is now a museum that tells the story of education in Scotland from 1872 to the late 20th century, complete with recreations of classrooms from different periods in the history of the school. I was there on Thursday afternoon to see 'Senior Moments', an exhibition of portraits and memories from members of Castlemilk Senior Centre – which is on display as part of the Luminate Festival. This small exhibition features 21 pairs of photographs – individual portraits of members of the Castlemilk Senior Centre today, each coupled with a photograph from their past. Each person wrote down their personal reflections on their two pictures and these words are displayed between the photographs. The project was developed by Dr John Lynn from Glasgow Caledonian University. It's fascinating to see the connections between past and present and how the people, and their lives, have changed. The stories the pictures tell are funny, revealing and poignant. It's a very interesting reflection on ageing.
'Descent' by Linda Duncan McLaughlin
23 October 2015
On Thursday I was at the Traverse Theatre in Edinburgh for 'A Play, A Pie and A Pint', the Traverse's series of lunchtime performances of new plays. As each £12 ticket includes food and drink, the majority of the audience arrive early to eat before the show, creating a great atmosphere in the theatre bar. This week's production was 'Descent' by Linda Duncan McLaughlin, presented in association with Luminate, Scotland's Creative Ageing Festival, which explored the reality of dealing with dementia. Like the 2014 film, 'Still Alice', 'Descent' dealt with the onset of dementia curtailing a successful professional career (in this case as an architect). The heartbreaking experience of a wife trying to care for her ever-more-difficult husband felt very real in the close confines of the Traverse 2 studio theatre. One of the effects of really good drama is to make you forget you are watching a play, and I caught myself gasping out loud a couple of times at the more traumatic moments. Wonderfully acted by Barrie Hunter, Wendy Seager and Fiona MacNeil, it was a harrowing experience which really made you think about the process of ageing – one of the key objectives of the Luminate Festival.
On Thursday I was at the Traverse Theatre in Edinburgh for 'A Play, A Pie and A Pint', the Traverse's series of lunchtime performances of new plays. As each £12 ticket includes food and drink, the majority of the audience arrive early to eat before the show, creating a great atmosphere in the theatre bar. This week's production was 'Descent' by Linda Duncan McLaughlin, presented in association with Luminate, Scotland's Creative Ageing Festival, which explored the reality of dealing with dementia. Like the 2014 film, 'Still Alice', 'Descent' dealt with the onset of dementia curtailing a successful professional career (in this case as an architect). The heartbreaking experience of a wife trying to care for her ever-more-difficult husband felt very real in the close confines of the Traverse 2 studio theatre. One of the effects of really good drama is to make you forget you are watching a play, and I caught myself gasping out loud a couple of times at the more traumatic moments. Wonderfully acted by Barrie Hunter, Wendy Seager and Fiona MacNeil, it was a harrowing experience which really made you think about the process of ageing – one of the key objectives of the Luminate Festival.
Thursday, October 22, 2015
'The Sisters Brothers' by Patrick deWitt
22 October 2015
The best novels are paradoxically completely original while also drawing on a variety of sources and influences. Canadian author Patrick deWitt's wonderful 2011 novel 'The Sisters Brothers' pulls off this trick brilliantly. 'The Sisters Brothers' is a western, set in the 1850s California Gold Rush. I've just finished reading it as an unabridged audio book, narrated by William Hope. It is a darkly comic, picaresque adventure. Brothers Charlie and Eli Sisters are professional assassins travelling on horseback from Oregon City to San Francisco to take out their latest victim. The book feels like a combination of 'Don Quixote' (reviewed here in January 2012), 'Waiting for Godot (reviewed here in May 2009), 'The Luminaries' (reviewed here in December 2013) and the Coen Brothers film 'O Brother, Where Art Thou' (or pretty much any other Coen Brothers film). Eli narrates the story in a dry, laconic style, perfectly captured by William Hope in the audio version. It's a bleak and brutal tale, containing much violence (to men and to horses) but Eli's weary, matter-of-fact approach to his murderous work is very funny and the writing is excellent.
The best novels are paradoxically completely original while also drawing on a variety of sources and influences. Canadian author Patrick deWitt's wonderful 2011 novel 'The Sisters Brothers' pulls off this trick brilliantly. 'The Sisters Brothers' is a western, set in the 1850s California Gold Rush. I've just finished reading it as an unabridged audio book, narrated by William Hope. It is a darkly comic, picaresque adventure. Brothers Charlie and Eli Sisters are professional assassins travelling on horseback from Oregon City to San Francisco to take out their latest victim. The book feels like a combination of 'Don Quixote' (reviewed here in January 2012), 'Waiting for Godot (reviewed here in May 2009), 'The Luminaries' (reviewed here in December 2013) and the Coen Brothers film 'O Brother, Where Art Thou' (or pretty much any other Coen Brothers film). Eli narrates the story in a dry, laconic style, perfectly captured by William Hope in the audio version. It's a bleak and brutal tale, containing much violence (to men and to horses) but Eli's weary, matter-of-fact approach to his murderous work is very funny and the writing is excellent.
Dancing at Blackpool Tower Ballroom
22 October 2015
We first started ballroom dancing lessons 24 years ago – so long ago the original 'Come Dancing' was still on the TV! We've made some great friends through dancing as we've enjoyed trying (and failing) to master the full repertoire of ballroom and Latin dances. We've now been taking weekly lessons at Milton Keynes Dance Centre for nearly 10 years. We've never been interested in dancing competitively or taking medals: our dancing is purely social. So there was only one dancing challenge left for us to fulfil – to dance at the Wembley Stadium of ballroom dancing, Blackpool Tower Ballroom. Last weekend we realised this dream with a group of friends from our dance class, travelling to Blackpool for a dance organised by Philip Hurst. The Tower Ballroom is an amazing place: as you enter the room you feel like you are stepping back in time – but into a world that probably only ever existed in Blackpool. The dance floor is enormous and the décor is gloriously over-the-top, with ornate balconies looking down on the dancers. When you learn to dance you work out which steps will take you down one side of the floor before you execute a turn in the corner to take you down the next side. At Blackpool the floor is so big, none of these standard routines seem to fit. Saturday's dance included a demonstration by UK Latin champions, Ryan McShane and Ksenia Zsikhotska. Their performance was fantastic to watch, though this highly choreographed competitive dancing bears little relation to any of the steps we have learned. We had a wonderful time dancing in the Tower Ballroom: it was an incredible experience. And regular readers with particularly long memories will be reassured to know that our foxtrot is still going to be good!
We first started ballroom dancing lessons 24 years ago – so long ago the original 'Come Dancing' was still on the TV! We've made some great friends through dancing as we've enjoyed trying (and failing) to master the full repertoire of ballroom and Latin dances. We've now been taking weekly lessons at Milton Keynes Dance Centre for nearly 10 years. We've never been interested in dancing competitively or taking medals: our dancing is purely social. So there was only one dancing challenge left for us to fulfil – to dance at the Wembley Stadium of ballroom dancing, Blackpool Tower Ballroom. Last weekend we realised this dream with a group of friends from our dance class, travelling to Blackpool for a dance organised by Philip Hurst. The Tower Ballroom is an amazing place: as you enter the room you feel like you are stepping back in time – but into a world that probably only ever existed in Blackpool. The dance floor is enormous and the décor is gloriously over-the-top, with ornate balconies looking down on the dancers. When you learn to dance you work out which steps will take you down one side of the floor before you execute a turn in the corner to take you down the next side. At Blackpool the floor is so big, none of these standard routines seem to fit. Saturday's dance included a demonstration by UK Latin champions, Ryan McShane and Ksenia Zsikhotska. Their performance was fantastic to watch, though this highly choreographed competitive dancing bears little relation to any of the steps we have learned. We had a wonderful time dancing in the Tower Ballroom: it was an incredible experience. And regular readers with particularly long memories will be reassured to know that our foxtrot is still going to be good!
Friday, October 16, 2015
'Hamlet' by William Shakespeare
16 October 2015
On Thursday we were at Cineworld in Milton Keynes to join audiences in hundreds of cinemas across the world watching the live screening of Sonia Friedman Productions' 'Hamlet' starring Benedict Cumberbatch, live from the Barbican Theatre in London. Benedict Cumberbatch is a great stage actor (we last saw him in Danny Boyle's 'Frankenstein' at the National Theatre, reviewed here in March 2011) and he gave a great performance. But, as many of the reviews of this fastest-ever-selling London theatre show have said, Lyndsey Turner's production is not the greatest 'Hamlet'. Es Devlin's giant set is amazing and there are some wonderful moments but the overall effect felt cluttered and slightly disconnected. Nevertheless 'Hamlet' is a bottomless play and every production seems to discover elements you hadn't noticed before. This version gave a clarity to the background political plot (with Fortinbras taking his Norwegian army through Denmark ostensibly to invade Poland) that I hadn't seen before. And it was great to see Benedict Cumberbatch using the opportunity to speak to a live worldwide audience, at the curtain call, to ask for donations to Save the Children to support refugees from the current crisis in Syria. You can give at: http://savethechildren.org.uk/hamlet.
On Thursday we were at Cineworld in Milton Keynes to join audiences in hundreds of cinemas across the world watching the live screening of Sonia Friedman Productions' 'Hamlet' starring Benedict Cumberbatch, live from the Barbican Theatre in London. Benedict Cumberbatch is a great stage actor (we last saw him in Danny Boyle's 'Frankenstein' at the National Theatre, reviewed here in March 2011) and he gave a great performance. But, as many of the reviews of this fastest-ever-selling London theatre show have said, Lyndsey Turner's production is not the greatest 'Hamlet'. Es Devlin's giant set is amazing and there are some wonderful moments but the overall effect felt cluttered and slightly disconnected. Nevertheless 'Hamlet' is a bottomless play and every production seems to discover elements you hadn't noticed before. This version gave a clarity to the background political plot (with Fortinbras taking his Norwegian army through Denmark ostensibly to invade Poland) that I hadn't seen before. And it was great to see Benedict Cumberbatch using the opportunity to speak to a live worldwide audience, at the curtain call, to ask for donations to Save the Children to support refugees from the current crisis in Syria. You can give at: http://savethechildren.org.uk/hamlet.
'War Horse' by Michael Morpurgo, adapted by Nick Stafford
16 October 2015
It was beginning to feel like we were the only people left in the country who hadn't seen the amazingly successful National Theatre production of 'War Horse'. So last Saturday we made our way to the New London Theatre to see what all the fuss was about. Nick Stafford's stage adaptation of Michael Morpurgo's book, directed by Marianne Elliott and Tom Morris, is a very impressive theatrical experience, bringing together a vast cast, original music (by Adrian Sutton), the excellent folk singer Ben Murray (singing songs by John Tams), and stunning design by Rae Smith. Smith's back-projected drawings which represent the sketch book of Captain Nicholls, form a journey through the artistic styles of the early 20th century, becoming harsher and more angular (echoing the Vorticists) as the story moves into the bleakness of the Western Front. But undoubtedly the star attraction is the puppetry, developed by the Handspring Puppet Company from South Africa. Their exoskeleton creations are simple representations of the animals, and the three actors who manipulate each puppet are always clearly visible, but the equine movement is so meticulously observed and recreated that they become totally convincing as horses. 'War Horse' is a moving, tear-jerking experience. It's also one the best examples of the way subsidised theatre has the capacity to develop original, inventive, high-quality productions with the potential to become a substantial commercial hit.
