'That Night' by Gillian McAllister

27 June 2024

I discovered the thriller writer Gillian McAllister in 2022 and really enjoyed her novels ‘Wrong Place Wrong Time’ (reviewed here July 2022) and ‘How to Disappear’ (reviewed here in January 2023). I have just finished reading her 2021 book ‘That Night’ which is another clever, twisty, tense, family thriller. This time Gillian McAllister challenges us to ponder how we would respond if a beloved sibling needed our help to cover up a crime. Like Tom Wolfe’s ‘The Bonfire of the Vanities’ this is one of those stories where one mistake mushrooms, as each small act to try to rectify the situation makes it exponentially worse. And each lie told requires more lies to back it up, to the point that it is hard to remember what is real. ‘That Night’ is a cleverly constructed novel that plays tricks with the reader as it recounts events through the point of view of different family members, alternating timelines between ‘then’ (the initial crime and its aftermath) and ‘now’. There are some bold twists, carefully disguised. And Gillian McAllister is brilliant at making you both scared to keep reading but unable to put the book down.

Rothesay Classic Birmingham Tennis

27 June 2024

On Saturday we were back at the Priory Club in Edgbaston, Birmingham, for the first time since our 2017 visit (reviewed here in June 2017) to see the semi-finals of the Rothesay Classic Birmingham Tennis Tournament. Compared to Queen’s Club in London (where we were the previous week), Edgbaston has a more intimate atmosphere and we were much closer to the action. It was a lovely sunny day and, although all four matches we saw were decided in straight sets, they were all more competitive than this suggests. The two ladies singles semi-finals saw Yulia Putintseva of Kazakhstan defeat the Italian Eilsabetta Cocciaretto, and Ajla Tomljanović of Australia beat Anastasia Potapova in a close-fought tussle. The ladies doubles semi-finals were both very entertaining. Eventual champions Belgian Elise Mertens and Su-Wei Hsieh from Taiwan trounced Asia Muhammed and Aldila Sutjiadi. The best match of the day was Miyu Kato and Shuai Zhang narrowly beating the third seeds Marie Bouzkova and Sara Sorribes Tormo. We also saw Shuai Zhang win her doubles semi-final last time we were at the Edgbaston tournament in 2017.

cinch Championships Tennis Tournament 2024 at Queen's Club, London

21 June 2024

After enjoying our first trip to the Queen’s Club in London in 2019 (reviewed here in June 2019), our plans to return were hampered by Covid but this Monday we made our second visit on the opening day of the cinch Championships Tennis Tournament 2024. It was a gloriously sunny day and we watched more than 8 hours of tennis on Centre Court. The best match was an upset win for the Australian player Jordan Thompson over the number 7 seed Holger Rune from Denmark in 3 sets. The match between Britain’s Cameron Norrie and Milos Raonic of Canada also went the distance with Raonic winning an epic final set tie break. This provided a thrilling finish to what was otherwise a strangely dull match with a fairly flat atmosphere. That might have been because we saw Raonic serve 47 aces, breaking the ATP Tour world record, but this made for a lot of very short points. The first match we saw was a fairly routine straight sets win for the Bulgarian number 3 seed Grigor Dimitrov over Adrian Mannarino of France. Sadly the last match of the day - a really entertaining encounter between Alejandro Tabilo of Chile and the Spanish player Alejandro Davidovich Fokina - was suspended because the courts were becoming too slippery as the evening wore on. Nevertheless we had a great day at Queen’s.

‘Tokyo Express’ by Seichō Matsumoto, translated by Jesse Kirkwood

14 June 2024

I am grateful to Jess for recommending ‘Tokyo Express’ - a Japanese detective novel by Seichō Matsumoto, first published in 1958, and translated by Jesse Kirkwood in 2022. It’s an intriguing Hitchcockian mystery set in 1950s Japan which revolves almost entirely around the careful reading of railway timetables. The puzzle faced by the police is gripping and the tale is beautifully told, with a gentle Japanese politeness. The detectives are sympathetically drawn characters and you really feel you are working with them to unpick a seemingly impossible chain of events. I did get a little confused by the Japanese place names: I should have referred more to the map of Japan while reading the book. But it’s a lovely novel.