It was beginning to feel like we were the only people left in the country who hadn't seen the amazingly successful National Theatre production of 'War Horse'. So last Saturday we made our way to the New London Theatre to see what all the fuss was about. Nick Stafford's stage adaptation of Michael Morpurgo's book, directed by Marianne Elliott and Tom Morris, is a very impressive theatrical experience, bringing together a vast cast, original music (by Adrian Sutton), the excellent folk singer Ben Murray (singing songs by John Tams), and stunning design by Rae Smith. Smith's back-projected drawings which represent the sketch book of Captain Nicholls, form a journey through the artistic styles of the early 20th century, becoming harsher and more angular (echoing the Vorticists) as the story moves into the bleakness of the Western Front. But undoubtedly the star attraction is the puppetry, developed by the Handspring Puppet Company from South Africa. Their exoskeleton creations are simple representations of the animals, and the three actors who manipulate each puppet are always clearly visible, but the equine movement is so meticulously observed and recreated that they become totally convincing as horses. 'War Horse' is a moving, tear-jerking experience. It's also one the best examples of the way subsidised theatre has the capacity to develop original, inventive, high-quality productions with the potential to become a substantial commercial hit.
Friday, October 09, 2015
The Stars From The Commitments
9 October 2015
I'm not a big fan of covers bands or tribute acts but I was tempted to see 'The Stars From The Commitments' at The Stables in Wavendon last Sunday because: 1. the line-up still includes two of the original members, and 2. the original band was fictional. Kenneth McCluskey and Dick Massey played members of Dublin soul band, The Commitments, in Alan Parker's 1991 film of Roddy Doyle's novel and, since 1993, have been touring almost continuously with a version of the band. They put on a great show, recreating classic soul numbers with high-quality musicians and three excellent singers (Myles Hyland, Sandra Hyland and Antoinette Dunleavy). It's a party from the start and the packed audience at The Stables had clearly come to enjoy themselves. The show closed with a fantastic performance of 'Try a Little Tenderness'. It really made me want to see the film again.
I'm not a big fan of covers bands or tribute acts but I was tempted to see 'The Stars From The Commitments' at The Stables in Wavendon last Sunday because: 1. the line-up still includes two of the original members, and 2. the original band was fictional. Kenneth McCluskey and Dick Massey played members of Dublin soul band, The Commitments, in Alan Parker's 1991 film of Roddy Doyle's novel and, since 1993, have been touring almost continuously with a version of the band. They put on a great show, recreating classic soul numbers with high-quality musicians and three excellent singers (Myles Hyland, Sandra Hyland and Antoinette Dunleavy). It's a party from the start and the packed audience at The Stables had clearly come to enjoy themselves. The show closed with a fantastic performance of 'Try a Little Tenderness'. It really made me want to see the film again.
Thursday, October 01, 2015
Squeeze
1 October 2015
When I saw Squeeze at the WOMAD Festival in 2008 (reviewed here in July 2008) Chris Difford and Glenn Tilbrook had only just started performing together again after years of barely speaking to each other. Seven years later the band is in rude health, about to launch its first new album since 1998, with its new song 'Happy Days' getting played on national radio and selling out large venues around the country on a tour that started this week. The spark for this late-career success has been the music Squeeze wrote for the Danny Baker TV sitcom, 'Cradle to the Grave', which forms the basis of their new album of the same name. We were lucky to get tickets for their show at Milton Keynes Theatre this week and it was a fantastic performance. The visual presentation was very impressive, with an amazing light show and an inventive series of specially commissioned videos projected across the back of the stage set. But the music would have been wonderful anyway. Difford and Tilbrook are brilliant songwriters with an extensive back catalogue, against which their new songs stood up well. You've got to marvel at writing like 'Up the Junction' which must be the catchiest song without a chorus and features one of the great opening lines: “I never thought it would happen / with me and the girl from Clapham”. When you add to that songwriting ability excellent musicianship and Tilbrook and Gifford's incredible singing voices – both of which are particularly distinctive in very contrasting ways – you get something very special. All of which made a supporting slot by the inimitable John Cooper Clarke and a brief guest appearance on backing vocals by Paul Young (on 'Black Coffee in Bed', reprising his role on the original 1981 recording) mere footnotes. It was great to see Squeeze back at the top of their game – as the T-shirts on sale in the foyer said: “I’d forgotten how much I like Squeeze.”
When I saw Squeeze at the WOMAD Festival in 2008 (reviewed here in July 2008) Chris Difford and Glenn Tilbrook had only just started performing together again after years of barely speaking to each other. Seven years later the band is in rude health, about to launch its first new album since 1998, with its new song 'Happy Days' getting played on national radio and selling out large venues around the country on a tour that started this week. The spark for this late-career success has been the music Squeeze wrote for the Danny Baker TV sitcom, 'Cradle to the Grave', which forms the basis of their new album of the same name. We were lucky to get tickets for their show at Milton Keynes Theatre this week and it was a fantastic performance. The visual presentation was very impressive, with an amazing light show and an inventive series of specially commissioned videos projected across the back of the stage set. But the music would have been wonderful anyway. Difford and Tilbrook are brilliant songwriters with an extensive back catalogue, against which their new songs stood up well. You've got to marvel at writing like 'Up the Junction' which must be the catchiest song without a chorus and features one of the great opening lines: “I never thought it would happen / with me and the girl from Clapham”. When you add to that songwriting ability excellent musicianship and Tilbrook and Gifford's incredible singing voices – both of which are particularly distinctive in very contrasting ways – you get something very special. All of which made a supporting slot by the inimitable John Cooper Clarke and a brief guest appearance on backing vocals by Paul Young (on 'Black Coffee in Bed', reprising his role on the original 1981 recording) mere footnotes. It was great to see Squeeze back at the top of their game – as the T-shirts on sale in the foyer said: “I’d forgotten how much I like Squeeze.”
'Sherlock Holmes' by Sir Arthur Conan Doyle and William Gillette
1 October 2015
In 1899 Sir Arthur Conan Doyle collaborated with William Gillette on a stage play featuring his famous detective. 'Sherlock Holmes' is a four-act play that presents an original Holmes story but uses elements from a number of Conan Doyle's books. Gillette's play introduced the famous curved pipe and the phrase "Oh, this is elementary, my dear Watson" (which never appeared in Conan Doyle's stories). The play departs from the convention of having Dr Watson recounting the tale, opening with a scene showing the villains rather than starting with Holmes in his consulting room. The result is more of a thriller than a detective story, as there is no puzzle for the audience to try to unravel before Holmes does. It's not a great play but it was interesting and very enjoyable to see our local amateur theatre company, TADS, perform it in Toddington on Saturday. Debut director Chloe White had put together a fine production. Her use of music and changes of lighting to underpin the dramatic end of some scenes gave the play the feel of a television drama. And she had found an excellent lead actor in Anthony Bird who was a very young but extremely cool and confident Holmes.
In 1899 Sir Arthur Conan Doyle collaborated with William Gillette on a stage play featuring his famous detective. 'Sherlock Holmes' is a four-act play that presents an original Holmes story but uses elements from a number of Conan Doyle's books. Gillette's play introduced the famous curved pipe and the phrase "Oh, this is elementary, my dear Watson" (which never appeared in Conan Doyle's stories). The play departs from the convention of having Dr Watson recounting the tale, opening with a scene showing the villains rather than starting with Holmes in his consulting room. The result is more of a thriller than a detective story, as there is no puzzle for the audience to try to unravel before Holmes does. It's not a great play but it was interesting and very enjoyable to see our local amateur theatre company, TADS, perform it in Toddington on Saturday. Debut director Chloe White had put together a fine production. Her use of music and changes of lighting to underpin the dramatic end of some scenes gave the play the feel of a television drama. And she had found an excellent lead actor in Anthony Bird who was a very young but extremely cool and confident Holmes.
Friday, September 25, 2015
'Some Luck' by Jane Smiley
25 September 2015
The American author Jane Smiley is still best known for her 1991 Pulitzer Prize-winning novel 'A Thousand Acres', which transplanted the story of 'King Lear' to an American mid-west farming community. I've just finished reading 'Some Luck' (as an unabridged audio book, narrated by Lorelei King), the first in a planned trilogy of novels by Jane Smiley called 'The Last Hundred Years'. 'Some Luck' is a family saga, set on a farm in Iowa, which begins in 1920 and follows the family of Walter and Rosanna Langdon year by year (with a chapter for each year) through to 1953. It's wonderfully crafted and beautifully written. By avoiding the leaps in time common to many family sagas, the incremental growth of the Langdon family is a realistic and recognisable account of childhood. We get to know the Langdon children, their strengths, interests and characteristics, in detail as they develop, making the reader feel very close to the characters. The book also provides a clever sense of opening out – as the family grows and new branches appear, there are naturally more parts to the story for the narrative to jump between. Also the family spreads geographically – from the farm, which at first seems like their whole world, to their local town, to Chicago, Washington then New York, then to Europe and a more global outlook. This widening of view also reflects the period, as transport and communications develop through the first half of the twentieth century. We see the transition on the farm from horses to tractors, then the increasing affordability of cars and air travel. The remaining books in Jane Smiley's trilogy will take us through the rest of the twentieth century. I'm really looking forward to following the Langdons' progress. This is a 'Heimat' for the American mid-west – highly recommended.
The American author Jane Smiley is still best known for her 1991 Pulitzer Prize-winning novel 'A Thousand Acres', which transplanted the story of 'King Lear' to an American mid-west farming community. I've just finished reading 'Some Luck' (as an unabridged audio book, narrated by Lorelei King), the first in a planned trilogy of novels by Jane Smiley called 'The Last Hundred Years'. 'Some Luck' is a family saga, set on a farm in Iowa, which begins in 1920 and follows the family of Walter and Rosanna Langdon year by year (with a chapter for each year) through to 1953. It's wonderfully crafted and beautifully written. By avoiding the leaps in time common to many family sagas, the incremental growth of the Langdon family is a realistic and recognisable account of childhood. We get to know the Langdon children, their strengths, interests and characteristics, in detail as they develop, making the reader feel very close to the characters. The book also provides a clever sense of opening out – as the family grows and new branches appear, there are naturally more parts to the story for the narrative to jump between. Also the family spreads geographically – from the farm, which at first seems like their whole world, to their local town, to Chicago, Washington then New York, then to Europe and a more global outlook. This widening of view also reflects the period, as transport and communications develop through the first half of the twentieth century. We see the transition on the farm from horses to tractors, then the increasing affordability of cars and air travel. The remaining books in Jane Smiley's trilogy will take us through the rest of the twentieth century. I'm really looking forward to following the Langdons' progress. This is a 'Heimat' for the American mid-west – highly recommended.
Friday, September 18, 2015
Iceland
18 September 2015
We had an amazing holiday in Iceland last week. We stayed in the centre of Reykjavik which is a small, pretty, modern town with a wonderful new concert hall ('Harpa') on the waterside. We went to three orchestral concerts there, including two performances by the visiting Lithuanian Chamber Orchestra with the virtuoso 'cellist David Geringas and a concert by the Icelandic Symphony Orchestra. This gave us the chance to hear some Icelandic classical music – the tuneful piece 'Eldur' composed by Jorunn Vidar in 1950 – alonsgide the Mozart 'Clarinet Concerto' and Schumann's 'Symphony No 1'. We also visited the Bio Paradis cinema in Reykjavik to watch an Icelandic film: 'Rams', directed by Grímur Hákonarson, tells the comic-tragic tale of two brothers, both sheep farmers on neighbouring plots of land in a remote valley, who haven't spoken to each other for 40 years. The film is beautifully shot, making good use of the bleak Icelandic landscape and the fascinating featureless face of the lead actor, Sigurdur Sigurjónsson, which reminded me of Wallace's dog Gromit (you can tell what he is thinking only from his eyes!). We took several trips out of Reykjavik to see some of the incredible Icelandic scenery, visiting the water spouts and bubbling hot springs at Geysir (from which all geysirs take their name), the impressive waterfalls at Gullfoss and the site of the world's first parliament at Thingvellir – lying on the join between the Eurasian and American tectonic plates which are moving apart at a rate of about 2 cm per year. We also set out to do some hiking in the Thorsmork national park (near the foot of the Eyjafjallajokull volcano that caused the infamous ash cloud in 2010). We knew that our special giant-wheeled four-wheel-drive bus was designed to tackle rough ground and to drive across rivers but we had envisaged something like a simple ford. As we entered the national park we soon realised that the bus was actually going to drive into the middle of some quite substantial fast-flowing rivers, dipping alarmingly forward into the water before straining to climb out the other side. When we reached the main Krossa river we were told that the conditions were too dangerous for our bus to attempt the crossing. Some of our fellow passengers, who were due to stay overnight in a hut in the national park, made the perilous river crossing crouching in the back on an open-topped truck while we continued to a new destination on the near side of the river. We then encountered another tour bus which had got completely stuck in the middle of a river and had to be towed out by our bus. Our plans for a hike were curtailed by these events but we eventually managed a short walk along a canyon near the river before making the scary journey back out of the national park as the weather worsened. It was an exciting day which took us into what could have been scenes in a science fiction film and emphasised the stunningly beautiful but potentially dangerous nature of the volcanic Icelandic wilderness.
You can see a selection of my photos of Iceland at: http://culturaloutlook.blogspot.co.uk/search/label/IcelandSep15
We had an amazing holiday in Iceland last week. We stayed in the centre of Reykjavik which is a small, pretty, modern town with a wonderful new concert hall ('Harpa') on the waterside. We went to three orchestral concerts there, including two performances by the visiting Lithuanian Chamber Orchestra with the virtuoso 'cellist David Geringas and a concert by the Icelandic Symphony Orchestra. This gave us the chance to hear some Icelandic classical music – the tuneful piece 'Eldur' composed by Jorunn Vidar in 1950 – alonsgide the Mozart 'Clarinet Concerto' and Schumann's 'Symphony No 1'. We also visited the Bio Paradis cinema in Reykjavik to watch an Icelandic film: 'Rams', directed by Grímur Hákonarson, tells the comic-tragic tale of two brothers, both sheep farmers on neighbouring plots of land in a remote valley, who haven't spoken to each other for 40 years. The film is beautifully shot, making good use of the bleak Icelandic landscape and the fascinating featureless face of the lead actor, Sigurdur Sigurjónsson, which reminded me of Wallace's dog Gromit (you can tell what he is thinking only from his eyes!). We took several trips out of Reykjavik to see some of the incredible Icelandic scenery, visiting the water spouts and bubbling hot springs at Geysir (from which all geysirs take their name), the impressive waterfalls at Gullfoss and the site of the world's first parliament at Thingvellir – lying on the join between the Eurasian and American tectonic plates which are moving apart at a rate of about 2 cm per year. We also set out to do some hiking in the Thorsmork national park (near the foot of the Eyjafjallajokull volcano that caused the infamous ash cloud in 2010). We knew that our special giant-wheeled four-wheel-drive bus was designed to tackle rough ground and to drive across rivers but we had envisaged something like a simple ford. As we entered the national park we soon realised that the bus was actually going to drive into the middle of some quite substantial fast-flowing rivers, dipping alarmingly forward into the water before straining to climb out the other side. When we reached the main Krossa river we were told that the conditions were too dangerous for our bus to attempt the crossing. Some of our fellow passengers, who were due to stay overnight in a hut in the national park, made the perilous river crossing crouching in the back on an open-topped truck while we continued to a new destination on the near side of the river. We then encountered another tour bus which had got completely stuck in the middle of a river and had to be towed out by our bus. Our plans for a hike were curtailed by these events but we eventually managed a short walk along a canyon near the river before making the scary journey back out of the national park as the weather worsened. It was an exciting day which took us into what could have been scenes in a science fiction film and emphasised the stunningly beautiful but potentially dangerous nature of the volcanic Icelandic wilderness.
You can see a selection of my photos of Iceland at: http://culturaloutlook.blogspot.co.uk/search/label/IcelandSep15
Friday, September 04, 2015
'The Beaux' Stratagem' by George Farquhar
4 September 2015
I'm fast becoming a fan of the theatre director Simon Godwin. His swashbuckling production of 'Two Gentlemen of Verona' for the Royal Shakespeare Company (reviewed here in July 2014) was a hoot. And his incredibly funny production of George Bernard Shaw's 'Man and Superman' at the National Theatre (reviewed here in May 2015) created a multitude of laugh-out-loud moments. This week we were at Cineworld in Milton Keynes to watch the live screening of Simon Godwin's National Theatre production of George Farquhar’s 1707 restoration comedy, 'The Beaux' Stratagem'. It was a wonderful show with a giant dolls' house set by Lizzie Clachan, original music by Michael Bruce and an excellent cast. The two lead actors were outstanding: the bewitching Susannah Fielding as Mrs Sullen, and Geoffrey Streatfeild as Archer who demonstrated some impressive dance moves. But Pearce Quigley came close to stealing the show as the butler, Scrub, with his deadpan delivery and vacant stare reminding me of Tony Robinson's Baldrick. I look forward to seeing Simon Godwin's next production.
I'm fast becoming a fan of the theatre director Simon Godwin. His swashbuckling production of 'Two Gentlemen of Verona' for the Royal Shakespeare Company (reviewed here in July 2014) was a hoot. And his incredibly funny production of George Bernard Shaw's 'Man and Superman' at the National Theatre (reviewed here in May 2015) created a multitude of laugh-out-loud moments. This week we were at Cineworld in Milton Keynes to watch the live screening of Simon Godwin's National Theatre production of George Farquhar’s 1707 restoration comedy, 'The Beaux' Stratagem'. It was a wonderful show with a giant dolls' house set by Lizzie Clachan, original music by Michael Bruce and an excellent cast. The two lead actors were outstanding: the bewitching Susannah Fielding as Mrs Sullen, and Geoffrey Streatfeild as Archer who demonstrated some impressive dance moves. But Pearce Quigley came close to stealing the show as the butler, Scrub, with his deadpan delivery and vacant stare reminding me of Tony Robinson's Baldrick. I look forward to seeing Simon Godwin's next production.
Thursday, August 27, 2015
'Pride and Prejudice' by Jane Austen, adapted by Mark Hayward
27 August 2015
Having really enjoyed the Pantaloons' open air production of 'Much Ado About Nothing' earlier this summer (reviewed here in August 2015), we made our way to the beautiful grounds of Hatfield House on Wednesday to see the company's version of 'Pride and Prejudice', adapted by Mark Hayward. You know what you are getting with the Pantaloons formula – a very energetic performance, plenty breaking of the fourth wall, lots of audience participation (and a significant degree of consumption by the cast of the audience's picnics and alcohol!). This approach succeeds because it is often incredibly funny (particularly some of the ad libs between the performers) but also because it is very well acted. It is genuinely impressive when, amid the tomfoolery and pantomime we discover a delicate moment of real pathos. Telling the story of the five Bennet girls with only five actors requires a lot of versatility (and cross dressing!). It was great fun.
Having really enjoyed the Pantaloons' open air production of 'Much Ado About Nothing' earlier this summer (reviewed here in August 2015), we made our way to the beautiful grounds of Hatfield House on Wednesday to see the company's version of 'Pride and Prejudice', adapted by Mark Hayward. You know what you are getting with the Pantaloons formula – a very energetic performance, plenty breaking of the fourth wall, lots of audience participation (and a significant degree of consumption by the cast of the audience's picnics and alcohol!). This approach succeeds because it is often incredibly funny (particularly some of the ad libs between the performers) but also because it is very well acted. It is genuinely impressive when, amid the tomfoolery and pantomime we discover a delicate moment of real pathos. Telling the story of the five Bennet girls with only five actors requires a lot of versatility (and cross dressing!). It was great fun.
Friday, August 21, 2015
'The Merchant of Venice' by WIlliam Shakespeare
21 August 2015
On Saturday we were at the Errol Flynn Filmhouse in Northampton to see a repeat screening of the recent live broadcast of Polly Findlay's RSC production of 'The Merchant of Venice' from the Royal Shakespeare Theatre in Stratford-upon-Avon. Set against a giant brass mirrored wall and floor, designed by Johannes Schutz, this sober production of a difficult play brought the acting to the fore. With a minimal set and restrained stagecraft our focus was solely on the actors – who were visible from multiple angles in the reflections from the mirrored surfaces. Patsy Ferran was fascinating as Portia – impatient, twitchy, amused, intrigued and determined – her mood switching on a sixpence. Her facial expressions appeared to reveal the workings of Portia's brain and the audience was completely on her side. The Israeli/Palestinian actor Makram J Khoury made Shylock both sympathetic and cruel – a very different performance from the usual RSC company of actors which really emphasised Shylock as the outsider. 'The Merchant of Venice' is a dark play but this production was thoughtful and clear, with some impressive acting.
On Saturday we were at the Errol Flynn Filmhouse in Northampton to see a repeat screening of the recent live broadcast of Polly Findlay's RSC production of 'The Merchant of Venice' from the Royal Shakespeare Theatre in Stratford-upon-Avon. Set against a giant brass mirrored wall and floor, designed by Johannes Schutz, this sober production of a difficult play brought the acting to the fore. With a minimal set and restrained stagecraft our focus was solely on the actors – who were visible from multiple angles in the reflections from the mirrored surfaces. Patsy Ferran was fascinating as Portia – impatient, twitchy, amused, intrigued and determined – her mood switching on a sixpence. Her facial expressions appeared to reveal the workings of Portia's brain and the audience was completely on her side. The Israeli/Palestinian actor Makram J Khoury made Shylock both sympathetic and cruel – a very different performance from the usual RSC company of actors which really emphasised Shylock as the outsider. 'The Merchant of Venice' is a dark play but this production was thoughtful and clear, with some impressive acting.
'A Midsummer Night's Dream' by William Shakespeare
21 August 2015
Last Thursday we were at the Library Theatre in Leighton Buzzard to see a screening of Julie Taymor's production of 'A Midsummer Night's Dream' at the Theater for a New Audience in Brooklyn, New York, in December 2014. This stunning production included amazing stagecraft, impressive choreography, original music, a massive cast – and the truly remarkable Kathryn Hunter as Puck. An enormous bedsheet covered the thrust stage before being wafted high into the air to form billowing clouds above the action, onto which a variety of magical flowers were projected. The rude mechanicals were a gang of 'New Yoik' working men, armed with power tools. When Bottom (played by Max Casella) gained the head of a donkey, his long snout ended in a very realistic animatronic mouth (complete with Bottom's pencil moustache). The British actor David Harewood played a sinister, muscular, Oberon. And the comic scenes were incredibly funny. An electrifying Shakespearean experience – jump at the chance to see it.