'Joe Country', 'Slough House' and 'Bad Actors' by Mick Herron

6 June 2024

Having really enjoyed the first five of Mick Herron’s Slough House series of spy novels (all reviewed here between November 2023 and May 2024) I've now finished the final three books in the series. 'Joe Country' is a dark, violent tale that takes the slow horses to snowy Pembrokeshire (which, as everyone keeps pedantically pointing out, is in Wales). 'Slough House' is a brilliantly plotted story with a devastating sting in the tail that completely surprised me, but with hindsight was hinted at throughout the book. The final novel 'Bad Actors' is the most ambitious, with an initially confusing jump forward in time from the previous book very satisfyingly resolved by a hilarious farcical flashback set-piece. And Mick Herron is both bold enough to leave many of the key characters out of the climax to the series and indulgent enough to add a postscript chapter to bring the gang back together.

'Run' by Ann Patchett

6 June 2024

The novels of Ann Patchett have been one of my best recent discoveries. I loved 'Bel Canto' (reviewed here in December 2023) and 'State of Wonder' (reviewed here in January 2024). I've now finished reading her 2007 novel 'Run'. This is a family story about adopted children, social status and race, which reminded me of the great contemporary American novelist Anne Tyler. I've written here many times about Anne Tyler's understated masterpieces - which never stray far from Baltimore and focus almost exclusively on domestic family life but still manage to say so much about the world. Ann Patchett's 'Run' is set in Boston, Massachusetts, and the story is provoked by a traumatic accident which made me read the rest of the novel nervously awaiting further tragedy to strike. But this is mostly a gentle, thoughtful exploration of family relationships in which all the characters are lovely - often flawed but gentle, sympathetic and understanding. 'Run' is less of a thriller than the other Ann Patchett novels I have read but it's equally well written and a very heartwarming tale.

Cruise to Greece and Turkey

30 May 2024

We got back this week from an amazing cruise to Greece and Turkey on the Cunard cruise ship Queen Victoria. I had never previously been to either country and the cruise was a great way to sample a number of different places. During lockdown we got hooked on ‘Natalie Haynes Stands Up for the Classics’ on BBC Radio 4 (reviewed here in July 2020) and it was wonderful to bring the classics to life as we visited the sites of the three of the Seven Wonders of the Ancient World. We are also big fans of the ‘Empire’ podcast (reviewed here in January 2023) and we were looking forward to exploring aspects of the Ottoman Empire. We had a day on the island of Rhodes, visiting the huge Palace of the Grand Masters, home of the Knights of St John until they were thrown out of Rhodes by Suleyman the Magnificent in 1552 and fled to Malta. We were astounded by the ancient city of Ephesus - one of the biggest archeological sites in the world. We visited the beautiful island of Santorini and ancient Olympia, where we walked along the running track of the original Olympic stadium. In Athens we had a great day at the Acropolis, admiring the Parthenon (which is much bigger than I had imagined). It was all very interesting and impressive and it was a beautiful day (which made for some great photos). But I think the highlight of our trip was our two days in Istanbul where we visited the Blue Mosque - an enormous domed hall with beautiful tiling and stained glass windows, quite unlike anything I'd previously seen - a real 'wow' moment. We really enjoyed the Basilica Cistern - a huge underground reservoir, built by the Romans in the 6th century AD. And the Hagia Sofia Cathedral/Mosque is an incredible building - a vast nave beneath a huge dome with golden mosaics from the original Byzantine church alongside giant circular 'medallions' containing Arabic script. The room feels enormous, dark and mysterious, like something from 'Game of Thrones'. We also walked around the Grand Bazaar - a seemingly endless maze of covered lanes of shops which was almost impossible to navigate, with each corridor looking almost identical and apparently containing the same shops. Istanbul was very different to anywhere we had been before, but not exactly in the way we had expected. The city felt busy and vibrant but not intimidating. And its history and strategic importance are fascinating.