Last Thursday we were at the Library Theatre in Leighton Buzzard to see a screening of Julie Taymor's production of 'A Midsummer Night's Dream' at the Theater for a New Audience in Brooklyn, New York, in December 2014. This stunning production included amazing stagecraft, impressive choreography, original music, a massive cast – and the truly remarkable Kathryn Hunter as Puck. An enormous bedsheet covered the thrust stage before being wafted high into the air to form billowing clouds above the action, onto which a variety of magical flowers were projected. The rude mechanicals were a gang of 'New Yoik' working men, armed with power tools. When Bottom (played by Max Casella) gained the head of a donkey, his long snout ended in a very realistic animatronic mouth (complete with Bottom's pencil moustache). The British actor David Harewood played a sinister, muscular, Oberon. And the comic scenes were incredibly funny. An electrifying Shakespearean experience – jump at the chance to see it.
Tuesday, August 04, 2015
'Think Like an Artist … and Lead a More Creative, Productive Life' by Will Gompertz
4 August 2015
I've also been reading 'Think Like an Artist … and Lead a More Creative, Productive Life' – a slim volume by the BBC's Arts Editor, Will Gompertz. The book suggests that 'We Are All Artists', in that being an artist means using and combining a handful of practices and processes which we are all capable of. Gompertz illustrates each of these traits (curiosity, scepticism, bravery etc) using specific examples, mostly taken from the visual arts world. (The book contains pull-out colour reproductions of the paintings that are discussed.) A short conclusion then suggests that our modern, increasingly digital, world needs more creative people, all our working lives would benefit from a more creative approach and our education system should be more creative (teaching us how to think, not what to think). I found myself agreeing with much of his thesis, though I would have liked more of this final section looking at the implications for society. Many of the examples he uses to demonstrate the various traits of an artist, while fascinating and revealing, felt a little too anecdotal – might it not be possible to prove the reverse by choosing other examples? Nevertheless, my main reaction to reading the book was an overwhelming desire to try some of the techniques and do something creative – so that feels like a success to me.
I've also been reading 'Think Like an Artist … and Lead a More Creative, Productive Life' – a slim volume by the BBC's Arts Editor, Will Gompertz. The book suggests that 'We Are All Artists', in that being an artist means using and combining a handful of practices and processes which we are all capable of. Gompertz illustrates each of these traits (curiosity, scepticism, bravery etc) using specific examples, mostly taken from the visual arts world. (The book contains pull-out colour reproductions of the paintings that are discussed.) A short conclusion then suggests that our modern, increasingly digital, world needs more creative people, all our working lives would benefit from a more creative approach and our education system should be more creative (teaching us how to think, not what to think). I found myself agreeing with much of his thesis, though I would have liked more of this final section looking at the implications for society. Many of the examples he uses to demonstrate the various traits of an artist, while fascinating and revealing, felt a little too anecdotal – might it not be possible to prove the reverse by choosing other examples? Nevertheless, my main reaction to reading the book was an overwhelming desire to try some of the techniques and do something creative – so that feels like a success to me.
'A Fine Balance' by Rohinton Mistry
4 August 2015
I've just finished reading Rohinton Mistry's epic novel set in India in the mid-1970s, 'A Fine Balance'. Written in 1995, the book shows us the horror of India's 'State of Internal Emergency' through the experiences of a group of ordinary people caught up in the madness. A prologue introduces us to the four main characters as they meet each other for the first time in 1975. The novel then fills in the back-story of each of these characters in turn, taking us to a variety of places and introducing a huge cast of families, friends and acquaintances. By focussing equally on four characters, Mistry refuses to make it clear which of them is the heart of his story. For the reader this creates a real sense of jeopardy as you realise there is no guarantee that any one of the four friends will necessarily survive to the end of the novel. The terrible journey that our protagonists take, being evicted from their homes, living on the streets, suffering police brutality, injury and disease, makes for a bleak tale. Their resolute cheerfulness and politeness in the face of such challenges makes them very likeable and sympathetic. Indeed, many of the beggars and slum-dwellers to whom they are generous and helpful, re-appear later to return the favour. This is a novel that loves chance-encounters, reuniting or overlapping its vast cast of characters, often after many years apart. 'A Fine Balance' has a Dickensian feel – both in its depiction of social conditions and in its distinct idiosyncratic characters – and is beautifully written. But ultimately it is a very grim story and I don't think it would be a spoiler to warn you not to expect a happy ending.
I've just finished reading Rohinton Mistry's epic novel set in India in the mid-1970s, 'A Fine Balance'. Written in 1995, the book shows us the horror of India's 'State of Internal Emergency' through the experiences of a group of ordinary people caught up in the madness. A prologue introduces us to the four main characters as they meet each other for the first time in 1975. The novel then fills in the back-story of each of these characters in turn, taking us to a variety of places and introducing a huge cast of families, friends and acquaintances. By focussing equally on four characters, Mistry refuses to make it clear which of them is the heart of his story. For the reader this creates a real sense of jeopardy as you realise there is no guarantee that any one of the four friends will necessarily survive to the end of the novel. The terrible journey that our protagonists take, being evicted from their homes, living on the streets, suffering police brutality, injury and disease, makes for a bleak tale. Their resolute cheerfulness and politeness in the face of such challenges makes them very likeable and sympathetic. Indeed, many of the beggars and slum-dwellers to whom they are generous and helpful, re-appear later to return the favour. This is a novel that loves chance-encounters, reuniting or overlapping its vast cast of characters, often after many years apart. 'A Fine Balance' has a Dickensian feel – both in its depiction of social conditions and in its distinct idiosyncratic characters – and is beautifully written. But ultimately it is a very grim story and I don't think it would be a spoiler to warn you not to expect a happy ending.
'Much Ado About Nothing' by William Shakespeare
4 August 2015
We missed our annual visit to open air theatre in the grounds of Woburn Abbey last year – I think the dates clashed with something else. So it was a particular pleasure to be back at Woburn on Saturday to see the Pantaloons production of Shakespeare's 'Much Ado About Nothing'. Tackling such a complex play using just four young actors felt ambitious but worked surprisingly well. The Pantaloons approach is very accessible, inventive and incredibly funny but they also manage to treat the more serious moments with respect. Amongst the slapstick, improvisation, audience involvement and silly hats there is some really good acting. Whether anyone who was not already familiar with 'Much Ado About Nothing' would have followed all the intricacies of the plot, I'm not sure. But it was a very enjoyable evening of open air theatre. We'll be back next year.
We missed our annual visit to open air theatre in the grounds of Woburn Abbey last year – I think the dates clashed with something else. So it was a particular pleasure to be back at Woburn on Saturday to see the Pantaloons production of Shakespeare's 'Much Ado About Nothing'. Tackling such a complex play using just four young actors felt ambitious but worked surprisingly well. The Pantaloons approach is very accessible, inventive and incredibly funny but they also manage to treat the more serious moments with respect. Amongst the slapstick, improvisation, audience involvement and silly hats there is some really good acting. Whether anyone who was not already familiar with 'Much Ado About Nothing' would have followed all the intricacies of the plot, I'm not sure. But it was a very enjoyable evening of open air theatre. We'll be back next year.
Wednesday, July 29, 2015
WOMAD 2015
29 July 2015
I may have been tempting fate twelve months ago when I wrote here (in August 2014) that “2014 was the hottest WOMAD I can remember”. This year's WOMAD Festival, at Charlton Park in Wiltshire, was much more reminiscent of the infamous 2007 festival (reviewed here in August 2007), when weeks of rain led to a sea of mud across the festival site. Last weekend wasn't quite that bad – the ground had been very dry before the rain started on Friday, and Saturday's weather was really good – but continuous rain on Friday and Sunday made festival-going hard work. If you have never had the festival liquid mud experience I can assure you it is even worse than you are imagining! Nevertheless I saw some great music (and quite a lot of great dancing too this year). I will particularly cherish the memories of two performances from South Africa – veteran female singers the Mahotella Queens, now in their seventies but still creating glorious vocal harmonies and exuberant dance moves, and, at the other end of the age spectrum, the joyful young a capella trio The Soil who had a similarly engaging stage presence with a very different style of music. Another highlight was the final WOMAD appearance of the English folk big band, Bellowhead, who I first encountered at WOMAD in 2006. About to start their farewell tour, Bellowhead gave a typically rousing performance on the Open Air Stage on Friday evening which drew an enormous crowd, despite the pouring rain. As well as the musical performances at this year's festival I enjoyed a talk by Richard Ranft, Head of Sound and Vision at The British Library, about '125 years of recorded music at The British Library'. I also attended the live simulcast on BBC Radio 3 and 6 Music on Sunday morning, hosted by Cerys Matthews, Mary Ann Kennedy and Lopa Kothari, which featured short performances by a host of the festival's stars. One of my favourite discoveries of the weekend was the French/Egyptian band Orange Blossom who draw on musical influences from around the world to create thoughtful, serious music, blending electronica and Arabic rhythms. I'm really enjoying listening to their new album, 'Under The Shade of Violets'. You can see a selection of my photos from WOMAD 2015 at: http://culturaloutlook.blogspot.co.uk/search/label/WOMAD2015
I may have been tempting fate twelve months ago when I wrote here (in August 2014) that “2014 was the hottest WOMAD I can remember”. This year's WOMAD Festival, at Charlton Park in Wiltshire, was much more reminiscent of the infamous 2007 festival (reviewed here in August 2007), when weeks of rain led to a sea of mud across the festival site. Last weekend wasn't quite that bad – the ground had been very dry before the rain started on Friday, and Saturday's weather was really good – but continuous rain on Friday and Sunday made festival-going hard work. If you have never had the festival liquid mud experience I can assure you it is even worse than you are imagining! Nevertheless I saw some great music (and quite a lot of great dancing too this year). I will particularly cherish the memories of two performances from South Africa – veteran female singers the Mahotella Queens, now in their seventies but still creating glorious vocal harmonies and exuberant dance moves, and, at the other end of the age spectrum, the joyful young a capella trio The Soil who had a similarly engaging stage presence with a very different style of music. Another highlight was the final WOMAD appearance of the English folk big band, Bellowhead, who I first encountered at WOMAD in 2006. About to start their farewell tour, Bellowhead gave a typically rousing performance on the Open Air Stage on Friday evening which drew an enormous crowd, despite the pouring rain. As well as the musical performances at this year's festival I enjoyed a talk by Richard Ranft, Head of Sound and Vision at The British Library, about '125 years of recorded music at The British Library'. I also attended the live simulcast on BBC Radio 3 and 6 Music on Sunday morning, hosted by Cerys Matthews, Mary Ann Kennedy and Lopa Kothari, which featured short performances by a host of the festival's stars. One of my favourite discoveries of the weekend was the French/Egyptian band Orange Blossom who draw on musical influences from around the world to create thoughtful, serious music, blending electronica and Arabic rhythms. I'm really enjoying listening to their new album, 'Under The Shade of Violets'. You can see a selection of my photos from WOMAD 2015 at: http://culturaloutlook.blogspot.co.uk/search/label/WOMAD2015
Monday, July 20, 2015
Northampton Symphony Orchestra concert
20 July 2015
What do the New York Philharmonic, Berliner Philharmoniker, Royal Philharmonic Orchestra and Northampton Symphony Orchestra have in common? They have all included players who were alumni of the Northamptonshire County Youth Orchestra. On Sunday, at our end-of-season concert for the Friends of Northampton Symphony Orchestra, the current leader of Northamptonshire County Youth Orchestra, 18-year-old Cleo Annandale, gave a beautiful performance of 'Mélodie' from Tchaikovsky's 'Souvenir d’un lieu cher', arranged by Alexander Glazunov for violin and orchestra. The rest of the concert had a operatic theme, including the Overture to Borodin's 'Prince Igor' (also arranged by Glazunov), the 'Grand March' from 'Tannhäuser' by Wagner and the 'Triumphal March' from Verdi's 'Aida'. The latter two pieces proved a showcase for the brass and percussion sections with our four trumpet players sounding particularly splendid. It was a lovely way to finish our 2014-15 season, which has seen the orchestra work with six different conductors. Sunday's concert was conducted by former NSO leader Trevor Dyson, who guided us to an impressive and very enjoyable performance.
What do the New York Philharmonic, Berliner Philharmoniker, Royal Philharmonic Orchestra and Northampton Symphony Orchestra have in common? They have all included players who were alumni of the Northamptonshire County Youth Orchestra. On Sunday, at our end-of-season concert for the Friends of Northampton Symphony Orchestra, the current leader of Northamptonshire County Youth Orchestra, 18-year-old Cleo Annandale, gave a beautiful performance of 'Mélodie' from Tchaikovsky's 'Souvenir d’un lieu cher', arranged by Alexander Glazunov for violin and orchestra. The rest of the concert had a operatic theme, including the Overture to Borodin's 'Prince Igor' (also arranged by Glazunov), the 'Grand March' from 'Tannhäuser' by Wagner and the 'Triumphal March' from Verdi's 'Aida'. The latter two pieces proved a showcase for the brass and percussion sections with our four trumpet players sounding particularly splendid. It was a lovely way to finish our 2014-15 season, which has seen the orchestra work with six different conductors. Sunday's concert was conducted by former NSO leader Trevor Dyson, who guided us to an impressive and very enjoyable performance.
'The Honours' by Tim Clare
20 July 2015
I've just finished reading 'The Honours' – the debut novel by the poet Tim Clare (as an unabridged audio book, narrated by Julie Teal). It's a peculiar book. Set between the wars, it tells the story of thirteen-year-old Delphine Venner. Delphine's father has suffered a breakdown and is taken, with his family, to recuperate at Alderberen Hall in Norfolk – home to a progressive 'Society' which uses a variety of new practices to improve the mind and body. Soon Delphine – the only child in this stately home commune – begins to suspect something more sinister is going on. Eavesdropping on the adults, discovering secret passages and befriending the grumpy gamekeeper, Mr Garforth, she sets out to discover the truth. But as the story develops it becomes clear that there is not going to be a rational solution to the puzzle Delphine is attempting to resolve. The conventional country-house narrative gives way to a fantasy story with the arrival of vicious creatures from another dimension. 'The Honours' is an ambitious undertaking, echoing the looming storm of the Second World War with the threat of a supernatural invasion of Britain, whilst also exploring themes of mental illness, immortality, time travel and more. I'm not sure it completely works: the action scenes are so meticulously described that they seem to go on forever, and there are far too many loose ends untied at the close. 'The Honours' could also have benefited from a little humour as light relief occasionally. Nevertheless, it is beautifully written: you can feel the poet's touch in phrases such as “the distant treeline hung like an unresolved chord”, “his slicked-back hair, receding at the temples, gave the impression he was moving at speed”, and “his posture shivered with the concentrated tension of a mousetrap.” This playfulness with metaphors, together with the country-house setting and a touch of the supernatural, reminded me of the novels of Ned Beauman (such as 'The Teleportation Accident', reviewed here in July 2013) but without Beauman's comic touch. Still, it will be interesting to see what Tim Clare writes next.
I've just finished reading 'The Honours' – the debut novel by the poet Tim Clare (as an unabridged audio book, narrated by Julie Teal). It's a peculiar book. Set between the wars, it tells the story of thirteen-year-old Delphine Venner. Delphine's father has suffered a breakdown and is taken, with his family, to recuperate at Alderberen Hall in Norfolk – home to a progressive 'Society' which uses a variety of new practices to improve the mind and body. Soon Delphine – the only child in this stately home commune – begins to suspect something more sinister is going on. Eavesdropping on the adults, discovering secret passages and befriending the grumpy gamekeeper, Mr Garforth, she sets out to discover the truth. But as the story develops it becomes clear that there is not going to be a rational solution to the puzzle Delphine is attempting to resolve. The conventional country-house narrative gives way to a fantasy story with the arrival of vicious creatures from another dimension. 'The Honours' is an ambitious undertaking, echoing the looming storm of the Second World War with the threat of a supernatural invasion of Britain, whilst also exploring themes of mental illness, immortality, time travel and more. I'm not sure it completely works: the action scenes are so meticulously described that they seem to go on forever, and there are far too many loose ends untied at the close. 'The Honours' could also have benefited from a little humour as light relief occasionally. Nevertheless, it is beautifully written: you can feel the poet's touch in phrases such as “the distant treeline hung like an unresolved chord”, “his slicked-back hair, receding at the temples, gave the impression he was moving at speed”, and “his posture shivered with the concentrated tension of a mousetrap.” This playfulness with metaphors, together with the country-house setting and a touch of the supernatural, reminded me of the novels of Ned Beauman (such as 'The Teleportation Accident', reviewed here in July 2013) but without Beauman's comic touch. Still, it will be interesting to see what Tim Clare writes next.
Friday, July 17, 2015
Chamber music concert at Hartwell House
17 July 2015
Mozart's 'Serenade for 13 Wind Instruments' is thought by some to be one of the greatest pieces of music every written. It's an unusual format and a unique combination of instruments, featuring four horns (though Mozart only ever wrote orchestral music scored for two horns) and requiring two basset horns (a close relation to the clarinet). I played the Serenade at a Music in the Brickhills concert in 2011 (reviewed here in May 2011) and it was a pleasure to have the opportunity to play it again in the delightful setting of Hartwell House in Buckinghamshire last Sunday. Hartwell House is a National Trust property that is also a luxury hotel. The stately home surroundings gave us a feel of the sort of salon environment that Mozart's chamber music was originally written for. It was great to be part of a very impressive group of musicians assembled by Paul Harris for this lovely concert.
Mozart's 'Serenade for 13 Wind Instruments' is thought by some to be one of the greatest pieces of music every written. It's an unusual format and a unique combination of instruments, featuring four horns (though Mozart only ever wrote orchestral music scored for two horns) and requiring two basset horns (a close relation to the clarinet). I played the Serenade at a Music in the Brickhills concert in 2011 (reviewed here in May 2011) and it was a pleasure to have the opportunity to play it again in the delightful setting of Hartwell House in Buckinghamshire last Sunday. Hartwell House is a National Trust property that is also a luxury hotel. The stately home surroundings gave us a feel of the sort of salon environment that Mozart's chamber music was originally written for. It was great to be part of a very impressive group of musicians assembled by Paul Harris for this lovely concert.
Dominic Holland
17 July 2015
Dominic Holland first came to prominence as a comedian in the 1990s and I fondly remember his award-winning BBC Radio 4 series 'The Small World of Dominic Holland' (2000). He seemed to disappear from the stand-up comedy circuit soon afterwards to concentrate on writing. I really enjoyed his novel, 'The Ripple Effect' (published in 2003), – a comic tale of fans fighting to save a local football club – and he now has a string of popular novels to his name. Like many good comedians who seem to have disappeared from public view he now writes material for other performers, including Rob Brydon. So, I was interested to see that Dominic Holland was to headline the regular 'Rolling in the Aisles' comedy night at Kettering Arts Centre last Saturday. Kettering Arts Centre (where we saw Jeremy Hardy a couple of years ago, reviewed here in October 2013) uses St Andrews Church in Kettering. It feels odd watching a comedy night in a church but it has the distinct benefit of requiring the comedians to refrain from swearing (and seeing some struggle with this is amusing in itself!). Since taking the booking to play Kettering Arts Centre, Dominic Holland has had some significant news. A couple of weeks ago his son, Tom Holland, was announced as the new Spiderman, signing a six movie deal with Marvel which will start filming next year. Dominic Holland is clearly still somewhat shell-shocked by this news and started his act on Saturday by saying “I am Spiderman's Dad: this means I literally don't have to be here!”. Fortunately for us, he stayed and gave a great performance. His gentle, observational humour, slick ad libs and warm personality were likeable and extremely funny. If this was the last stand-up gig Dominic Holland feels the need to do, I'm glad we were there.
Dominic Holland first came to prominence as a comedian in the 1990s and I fondly remember his award-winning BBC Radio 4 series 'The Small World of Dominic Holland' (2000). He seemed to disappear from the stand-up comedy circuit soon afterwards to concentrate on writing. I really enjoyed his novel, 'The Ripple Effect' (published in 2003), – a comic tale of fans fighting to save a local football club – and he now has a string of popular novels to his name. Like many good comedians who seem to have disappeared from public view he now writes material for other performers, including Rob Brydon. So, I was interested to see that Dominic Holland was to headline the regular 'Rolling in the Aisles' comedy night at Kettering Arts Centre last Saturday. Kettering Arts Centre (where we saw Jeremy Hardy a couple of years ago, reviewed here in October 2013) uses St Andrews Church in Kettering. It feels odd watching a comedy night in a church but it has the distinct benefit of requiring the comedians to refrain from swearing (and seeing some struggle with this is amusing in itself!). Since taking the booking to play Kettering Arts Centre, Dominic Holland has had some significant news. A couple of weeks ago his son, Tom Holland, was announced as the new Spiderman, signing a six movie deal with Marvel which will start filming next year. Dominic Holland is clearly still somewhat shell-shocked by this news and started his act on Saturday by saying “I am Spiderman's Dad: this means I literally don't have to be here!”. Fortunately for us, he stayed and gave a great performance. His gentle, observational humour, slick ad libs and warm personality were likeable and extremely funny. If this was the last stand-up gig Dominic Holland feels the need to do, I'm glad we were there.
Friday, July 10, 2015
Iceland cruise
10 July 2015
We had a lovely two-week holiday on the P&O cruise ship Oriana, visiting Ireland, Iceland the Faroe Islands and Orkney. Our weather was much cooler than back home but we enjoyed some beautiful sunshine in Killybegs (Donegal), Reykjavik and Thorshavn in the Faroe Islands. We did a lot of hiking, exploring the countryside in each of our ports of call. Reykjavik is a lovely small city, surrounded by water and mountains. We also visited two towns at the end of long fjords in the North West (Isafjordur) and North East (Akureyri) of Iceland. Both were very reminiscent of the Norwegian fjords but somewhat bleaker, with few trees. Thorshavn, capital of the Faroe Islands, has a very pretty old town with a collection of colourful old houses with turf on the roofs crammed into a maze of narrow winding alleys on a spit of land between its two harbours. Our visits to Kirkwall (Orkney) and Dublin were hampered by heavy rain but we enjoyed the Orkney Museum in Kirkwall and the National Gallery in Dublin.
You can see a selection of my holiday photos at: http://www.culturaloutlook.blogspot.co.uk/search/label/Iceland2015
We had a lovely two-week holiday on the P&O cruise ship Oriana, visiting Ireland, Iceland the Faroe Islands and Orkney. Our weather was much cooler than back home but we enjoyed some beautiful sunshine in Killybegs (Donegal), Reykjavik and Thorshavn in the Faroe Islands. We did a lot of hiking, exploring the countryside in each of our ports of call. Reykjavik is a lovely small city, surrounded by water and mountains. We also visited two towns at the end of long fjords in the North West (Isafjordur) and North East (Akureyri) of Iceland. Both were very reminiscent of the Norwegian fjords but somewhat bleaker, with few trees. Thorshavn, capital of the Faroe Islands, has a very pretty old town with a collection of colourful old houses with turf on the roofs crammed into a maze of narrow winding alleys on a spit of land between its two harbours. Our visits to Kirkwall (Orkney) and Dublin were hampered by heavy rain but we enjoyed the Orkney Museum in Kirkwall and the National Gallery in Dublin.