Northampton Symphony Orchestra concert

12 May 2024

When we last played the Grieg Piano Concerto with the Northampton Symphony Orchestra, accompanying Lucy Parham in 2007, I wrote here (in November 2007) that the piece always reminds me how nervous I was playing the exposed horn solos in the first and second movements as a teenager with the Didsbury Symphony Orchestra in 1983, accompanying Peter Donohoe, and how relieved I was this time to be leaving those solos to the NSO Principal Horn David Lack. Now that Dave is sadly no longer with us, last Saturday it was my turn again, for the first time since 1983. Our NSO concert, in. St Matthews Church in Northampton, featured the brilliant young Russian soloist, Victor Maslov. There is a wonderful video on YouTube of Victor playing the Grieg Piano Concerto 15 years ago at the age of 11: https://youtu.be/ITJZEN2B87Y?si=5ZVVXUsn_tNwSV8t The 2024 version was even more spectacular: it was a genuinely thrilling performance by one of the most exciting soloists we have accompanied in recent years. Victor seemed to be playing this most famous of concertos neither in a lush romantic style nor in a disciplined classical approach, instead managing to make it feel much more contemporary - a fascinatingly inquisitive modern take on a work that can feel over familiar - but without losing any of the passion. In contrast to my teenage self, this time I found the short horn solos really enjoyable and I was pleased with how they went. But mine was a minor contribution to an incredible performance that will live long in the memory of everyone who was there. Victor Maslov's encore, a short Prelude by Scriabin, was delicate and mesmerising. It was a challenge for the NSO to follow this in the second half of the concert but Brahms' 'Symphony No 4' is a work that deserves to stand alongside the Grieg concerto. It's a lovely piece that demonstrates how Brahms continued and developed Beethoven's symphonic style - built on meticulous syncopated rhythms, driving chord progressions and controlled power. Brahms 4 is one of my favourite symphonies. This was the first time I had played it for more than 25 years but I was surprised how well I still knew the horn parts. It's a lovely symphony, incredibly satisfying to play, in which every note feels carefully crafted. NSO conductor John Gibbons shaped a beautifully controlled performance which was incredibly moving - with Graham Tear's gorgeously measured flute solo in the last movement exemplifying this. We opened the concert with the 'Froissart Overture' by Edward Elgar and also played Laura Rossi's witty musical journey through Italy, 'Jailhouse Graffiti' which was commissioned by John Gibbons to celebrate an April Fools prank he and Laura played on the Ealing Symphony Orchestra in 2005.

'Nye' by Tim Price

10 May 2024

On Thursday we were at the Library Theatre in Leighton Buzzard to see the NTLive broadcast of ‘Nye’ by Tim Price, directed by Rufus Norris, live from the National Theatre in London. This was the 100th NTLive performance since this innovative model of broadcasting live theatre to cinemas around the world started in 2009. I think I’ve seen 34 of the 100 broadcasts which have become an artform in their own right. It’s not better or worse than being in the theatre - it’s just different. You don’t quite get the same atmosphere as being in the auditorium with the live actors, but you do get close-ups and viewing angles that you wouldn’t have in the theatre, and you can hear every word much more clearly. ‘Nye’ dramatises the life of the Labour politician Aneurin Bevan and the founding of the National Health Service. Tim Price’s play starts with Bevan (played with wide-eyed wonder by Michael Sheen) in hospital himself, being treated for the stomach cancer that will kill him, and then tells his story through flashbacks and delirious dream sequences (as the morphine kicks in) with the doctors, nurses and other patients in the hospital taking the parts of Nye’s family, friends, colleagues and political opponents. The patient dropping in and out of consciousness, reliving incidents from his life, reminded me a lot of Denis Potter’s TV masterpiece ‘The Singing Detective’: there is even a fully staged song and dance number led by Michael Sheen. Vicki Mortimer’s set constantly reminds you we are in a hospital, with beds tipped on their sides to form the desks of the Tredegar Council chamber and the green benches of the House of Commons conjured up by surgical curtains. Michael Sheen brings a fascinating mixture of naivety, passion and mischief to his Nye Bevan. He is on stage throughout, playing out scenes from various chapters of Nye’s life but always dressed in his hospital pyjamas - reminding me of Arthur Dent in ‘The Hitch Hiker’s Guide to the Galaxy’. Sharon Small is great as Jennie Lee, Nye’s colleague and wife. Also impressive are Kezrena James, as the nurse who morphs into Nye’s sister Arianwen, and Tony Jayawardena, as the doctor who becomes Winston Churchill. But the lasting impression of ‘Nye’ is its moving tribute to the NHS and the amazing statistics projected across the stage at the end of the play which show how many lives were saved in the first few years of the new National Health Service.

'Real Tigers’, ‘Spook Street’ and ‘London Rules’ by Mick Herron

3 May 2024

I’m still working my way through Mick Herron’s Slough House series of spy novels. Having enjoyed ‘Slow Horses’ (reviewed here in November 2023) and ‘Dead Lions’ (reviewed here in January 2024) I have now raced through the next three books in the series, determined to finish reading the novels before I start to watch the ‘Slow Horses’ TV series. Book 3 ‘Real Tigers’ ratchets up both the comedy and the violence, with the Slough House team of disgraced former spies ending up in a major gun battle (and an amusing episode with a double decker London bus). Book 4 ‘Spook Street’ has the most thrilling plot so far and I think is my favourite to date. And Book 5 ‘London Rules’ is a brilliant exercise in black comedy, featuring a truly farcical political assassination. Mick Herron manages to make the books comically ridiculous while keeping the plots (just about) believable enough that you care about the outcome. And his descriptive writing, conjuring up Dickensian descriptions of contemporary London, is very impressive. I’m looking forward to reading the final three books in the series.