You can see a selection of my holiday photos at: http://www.culturaloutlook.blogspot.co.uk/search/label/Iceland2015
Tuesday, June 23, 2015
'The Hook' by Arthur Miller, adapted for the stage by Ron Hutchinson
23 June 2015
Arthur Miller was born in the Red Hook district of New York City in 1915. His centenary is being celebrated with some great new productions of his best plays: the Young Vic production of 'A View From The Bridge' directed by Ivo van Hove and starring Mark Strong (reviewed here in April 2015), and the Royal Shakespeare Company production of 'Death of a Salesman, directed by Greg Doran and starring Anthony Sher (also reviewed here in April 2015), are two of the best stage plays I've seen this year. Last night we were at the Royal Theatre in Northampton to see the world premiere production of 'The Hook' – a screenplay Arthur Miller wrote in 1951 for an Elia Kazan film that was never made, which has now been adapted for the stage by Ron Hutchinson. In the 1950s, the film studio felt that Miller's script, about exploited dock workers standing up to corrupt union leaders, was too incendiary for an America embroiled in the House Un-American Activities Committee's anti-communist hearings. James Dacre's production for the Northampton Royal & Derngate and Liverpool Everyman & Playhouse recreates the bustling mayhem of the Red Hook dockyards on stage. Whereas 'A View From The Bridge' shows dock workers from the same district solely in a domestic setting, 'The Hook' was clearly intended to reveal the docks themselves on screen. Patrick Connellan's stunning set (with lighting by Charles Balfour) uses a framework of stairs and ramps and ingenious video projection to create a realistic picture of this dangerous workplace. The Royal & Derngate's policy of using a 'community ensemble' of local amateur actors alongside the professional cast was used effectively to cram 26 actors onto the small stage of the Royal Theatre, emphasising the crowded chaos of the dockyards. There were other signs that this had started life as a screenplay – short scenes switching locations abruptly - but Ron Hutchinson's adaptation was very effective. 'The Hook' is not among Miller's best works – it's a little too didactic and quite unrelentingly grim. But this was a fascinating and impressive production.
Arthur Miller was born in the Red Hook district of New York City in 1915. His centenary is being celebrated with some great new productions of his best plays: the Young Vic production of 'A View From The Bridge' directed by Ivo van Hove and starring Mark Strong (reviewed here in April 2015), and the Royal Shakespeare Company production of 'Death of a Salesman, directed by Greg Doran and starring Anthony Sher (also reviewed here in April 2015), are two of the best stage plays I've seen this year. Last night we were at the Royal Theatre in Northampton to see the world premiere production of 'The Hook' – a screenplay Arthur Miller wrote in 1951 for an Elia Kazan film that was never made, which has now been adapted for the stage by Ron Hutchinson. In the 1950s, the film studio felt that Miller's script, about exploited dock workers standing up to corrupt union leaders, was too incendiary for an America embroiled in the House Un-American Activities Committee's anti-communist hearings. James Dacre's production for the Northampton Royal & Derngate and Liverpool Everyman & Playhouse recreates the bustling mayhem of the Red Hook dockyards on stage. Whereas 'A View From The Bridge' shows dock workers from the same district solely in a domestic setting, 'The Hook' was clearly intended to reveal the docks themselves on screen. Patrick Connellan's stunning set (with lighting by Charles Balfour) uses a framework of stairs and ramps and ingenious video projection to create a realistic picture of this dangerous workplace. The Royal & Derngate's policy of using a 'community ensemble' of local amateur actors alongside the professional cast was used effectively to cram 26 actors onto the small stage of the Royal Theatre, emphasising the crowded chaos of the dockyards. There were other signs that this had started life as a screenplay – short scenes switching locations abruptly - but Ron Hutchinson's adaptation was very effective. 'The Hook' is not among Miller's best works – it's a little too didactic and quite unrelentingly grim. But this was a fascinating and impressive production.
Wednesday, June 17, 2015
Northampton Symphony Orchestra concert
17 June 2015
During the first rehearsal of Vaughan Williams' 'Symphony No 6' with Northampton Symphony Orchestra in April, I told my fellow horn player, Ian Frankland, that not only had I never played the symphony before, I didn't think I had even heard it. The music felt unfamiliar and not what I had expected from a Vaughan Williams symphony. A few minutes later trumpeter Nick Bunker leant across holding his phone screen towards me to show me the review I had written here (in November 2008) about performing Vaughan Williams 'Symphony No 6' with Milton Keynes Sinfonia. It clearly had not made much of an impression on me! As we worked on the symphony over the past seven weeks I did begin to remember it. It is an unusual work for Vaughan Williams, sounding more like Shostakovich - angular, dispassionate, brutal and angry. Written in 1948, the symphony clearly suggests the horrific reality of war. It's a bleak outlook though the incredibly quiet final movement brings a sadly reflective peace. Our performance in Northampton last Saturday conquered most of the fiendish technical challenges of the work (with a particularly fine saxophone solo by Malcolm Green) and that last movement was really effective - you could have heard a pin drop at the end. Our concert opened with a contrasting view of war - the heroic splendour of William Walton's 'Prelude and Fugue (The Spitfire)'. We also played Bruch's 'Scottish Fantasy' with the brilliant young violinist Benjamin Roskams. Bruch uses a series of familiar Scottish folk songs to create a romantic concerto which tugs at the heart strings. Ben gave a stunning performance which I believe reduced some members of our audience to tears. Much of the piece feels like a duet between solo violin and harp, and our harpist, Alexander Thomas, was equally impressive. We ended this British themed concert with the tone poem 'Tintagel' by Arnold Bax - a sumptuous Wagnerian work which provided a wonderful finale to a really enjoyable concert. Our latest guest conductor Robert Max led us very effectively through this ambitious and challenging programme with its wide variety of styles.
During the first rehearsal of Vaughan Williams' 'Symphony No 6' with Northampton Symphony Orchestra in April, I told my fellow horn player, Ian Frankland, that not only had I never played the symphony before, I didn't think I had even heard it. The music felt unfamiliar and not what I had expected from a Vaughan Williams symphony. A few minutes later trumpeter Nick Bunker leant across holding his phone screen towards me to show me the review I had written here (in November 2008) about performing Vaughan Williams 'Symphony No 6' with Milton Keynes Sinfonia. It clearly had not made much of an impression on me! As we worked on the symphony over the past seven weeks I did begin to remember it. It is an unusual work for Vaughan Williams, sounding more like Shostakovich - angular, dispassionate, brutal and angry. Written in 1948, the symphony clearly suggests the horrific reality of war. It's a bleak outlook though the incredibly quiet final movement brings a sadly reflective peace. Our performance in Northampton last Saturday conquered most of the fiendish technical challenges of the work (with a particularly fine saxophone solo by Malcolm Green) and that last movement was really effective - you could have heard a pin drop at the end. Our concert opened with a contrasting view of war - the heroic splendour of William Walton's 'Prelude and Fugue (The Spitfire)'. We also played Bruch's 'Scottish Fantasy' with the brilliant young violinist Benjamin Roskams. Bruch uses a series of familiar Scottish folk songs to create a romantic concerto which tugs at the heart strings. Ben gave a stunning performance which I believe reduced some members of our audience to tears. Much of the piece feels like a duet between solo violin and harp, and our harpist, Alexander Thomas, was equally impressive. We ended this British themed concert with the tone poem 'Tintagel' by Arnold Bax - a sumptuous Wagnerian work which provided a wonderful finale to a really enjoyable concert. Our latest guest conductor Robert Max led us very effectively through this ambitious and challenging programme with its wide variety of styles.
Friday, June 12, 2015
'Othello' by William Shakespeare
12 June 2015
On Thursday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see the new RSC production of 'Othello', directed by Iqbal Khan, with Hugh Quarshie as Othello and Lucian Msamati as Iago. The production has attracted attention for casting two black actors in the leading roles. Having a black Iago – and a mixture of ethnic backgrounds throughout the cast – alters the focus of the play, making the jealousies and rivalries less racially motivated and more personal. But the real achievement of the production – and its cast – is to make the audience believe in the characters and almost forget the innovative casting (which also includes a female Duke of Venice). Hugh Quarshie initially plays a very cool, laid-back Othello, with a confident swagger and a few impressive dance moves. But Iqbal Khan's production reminds us that he is also a trained soldier, capable of brutal violence, making his descent into lethal rage all the more believable. The production's contemporary setting emphasises the violent reality of war, with uncomfortable scenes of water-boarding and torture (surely the first 'Othello' to feature pliers, electric drill and blowtorch). Designer Ciaran Bagnall has created an amazing set that makes good use of the unique facilities of the Royal Shakespeare Theatre. Venice is conjured up in the opening scenes with Iago and Rodrigo sailing a gondola along a real canal flowing through the middle of the stage. Lucian Msamati is wonderful as Iago – brash, funny, michievous, vicious and scheming – you really can't take your eyes off him. Joanna Vanderham is a tall, statuesque Desdemona, towering over Othello in her heels and bouffant hair. She brings a very young, wide-eyed enthusiasm to the role – the considerable age difference with her husband giving another angle to his jealousy.
On Thursday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see the new RSC production of 'Othello', directed by Iqbal Khan, with Hugh Quarshie as Othello and Lucian Msamati as Iago. The production has attracted attention for casting two black actors in the leading roles. Having a black Iago – and a mixture of ethnic backgrounds throughout the cast – alters the focus of the play, making the jealousies and rivalries less racially motivated and more personal. But the real achievement of the production – and its cast – is to make the audience believe in the characters and almost forget the innovative casting (which also includes a female Duke of Venice). Hugh Quarshie initially plays a very cool, laid-back Othello, with a confident swagger and a few impressive dance moves. But Iqbal Khan's production reminds us that he is also a trained soldier, capable of brutal violence, making his descent into lethal rage all the more believable. The production's contemporary setting emphasises the violent reality of war, with uncomfortable scenes of water-boarding and torture (surely the first 'Othello' to feature pliers, electric drill and blowtorch). Designer Ciaran Bagnall has created an amazing set that makes good use of the unique facilities of the Royal Shakespeare Theatre. Venice is conjured up in the opening scenes with Iago and Rodrigo sailing a gondola along a real canal flowing through the middle of the stage. Lucian Msamati is wonderful as Iago – brash, funny, michievous, vicious and scheming – you really can't take your eyes off him. Joanna Vanderham is a tall, statuesque Desdemona, towering over Othello in her heels and bouffant hair. She brings a very young, wide-eyed enthusiasm to the role – the considerable age difference with her husband giving another angle to his jealousy.
Monday, June 08, 2015
David Sedaris
8 June 2015
On Sunday evening we were among a packed audience at the Derngate in Northampton to see the American humourist David Sedaris. I've enjoyed listening to David Sedaris on the radio and reading his books (such as 'Me Talk Pretty One Day' – reviewed here in October 2014) for years, but I had never seen him perform before. The huge popularity of his live performances might seem odd for what is primarily an old-fashioned reading. Sedaris stands behind a large wooden lectern, with only his head and the top of his bow tie visible, and reads a series of essays. His observational pieces are incredibly funny and he is a very good storyteller but he doesn't act them out – this is very much a reading, albeit a very slick one. The structure of the performance feels slightly odd as well, starting with a couple of long essays, followed by a series of random diary entries and finishing with a question & answer session – the content getting progressively briefer as the evening goes on. But however odd it seems, it really works. Sedaris is a quirky but very engaging personality. His ad libs and engagement with the audience are surprisingly good (given how reliant on his script he initially seems). And those audience questions reveal the obsessive following he has developed in the UK (mainly, I suspect from his appearances on BBC Radio 4), probing him on his family and his passions for taxidermy and litter-picking. He is careful to avoid using any material that has previously been broadcast on the BBC, treating us to new writing and work in progress. At times, David Sedaris gets close to being a stand-up comedian, with impressive improvisation and highly polished comic timing. But, as I am sure he would self-deprecatingly insist, he is a writer rather than a comedian. He is certainly one of a kind and it was great evening in the theatre.
On Sunday evening we were among a packed audience at the Derngate in Northampton to see the American humourist David Sedaris. I've enjoyed listening to David Sedaris on the radio and reading his books (such as 'Me Talk Pretty One Day' – reviewed here in October 2014) for years, but I had never seen him perform before. The huge popularity of his live performances might seem odd for what is primarily an old-fashioned reading. Sedaris stands behind a large wooden lectern, with only his head and the top of his bow tie visible, and reads a series of essays. His observational pieces are incredibly funny and he is a very good storyteller but he doesn't act them out – this is very much a reading, albeit a very slick one. The structure of the performance feels slightly odd as well, starting with a couple of long essays, followed by a series of random diary entries and finishing with a question & answer session – the content getting progressively briefer as the evening goes on. But however odd it seems, it really works. Sedaris is a quirky but very engaging personality. His ad libs and engagement with the audience are surprisingly good (given how reliant on his script he initially seems). And those audience questions reveal the obsessive following he has developed in the UK (mainly, I suspect from his appearances on BBC Radio 4), probing him on his family and his passions for taxidermy and litter-picking. He is careful to avoid using any material that has previously been broadcast on the BBC, treating us to new writing and work in progress. At times, David Sedaris gets close to being a stand-up comedian, with impressive improvisation and highly polished comic timing. But, as I am sure he would self-deprecatingly insist, he is a writer rather than a comedian. He is certainly one of a kind and it was great evening in the theatre.
Tuesday, June 02, 2015
'Another Man's Ground' by The Young’uns
2 June 2015
The Young’uns are a trio of young men from Teeside who sing a cappella versions of traditional and contemporary folk songs. They recently won the BBC Radio 2 Folk Award for best group and I've been listening to their wonderful album, 'Another Man's Ground'. Most of the songs feature unaccompanied vocals, though there is some instrumentation on a few of the tracks. Their traditional folk harmonies, together with a mischievously satirical (and political) approach to their subject matter, reminded me a lot of Chumbawamba (reviewed here in July 2010). The Young’uns blend protest songs, sea shanties and narrative tales, bringing a folk sensibility to the modern world – I particularly liked the song 'You Won't Find Me on Benefits Street' and they do a very moving version of Billy Bragg’s 'Between the Wars' (“I was a miner ...”). There's humour and a lightness of touch throughout the album, such as in the song 'A Lovely Cup of Tea' in which a racist attack on a mosque is subverted by Muslim hospitality. 'Another Man's Ground' is catchy, clever, witty, amusing and thought-provoking.
The Young’uns are a trio of young men from Teeside who sing a cappella versions of traditional and contemporary folk songs. They recently won the BBC Radio 2 Folk Award for best group and I've been listening to their wonderful album, 'Another Man's Ground'. Most of the songs feature unaccompanied vocals, though there is some instrumentation on a few of the tracks. Their traditional folk harmonies, together with a mischievously satirical (and political) approach to their subject matter, reminded me a lot of Chumbawamba (reviewed here in July 2010). The Young’uns blend protest songs, sea shanties and narrative tales, bringing a folk sensibility to the modern world – I particularly liked the song 'You Won't Find Me on Benefits Street' and they do a very moving version of Billy Bragg’s 'Between the Wars' (“I was a miner ...”). There's humour and a lightness of touch throughout the album, such as in the song 'A Lovely Cup of Tea' in which a racist attack on a mosque is subverted by Muslim hospitality. 'Another Man's Ground' is catchy, clever, witty, amusing and thought-provoking.
Thursday, May 28, 2015
Heliotrope Chamber Ensemble concert
28 May 2015
Heliotrope Chamber Ensemble is a Northampton-based wind quintet, occasionally augmented by additional players. I played with them in a concert two years ago (reviewed here in April 2013) which included the UK premiere of 'Sacred Women' by the contemporary American composer Jeff Scott. Last Saturday I joined Heliotrope again for a concert performance of Richard Strauss's 'Suite in B flat major'. This is a very early work by Richard Strauss (opus 4) – written when he was still a teenager – but it is a lovely piece and very enjoyable to play. It's an interesting challenge playing in a thirteen-piece wind ensemble without a conductor. You have to work hard to keep the music together and to avoid slowing down but I think our performance went very well. The concert also included the fiendishly difficult Nielsen 'Wind Quintet' which I last saw performed at a Music in the Brickhills concert in 2011 (reviewed here in June 2011). I was full of admiration for the Heliotrope Quintet who tackled this challenging work very impressively.
Heliotrope Chamber Ensemble is a Northampton-based wind quintet, occasionally augmented by additional players. I played with them in a concert two years ago (reviewed here in April 2013) which included the UK premiere of 'Sacred Women' by the contemporary American composer Jeff Scott. Last Saturday I joined Heliotrope again for a concert performance of Richard Strauss's 'Suite in B flat major'. This is a very early work by Richard Strauss (opus 4) – written when he was still a teenager – but it is a lovely piece and very enjoyable to play. It's an interesting challenge playing in a thirteen-piece wind ensemble without a conductor. You have to work hard to keep the music together and to avoid slowing down but I think our performance went very well. The concert also included the fiendishly difficult Nielsen 'Wind Quintet' which I last saw performed at a Music in the Brickhills concert in 2011 (reviewed here in June 2011). I was full of admiration for the Heliotrope Quintet who tackled this challenging work very impressively.
'Mr Mac and Me' by Esther Freud
28 May 2015
It was nearly twenty years ago when we first visited the beautiful village of Walberswick in Suffolk. We took the 'ferry' (a small rowing boat which charged 50 pence per person!) across the estuary to Southwold and, as we got out of the boat, we asked the ferryman what time he was due to finish for the day. “That was my last trip” he said, but reassured us that there was a footbridge a little further inland that we could use to return. That footbridge turned out to be quite a long way inland – a considerably longer return journey. It was only later that I learned of Walberswick's connection to the architect and artist Charles Rennie Mackintosh who lived and worked there for a year from 1914. In 1997 I attended the Scottish launch of the seminal Comedia report 'Use or Ornament? The social impact of participation in the arts' at the recently completed 'House for an Art Lover' in Bellahouston Park in Glasgow. It was great to hear the report's author Francois Matarasso speaking about his groundbreaking work, but it was the building, designed by Charles Rennie Mackintosh with his wife, Margaret MacDonald, in 1901 but only built long after his death, that made the bigger impression on me. It was wonderful to revisit the House for an Art Lover on a trip to Glasgow in 2013. So it was fascinating to discover Esther Freud's novel 'Mr Mac and Me' (which I have just read as an unabridged audio book, narrated by John Banks) which deals with the time Charles Rennie Mackintosh and Margaret MacDonald Mackintosh spent in Walberswick and talks at length about their design for the 'House for an Art Lover'. Esther Freud's story is told by a local boy, Thomas Mags, whose father runs a pub in Walberswick (only ever referred to in the novel as 'the village'). Thomas is an aspiring artist and, like Charles Rennie Mackintosh, has a limp due to a damaged foot. The boy becomes friends with the Mackintoshes but, when the war with Germany begins, these outsiders are viewed with suspicion by the local community, particularly when correspondence in the German language is discovered amongst their possessions. The effect of DORA (the 1914 Defence of the Realm Act – which introduced the first licensing hours among many other measures) on local life is really interesting. 'Mr Mac and Me' is beautifully written but, at times, reads more like a diary than a novel. Despite the wartime setting, the pace of the plot is slow. Nevertheless I enjoyed discovering more about the Mackintoshes and it was lovely to bring together my own memories of Walberswick and the House for an Art Lover.
It was nearly twenty years ago when we first visited the beautiful village of Walberswick in Suffolk. We took the 'ferry' (a small rowing boat which charged 50 pence per person!) across the estuary to Southwold and, as we got out of the boat, we asked the ferryman what time he was due to finish for the day. “That was my last trip” he said, but reassured us that there was a footbridge a little further inland that we could use to return. That footbridge turned out to be quite a long way inland – a considerably longer return journey. It was only later that I learned of Walberswick's connection to the architect and artist Charles Rennie Mackintosh who lived and worked there for a year from 1914. In 1997 I attended the Scottish launch of the seminal Comedia report 'Use or Ornament? The social impact of participation in the arts' at the recently completed 'House for an Art Lover' in Bellahouston Park in Glasgow. It was great to hear the report's author Francois Matarasso speaking about his groundbreaking work, but it was the building, designed by Charles Rennie Mackintosh with his wife, Margaret MacDonald, in 1901 but only built long after his death, that made the bigger impression on me. It was wonderful to revisit the House for an Art Lover on a trip to Glasgow in 2013. So it was fascinating to discover Esther Freud's novel 'Mr Mac and Me' (which I have just read as an unabridged audio book, narrated by John Banks) which deals with the time Charles Rennie Mackintosh and Margaret MacDonald Mackintosh spent in Walberswick and talks at length about their design for the 'House for an Art Lover'. Esther Freud's story is told by a local boy, Thomas Mags, whose father runs a pub in Walberswick (only ever referred to in the novel as 'the village'). Thomas is an aspiring artist and, like Charles Rennie Mackintosh, has a limp due to a damaged foot. The boy becomes friends with the Mackintoshes but, when the war with Germany begins, these outsiders are viewed with suspicion by the local community, particularly when correspondence in the German language is discovered amongst their possessions. The effect of DORA (the 1914 Defence of the Realm Act – which introduced the first licensing hours among many other measures) on local life is really interesting. 'Mr Mac and Me' is beautifully written but, at times, reads more like a diary than a novel. Despite the wartime setting, the pace of the plot is slow. Nevertheless I enjoyed discovering more about the Mackintoshes and it was lovely to bring together my own memories of Walberswick and the House for an Art Lover.