'Red Side Story' by Jasper Fforde

26 April 2024

Regular readers may remember that I am a big fan of Jasper Fforde’s silly comic fantasy/sci-fi novels (you can read my reviews of 14 Jasper Fforde books at: https://culturaldessert.blogspot.com/search?q=%27+by+Jasper+Fforde). Jasper Fforde’s 2009 novel ‘Shades of Grey’ (reviewed here in April 2011) is perhaps his most ambitious and complex work, depicting a post-apocalyptic dystopian society far into our future in which social standing is determined by your ability to perceive colour – with the majority of the population only able to see grey and just a privileged few families seeing yellows, greens or reds. It has taken fifteen years for the promised sequel to ‘Shades of Grey’ to arrive but ‘Red Side Story’ (which I have just finished reading as an unabridged audio book, narrated by Chris Harper and Jasper Fforde) was worth the wait. I had forgotten much of the complicated setting and plot of the first book, and I found it a little difficult to get started with its successor. But Fforde’s engaging cast of eccentric comic characters draw you in and, as I realised that ‘Red Side Story’ was going to begin to explain how its surreal future-world had come about, I was gripped. This was a much more satisfying tale where there is real jeopardy and you really care about the fate of the main characters.

'Love's Labour's Lost' by William Shakespeare

24 April 2024

Last Saturday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see the new RSC production of ‘Love’s Labour’s Lost’ directed by Emily Burns. I had only seen ‘Love’s Labour’s Lost’ once before (the 2008 RSC production that featured David Tennant as Berowne - reviewed here in October 2008). It’s not the greatest Shakespeare play but it’s interesting to see him trying out elements that would flourish more effectively in his later works. The bickering between Rosaline and Berowne, for example, feels like an early draft for Beatrice and Benedick in ‘Much Ado About Nothing’. And the shambolic performance of ‘The Pageant of the Nine Worthies’ at the end of ‘Love’s Labour’s Lost’ clearly points the way towards the more complete comic set-piece play-within-a-play ‘Pyramus and Thisbe’ at the end of ‘A Midsummer Night’s Dream’. Emily Burns’ production is lots of fun, very much played for laughs, with some brilliant comic scenes. She sets the play in the present day, at a luxury Pacific island retreat, with the men as billionaire tech bros. The supporting characters are maybe a little too close to pantomime but the four central lovestruck men and the four women who break their resolution of chastity are brilliantly played, particularly by Luke Thompson as Berowne and Ioanna Kimbook at Rosaline. The RSC is always wonderful at finding amazing young actors: 16 of this cast of 19 are in their RSC debut season. I also enjoyed Tony Gardner as the comically frustrated Holofernes (showing a touch of Basil Fawlty to Jack Bardoe’s Manuel-like Don Armado) - but, like much of the play, these scenes are brief, incidental to the plot and don’t seem to go anywhere. It was a very enjoyable, high-quality production of a play that has its limitations.

‘Behold Ye Ramblers’ by Neil Gore

19 April 2024

Last Saturday we were at The Place in Bedford to see the Townsend Theatre production of ‘Behold Ye Ramblers’, a new one-person play, written and performed by Neil Gore, which tells the story of the Clarion movement that started in the late 19th century. In 1891 the journalist Robert Blatchford founded a weekly newspaper called ‘The Clarion’ to draw attention to the conditions suffered by working people in industrialised Victorian Britain and to spread a socialist message. But from the start, Blatchford’s vision was of better support for workers, both in the factories and in their recreational and cultural activities. This led to a large network of local Clarion Cycling Clubs, Vocal Unions, Dramatic Societies, Handicrafts Clubs, ‘Cinderella Clubs’ (for children) and Rambling Clubs, which started the struggle for the right to roam freely across open moors on ancient paths. The Sheffield Clarion Ramblers, founded in 1900, is recognised as the first working class rambling club and survived until 2015. The National Clarion Cycling Club still survives today, as does the People's Theatre, Newcastle upon Tyne, which began its life in 1911 as the Newcastle Clarion Drama Club. Neil Gore’s play shows the growth of the Clarion movement through speeches, poetry,  and music hall songs, making you feel like you are at a Clarion Club meeting through lots of audience participation. He makes clever use of projections of actual Clarion newspaper pages and posters for Clarion Vocal Union concerts, together with colourised early film of working class communities. It’s a fascinating story which demonstrates the strong socialist roots of many of our everyday creativity traditions today. The tale of The Clarion reminded me a lot of ‘The Ragged-Trousered Philanthropists’, so it was interesting to discover that a one-person Magic Lantern show of Robert Tressell’s classic book is going to be the next production from Townsend Theatre. https://www.townsendproductions.org.uk/shows/behold-ye-ramblers/

'American Fiction' by Cord Jefferson

10 April 2024

We first visited The Rex in Berkhamsted, described by the BBC as "possibly Britain’s most beautiful cinema", in 2008. This beautifully refurbished art deco picture house has cabaret tables and large, high-backed swivel chairs in the stalls and rows of the most comfy cinema seats with masses of legroom in the gallery. Last Saturday we were back at The Rex, for the first time in many years, to see Cord Jefferson’s Oscar-winning film ‘American Fiction’. Based on the 2001 novel Erasure by Percival Everett, the film follows Thelonious ‘Monk’ Ellison, an American academic (brilliantly played by Jeffrey Wright) who is increasingly frustrated as his Greek-tragedy-inspired novels are filed under ‘African-American Studies’ in bookshops because the author is Black. When publishers reject his latest manuscript for not being "Black enough", he writes an over-the-top parody of stereotypical ‘Black’ books under a pseudonym and (inevitably - and to his immense embarrassment) it becomes incredibly successful. The film is a very funny and intelligent literary satire but it's also a moving family drama with an impressive cast playing well drawn believable characters.

Ribaute, France

5 April 2024

We had a great holiday in France last week, staying in the tiny village of Ribaute on the Orbieu river in the Languedoc, close to the lovely medieval village of Lagrasse - one of Les Plus Beaux Villages de France. We were in the middle of the Corbières wine region with vast vineyards extending across the flat valley, but also just a few minutes drive from the hills to the south. One of our highlights was driving up narrow, winding mountain roads to see the spectacular Cathar castles that dominate this area. We visited the Château de Quéribus at Cucugnan - a ruin perched on a rocky outcrop at the top of a mountain with 360 degree views which looks exactly like the kind of castle a child would draw. We also saw flamingoes on the salt-water lakes at Peyriac-de-Mer and visited the Abbaye de Fontfroide - a huge former Cistercian monastery. And it was great to revisit the fairytale medieval walled city of Carcassonne (reviewed here in September 2018).

'The Motive and the Cue' by Jack Thorne

22 March 2024

In 1964 Richard Burton asked Sir John Gielgud to direct his Hamlet on Broadway - a production which set the play in a theatre rehearsal room. Two of the cast wrote books about the rehearsals and the tussles between the very different approaches of Gielgud and Burton. Those two books provided the inspiration for Jack Thorne’s new play ‘The Motive and the Cue’, directed by Sam Mendes at the National Theatre in London (which we watched at a NTLive screening at the Odeon Milton Keynes on Thursday). It’s a fascinating exploration of theatre, acting and actors, with ‘Hamlet’ and its father-son relationships providing a clever backdrop both to the relationship between Gielgud and Burton and their relationships with their own fathers. Johnny Flynn is great as the volatile Richard Burton and Mark Gatiss is very moving as Gielgud. Allan Corduner as Hume Cronyn (playing Polonius) also stood out in a large cast and Tuppence Middleton almost stole the show as a wonderful Elizabeth Taylor.