Friday, May 22, 2015
London Festival of Baroque Music concert
22 May 2015
In 2014, after 30 years of continuous support, Lufthansa withdrew its sponsorship from the Lufthansa Festival of Baroque Music. After a frantic 12 months of fundraising the Festival's Artistic Director, Lindsay Kemp, and his team have succeeded in presenting the first-ever London Festival of Baroque Music. On Sunday we were at St John's Smith Square in London to see the Orchestra of the Age of Enlightenment and the Schola Pietatis Antonio Vivaldi present a programme of music by Vivaldi. In early 18th century Venice the Pieta was a foundling hospital which took in infants abandoned by their parents and deposited anonymously in a special niche in its wall. The children were fostered by local families and received a good education and vocational training. Nearly all the boys left aged 18 to take up occupations in the wider world but most of the female residents remained for their whole lives in the hospital. The girls were trained in handicrafts and music. When Vivaldi, who was a member of the hospital staff, wrote music for the Pieta choir his four-part harmonies were sung entirely by female singers with women unusually taking the tenor and bass parts. The Schola Pietatis Antonio Vivaldi aims to recreate this unfamiliar choral sound. It was strange to hear Vivaldi's 'Gloria' – one of his best known choral works – sung by the all-female choir. While the musical notes were the same, the timbre of the low female voices contributed to a very different choral sound. The choir were ably accompanied by the period instruments of the excellent Orchestra of the Age of Enlightenment, led by the charismatic violinist, Kati Debretzeni. Her performance of Vivaldi's 'Concerto in D major' at the end of the first half of the concert was fantastic – the delicate, playful cadenza at the end of the final movement had a packed audience collectively holding its breath – a magical moment. The whole concert was broadcast live on BBC Radio 3 and you can listen to it for the next 25 days at: http://www.bbc.co.uk/programmes/b05vh237
In 2014, after 30 years of continuous support, Lufthansa withdrew its sponsorship from the Lufthansa Festival of Baroque Music. After a frantic 12 months of fundraising the Festival's Artistic Director, Lindsay Kemp, and his team have succeeded in presenting the first-ever London Festival of Baroque Music. On Sunday we were at St John's Smith Square in London to see the Orchestra of the Age of Enlightenment and the Schola Pietatis Antonio Vivaldi present a programme of music by Vivaldi. In early 18th century Venice the Pieta was a foundling hospital which took in infants abandoned by their parents and deposited anonymously in a special niche in its wall. The children were fostered by local families and received a good education and vocational training. Nearly all the boys left aged 18 to take up occupations in the wider world but most of the female residents remained for their whole lives in the hospital. The girls were trained in handicrafts and music. When Vivaldi, who was a member of the hospital staff, wrote music for the Pieta choir his four-part harmonies were sung entirely by female singers with women unusually taking the tenor and bass parts. The Schola Pietatis Antonio Vivaldi aims to recreate this unfamiliar choral sound. It was strange to hear Vivaldi's 'Gloria' – one of his best known choral works – sung by the all-female choir. While the musical notes were the same, the timbre of the low female voices contributed to a very different choral sound. The choir were ably accompanied by the period instruments of the excellent Orchestra of the Age of Enlightenment, led by the charismatic violinist, Kati Debretzeni. Her performance of Vivaldi's 'Concerto in D major' at the end of the first half of the concert was fantastic – the delicate, playful cadenza at the end of the final movement had a packed audience collectively holding its breath – a magical moment. The whole concert was broadcast live on BBC Radio 3 and you can listen to it for the next 25 days at: http://www.bbc.co.uk/programmes/b05vh237
Friday, May 15, 2015
'Man and Superman' by George Bernard Shaw
15 May 2015
On Thursday this week we were at the Errol Flynn Filmhouse in Northampton to watch the NT Live broadcast of George Bernard Shaw's 'Man and Superman', live from the National Theatre in London. Simon Godwin's production squeezed Shaw's text down to a “compelling three and a half hours” but the time whizzed by. Ralph Fiennes is a compelling presence on stage, delivering his lines at a machine-gun pace but with every syllable completely clear and intelligible, and his physical acting is amazing. This was an incredibly funny production, with an extremely strong cast. Indira Varma, as Anne, was fantastic – her facial expressions and rapid mood-turns rivalling Fiennes as the standout performance. And Tim McMullan, as Mendoza and The Devil, almost stole the show. 'Man and Superman' is a long and very wordy play but this production created a multitude of laugh-out-loud moments and demonstrated how Shaw links the wit of Oscar Wilde to the cerebral thirst for knowledge of Tom Stoppard. Indira Varma and Ralph Fiennes were a 'Beatrice and Benedict' pairing that was both hilarious and remarkably touching.
On Thursday this week we were at the Errol Flynn Filmhouse in Northampton to watch the NT Live broadcast of George Bernard Shaw's 'Man and Superman', live from the National Theatre in London. Simon Godwin's production squeezed Shaw's text down to a “compelling three and a half hours” but the time whizzed by. Ralph Fiennes is a compelling presence on stage, delivering his lines at a machine-gun pace but with every syllable completely clear and intelligible, and his physical acting is amazing. This was an incredibly funny production, with an extremely strong cast. Indira Varma, as Anne, was fantastic – her facial expressions and rapid mood-turns rivalling Fiennes as the standout performance. And Tim McMullan, as Mendoza and The Devil, almost stole the show. 'Man and Superman' is a long and very wordy play but this production created a multitude of laugh-out-loud moments and demonstrated how Shaw links the wit of Oscar Wilde to the cerebral thirst for knowledge of Tom Stoppard. Indira Varma and Ralph Fiennes were a 'Beatrice and Benedict' pairing that was both hilarious and remarkably touching.
Berlin
15 May 2015
We had a wonderful holiday in Berlin last week. This was my first visit to this fascinating city and it was great to explore it. We took bus and boat tours and visited the Brandenburg Gate, Checkpoint Charlie, remaining sections of the Berlin Wall and Charlottenburg Palace. One of highlights of our trip was climbing to the top of Norman Foster's Reichstag Dome – you walk up a spiral ramp inside the massive glass dome, with amazing views out across the city as well as being able to look directly down into the German Parliament chamber (the people symbolically above the politicians). We also visited the Memorial to the Murdered Jews of Europe – an amazing installation of 2,711 concrete slabs, designed by architect Peter Eisenman and engineer Buro Happold. We enjoyed the Pergamon Museum, particularly the enormous reconstruction of the Ishtar Gates of Babylon. It was interesting to be in Berlin in the week of the 70th anniversary of the end of the Second World War. There were lots of exhibitions about the war and we marked the anniversary of VE Day by attending a stunning performance of Benjamin Britten's 'War Requiem' at the Gethsemane Church. The War Requiem was written for the consecration of the new Coventry Cathedral, was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. Britten combines the text of the Latin requiem mass with war poems by Wilfred Owen. I played in a performance of the War Requiem while I was at University in Birmingham, but I hadn't seen it performed since. The work requires massive forces – a symphony orchestra, chamber orchestra, choral society, boys' choir, organ and three soloists – so it always feels like a major event. This concert was presented by the Junges Ensemble Berlin and featured the Berlin youth orchestra and youth choir, together with the Prometheus Ensemble and the Berlin Cathedral Choir. It was conducted by Frank Markowitsch and Michael Riedel. Having so many people performing resulted in a sell-out audience of mostly young people and families. The concert started with a video collage projected on a large screen above the stage, showing scenes of conflict from World War II to Vietnam to modern-day Afghanistan and Iraq. This film was accompanied by a performance of Arvo Pärt's haunting 'Cantus in Memory of Benjamin Britten'. The dying chimes of the bell at the end of this piece merged seamlessly into the opening notes of the War Requiem. It was a wonderful concert, brilliantly performed and very moving – and an emotional end to our visit to Berlin.
We had a wonderful holiday in Berlin last week. This was my first visit to this fascinating city and it was great to explore it. We took bus and boat tours and visited the Brandenburg Gate, Checkpoint Charlie, remaining sections of the Berlin Wall and Charlottenburg Palace. One of highlights of our trip was climbing to the top of Norman Foster's Reichstag Dome – you walk up a spiral ramp inside the massive glass dome, with amazing views out across the city as well as being able to look directly down into the German Parliament chamber (the people symbolically above the politicians). We also visited the Memorial to the Murdered Jews of Europe – an amazing installation of 2,711 concrete slabs, designed by architect Peter Eisenman and engineer Buro Happold. We enjoyed the Pergamon Museum, particularly the enormous reconstruction of the Ishtar Gates of Babylon. It was interesting to be in Berlin in the week of the 70th anniversary of the end of the Second World War. There were lots of exhibitions about the war and we marked the anniversary of VE Day by attending a stunning performance of Benjamin Britten's 'War Requiem' at the Gethsemane Church. The War Requiem was written for the consecration of the new Coventry Cathedral, was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. Britten combines the text of the Latin requiem mass with war poems by Wilfred Owen. I played in a performance of the War Requiem while I was at University in Birmingham, but I hadn't seen it performed since. The work requires massive forces – a symphony orchestra, chamber orchestra, choral society, boys' choir, organ and three soloists – so it always feels like a major event. This concert was presented by the Junges Ensemble Berlin and featured the Berlin youth orchestra and youth choir, together with the Prometheus Ensemble and the Berlin Cathedral Choir. It was conducted by Frank Markowitsch and Michael Riedel. Having so many people performing resulted in a sell-out audience of mostly young people and families. The concert started with a video collage projected on a large screen above the stage, showing scenes of conflict from World War II to Vietnam to modern-day Afghanistan and Iraq. This film was accompanied by a performance of Arvo Pärt's haunting 'Cantus in Memory of Benjamin Britten'. The dying chimes of the bell at the end of this piece merged seamlessly into the opening notes of the War Requiem. It was a wonderful concert, brilliantly performed and very moving – and an emotional end to our visit to Berlin.
Monday, May 11, 2015
'King John' by William Shakespeare
11 May 2015
When King John held court in Northampton he is known to have visited the Church of the Holy Sepulchre – a church built by the Earl of Northampton on his return from the crusades. This 12th century church is still standing and it was a wonderful setting, as we mark the 800th anniversary of John signing the Magna Carta, for the Northampton Royal & Derngate's production of Shakespeare's 'King John', which we saw there last Monday. 'King John' is definitely not one of Shakespeare's best plays, but James Dacre's production (the first Royal & Derngate co-production with Shakespeare's Globe) was a five-star theatrical experience. From the moment we entered the church to see the body of Richard the Lionheart lying in state in the circular sepulchre, surrounded by monks conducting his funeral, we were immersed in the action of the play. The amazing setting, lit almost entirely by candles, with the scent of incense ever-present, combined with original music written by Orlando Gough and Jonathan Fensom's stunning design, created a wonderfully atmospheric performance. It was a privilege to be among the sell-out audience crammed into the wooden church pews, watching the actors on a cross-shaped platform along the nave and transepts. Jo Stone-Fewings was excellent as King John and I was particularly impressed by the two youngest actors: Laurence Belcher (playing Arthur and Henry) demonstrated both compelling acting and a beautiful counter-tenor singing voice; and Aruhan Galieva as Blanche was a great singer making an impressive acting debut. 'King John' finishes its run in Northampton this weekend and then plays at Temple Church in London and Salisbury Cathedral before heading to Shakepeare’s Globe in June. Catch it if you can.
When King John held court in Northampton he is known to have visited the Church of the Holy Sepulchre – a church built by the Earl of Northampton on his return from the crusades. This 12th century church is still standing and it was a wonderful setting, as we mark the 800th anniversary of John signing the Magna Carta, for the Northampton Royal & Derngate's production of Shakespeare's 'King John', which we saw there last Monday. 'King John' is definitely not one of Shakespeare's best plays, but James Dacre's production (the first Royal & Derngate co-production with Shakespeare's Globe) was a five-star theatrical experience. From the moment we entered the church to see the body of Richard the Lionheart lying in state in the circular sepulchre, surrounded by monks conducting his funeral, we were immersed in the action of the play. The amazing setting, lit almost entirely by candles, with the scent of incense ever-present, combined with original music written by Orlando Gough and Jonathan Fensom's stunning design, created a wonderfully atmospheric performance. It was a privilege to be among the sell-out audience crammed into the wooden church pews, watching the actors on a cross-shaped platform along the nave and transepts. Jo Stone-Fewings was excellent as King John and I was particularly impressed by the two youngest actors: Laurence Belcher (playing Arthur and Henry) demonstrated both compelling acting and a beautiful counter-tenor singing voice; and Aruhan Galieva as Blanche was a great singer making an impressive acting debut. 'King John' finishes its run in Northampton this weekend and then plays at Temple Church in London and Salisbury Cathedral before heading to Shakepeare’s Globe in June. Catch it if you can.
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