'Drop the Dead Donkey: The Reawakening' by Andy Hamilton and Guy Jenkin

19 March 2024

When ‘Drop the Dead Donkey’ - Andy Hamilton and Guy Jenkin’s Channel 4 sitcom, set in the offices of a TV news channel - started in 1990 its unique selling point was the way it weaved in topical news stories (and gags about them) by recording some elements of each week’s show just before it was broadcast. Watching ‘Drop the Dead Donkey: The Reawakening’, the stage reunion of the original TV cast, at Milton Keynes Theatre last Saturday, I was pleased to see up-to-the-minute references to doctored photos of the Royal Family, the Russian presidential election etc. As a fan of the TV series, the stage show was gloriously nostalgic, with all the surviving cast members reprising their roles thirty years on (and a moving tribute at the end to David Swift and Haydn Gwynne). For anyone unfamiliar with the original series I suspect the opening scenes, punctuated by rapturous applause as each character reappeared, was probably a little tedious. But once the plot, and the mystery of why the gang had been brought back together to run a new TV news operation (‘Truth News’) started to get going, it was good fun and quickly fell back into the comic rhythms of a good sitcom. If the satire felt a little tame now, well thirty years is a long time and the news today often feels beyond parody. But it was lovely to see Susannah Doyle, Robert Duncan, Ingrid Lacey, Neil Pearson, Jeff Rawle, Stephen Tompkinson and Victoria Wicks back together again. And interesting to note that, despite the incredibly witty script, it was two brilliant moments of slapstick that got the biggest laughs.

'A Midsummer Night's Dream' by William Shakespeare

15 March 2024

When we started the Open Stages project in partnership with the Royal Shakespeare Company in 2009 - working with hundreds of amateur theatre groups and professional theatre companies across the UK - it was interesting to see one question dominating the discussions at our skills-sharing sessions. What amateur theatre directors most wanted to ask the RSC was whether it is permissible to cut or amend Shakespeare's texts. It always seemed to surprise the RSC staff that they were seen as the definitive arbiters on this question: Shakespeare has been out of copyright for centuries and many RSC productions have taken extremely creative approaches to the plays. Last Saturday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see Eleanor's Rhode's new RSC production of 'A Midsummer Night's Dream' and I was struck by the fact that you don't need to change the text to achieve a different take on the play. In this production Duke Theseus was not the strong, authoritative leader he normally appears - an adult amongst the squabbling children. Here, played by Bally Gill (who doubles as Oberon), Theseus is a weak, nervous leader, trying to please everyone and constantly seeking affirmation from Hippolyta (Sirine Saba) - though you could imagine he might have firm views on the proper way to stack the dishwasher! This was all brilliantly conveyed through his body language and voice, without any need to change the words he spoke. It's a great production, in modern costume on a mostly bare stage, allowing the acting and the movement of the actors to dominate. In particular Mathew Baynton as Bottom, Ryan Hutton as Lysander and Rosie Sheehy as Puck demonstrate amazing physicality and balletic movement: movement director Annie-Lunette Deakin-Foster deserves much credit. Eleanor Rhode also works with an Illusion Director and Designer, John Bulleid, and his moments of conjuring and sleight of hand, sparingly used, add to the magic of the play. It's also a very funny production, with real laugh-out-loud scenes involving the lovers and the rude mechanicals. Helen Monks is brilliant as Peter Quince, almost stealing the show from Mathew Baynton: it's the first time I have seen the prologue to Pyramus and Thisbe performed as a rap! It would be impossible not to come out of the theatre smiling.

'Demon Copperhead' by Barbara Kingsolver

8 March 2024

As I have mentioned here before, I found the Hogarth Shakespeare series of books, in which contemporary novelists re-imagined Shakespeare plays, a bit cringe-worthy (with the exception of ‘Hag-Seed: The Tempest Retold’ by Margaret Atwood, reviewed here in January 2022). So, despite many people recommending it, I came to ‘Demon Copperhead’, Barbara Kingsolver’s retelling of ‘David Copperfield’ with some trepidation. But, while ‘Demon Copperhead’ (as the title signifies) is another example of a loosely disguised classic tale in a modern setting, with clever contemporary variations of the character names, I thought it worked extremely well. I think this is because Barbara Kingsolver is interested in updating both Dickens’ story and his exposé of social problems. Her first-person narrator Damon Fields tells the story of his difficult childhood in Lee County, Virginia, in the 1990s. He is born to a drug-using teenage single mother in a trailer, passes in and out of foster care and experiences trauma and tragedy at a very young age. In front of this bleak backdrop, Barbara Kingsolver paints an engaging cast of Dickensian characters to create what feels like it is going to be an entertaining coming of age story about overcoming adversity through friendship. But Kingsolver’s underlying theme is America’s opioid crisis and seeing Demon (and most of his contemporaries) descending into over reliance on drugs and addiction feels painfully real and distressing. ‘Demon Copperhead’ is a brilliantly written novel: it is a tribute to Kingsolver’s skill that you soon forget the Dickens parallel and get sucked into the modern tragedy of a generation lost to drugs. The second half of the novel becomes increasingly uncomfortable reading but it is a compelling commentary on a shameful episode in our recent history of which Charles Dickens would have been proud.

Northampton Symphony Orchestra concert

5 March 2024

Last Saturday I played in a Northampton Symphony Orchestra concert which featured a rare performance of the First Symphony by Sir Arnold Bax. The early 20th century English composer was a committed Hibernophile, passionate about Ireland, Irish culture and the Gaelic language. He wrote poetry in Gaelic and named his children Dermot and Maeve. Bax was deeply affected by the 1916 Easter Rising and the execution of Irish rebel leaders by the British Army, but felt unable to speak out as he was then Master of the King's Music. His 'Symphony No 1', completed in 1922, while not publicly connected to the events in Ireland, reflects his anger and grief. As a programmatic work about the armed suppression of protest and rebellion it made for a fascinating comparison with our performance last year of Shostakovich's 'Symphony No 11:The Year 1905' (reviewed here in June 2023) and the 'Peterloo Overture' by Malcolm Arnold (reviewed here in October 2019). Bax's First Symphony is scored for a massive orchestra, including hecklephone (bass oboe), sarrusophone (or contrabassoon), bass flute and two harps. It's a brutal, angry piece, punctuated by some surprising moments of gentle beauty. It took me some weeks of practice to begin to appreciate the music but it really grew on me and I thought we gave a impressively coherent and moving performance of the symphony. Our concert also featured the 'Violin Concerto No 2' by Prokofiev - a stunning performance by Joo Yeo Sir. Both Bax and Prokofiev went out of copyright on 1 January 2024 so I suspect there will be more performances of works by both composers this year. We opened the concert with Bernstein's 'Symphonic Dances from West Side Story' - last performed by the Northampton Symphony Orchestra in 2008 (reviewed here in March 2008). 'West Side Story' is a challenge for any orchestra - both because of its complex syncopated jazz and Latin rhythms, and because it is so well known. As we settled our nerves, took a deep breath and launched into the opening bars, conductor John Gibbons immediately halted the performance and dashed off stage, having forgotten to bring with him the police whistle whose shrill blast halts the Jets and Sharks at the end of the Prologue. Amused and relaxed by this intrusion, the orchestra started again and gave an exciting and slick account of Bernstein's score - featuring a brilliant percussion section, amazing work by Terry Mayo on trumpet and a beautifully controlled flute cadenza by Graham Tear, providing a haunting moment of stillness after the mayhem. It was a wonderful concert, enthusiastically received by a sold out audience at Christchurch, Northampton.

'Vanya' by Anton Chekhov, adapted by Simon Stephens

29 February 2024

‘Uncle Vanya’ has been my favourite Anton Chekhov play since I saw ‘Vanya on 42nd Street’ - Louis Malle’s brilliant 1994 film which shows André Gregory directing a performance of the play in an empty New York theatre. I also liked Michael Blakemore’s film ‘Country Life’ - an excellent adaptation of ‘Uncle Vanya’ starring Sam Neill and Greta Scacchi, set in Australia just after the end of World War I, which coincidentally also came out in 1994. Last Saturday we were at the Curzon Cinema at Milton Keynes Gallery to see the NT Live recording of ‘Vanya’, Simon Stephens’ new adaptation of the play, recorded at the Duke of York’s theatre in London’s West End. This is an incredible one-person performance of the play by Andrew Scott. Like Jodie Comer’s amazing performance in Suzi Miller’s 'Prima Facie' (reviewed here in August 2022), Andrew Scott commands the stage, and our attention, without a break - playing all the characters. But whereas in 'Prima Facie' Jodie Comer was playing a young barrister recounting her story and re-enacting scenes and conversations, in ‘Vanya’ Andrew Scott is simply performing the play as all the characters, with no need for any framing device. At first this feels more like a radio play as he quickly switches voices in conversations with himself. But his physical performance is as important to how he tells the story. While he doesn’t use any different costumes or hats to distinguish the different characters, his stature, posture and gestures instantly make it clear who he is playing. And seeing his performance on the cinema screen, the close-ups allow us to see a different character emerging simply through a subtle change in his eyes and facial expressions. Simon Stephens has moved the story from Russia to modern-day Ireland and the setting works well. Andrew Scott gives Alexander and Helena Northern Irish and English accents respectively, emphasising that they are the outsiders in this family. There’s a lot of comedy in this tragedy and Scott is very entertaining, but some of the more poignant moments felt a little unemotional without reactions from other actors. One really effective touch was the piano - on stage throughout for Ivan occasionally to tinkle a few notes - which turns out to be an automated player piano, conjuring up Ivan’s dead sister Anna who he recalls playing duets with: seeing the piano keys moving on their own suddenly created the sense of another person on stage to break (or merely to emphasise) the loneliness of this solitary performance.

‘Cahokia Jazz’ by Francis Spufford

23 February 2024

I came to Francis Spufford’s third novel, ‘Cahokia Jazz’, having really enjoyed his debut novel ‘Golden Hill’ (reviewed here in August 2017) and its successor ‘Light Perpetual’ (reviewed here in July 2021). ‘Cahokia Jazz’ (which I read as an unabridged audio book, narrated by Andy Ingalls) is another shift of period and style from Spufford - a noir crime tale echoing Raymond Chandler and Dashiell Hammett, set in 1920s America. But this is an alternative reality America - a parallel universe in which the fictional midwest city of Cahokia is dominated by a First Nations people who are led by a hereditary monarchy and have embraced a version of European catholicism. The book starts with police officers investigating a murder and has all the tropes of a gumshoe detective story. But the racial and religious backdrop to the mystery - drawn in fastidious detail - creates a deeply unnerving mood. When, towards the end of the novel, one of the characters suggests that they are all living in a dream and none of this is real, it feels cathartically believable: the whole novel has a dreamlike quality. Francis Spufford’s writing is beautiful and he creates an extensive cast of well-drawn, sympathetic characters. The detective partners Drummond and Barrow - one short and talkative, the other huge and taciturn - reminded me of George and Lennie in John Steinbeck’s ‘Of Mice and Men’. And the American period setting of ‘Cahokia Jazz’ made me think of 'The Lincoln Highway' by Amor Towles (reviewed here in February 2022). ‘Cahokia Jazz’ is not quite as satisfying a novel as ‘Golden Hill’ but it’s another fascinating period drama from Francis Spufford and I look forward to seeing which genre he chooses to tackle next.

‘Baraaim Ed-Louz’ by Koum Tara

16 February 2024

I have been enjoying ‘Baraaim Ed-Louz’, the new album by the French band Koum Tara, which explores chaabi - a traditional music of Algeria. Chaabi means 'of the people' and typically consists of Arabic/Berber vocals, set against violins and mandolins, a piano melody and percussion beats. Koum Tara take chaabi as the starting point for a fusion of North African and Western sounds, drawing on jazz and cinematic orchestral strings. The result is a gentle, laid-back blend which is an interesting contrast to the pulsing beats of Algerian rai music, made more popular across Europe by singers such as Cheb Khaled, Faudel and Rachid Taha, ‘Baraaim Ed-Louz’,is a lovely album: here is a sample: https://www.youtube.com/watch?v=wXKlGtOOppc

'Bumper Blyton: Improvised Adventures For Grown-Ups'

9 February 2024

On Saturday we were at the Quarry Theatre in Bedford to see 'Bumper Blyton: Improvised Adventures For Grown-Ups'. Using the model of the long-running improv show ‘Austentatious’ (reviewed here in August 2012) which invents a ‘lost’ Jane Austen novel based on audience suggestions at every performance, ‘Bumper Blyton’ does the same thing with Enid Blyton. But, whereas Jane Austen wrote six completed novels, Enid Blyton published 762 books, which provides fertile ground for exploring her style and genre - and rekindling childhood memories for most of the audience. On our way into the theatre we were handed small schoolroom slates on which we were asked to draw something symbolising a childhood hobby or activity. The cast then examined our chalk pictures to choose several elements to weave into their improvised story. It was all very silly and extremely funny. The many surreal flights of fancy made it feel more like a radio comedy show than a stage play, reminding me of Mark Evans’ stage adaptation of his BBC Radio 4 Dickens parody 'Bleak Expectations' (reviewed here in August 2023). ‘Bumper Blyton’ is clearly aimed at adults, and was not afraid to acknowledge the more questionable aspects of Enid Blyton’s work. Using adults to play young children without disguising the fact they are obviously adults (like Dennis Potter’s ‘Blue Remembered Hills’ - reviewed here in June 2013) also provides opportunities for considerably more innuendo than I remember from reading Enid Blyton as a child. ‘Bumper Blyton’ was great fun and ‘jolly japes’. And as they said at the end: “if you enjoyed the show, please come to see it again: it’s improvised so it’s completely different every night - and if you didn’t enjoy the show, please come to see it again: it’s improvised so it’s completely different every night!”

'Dear England' by James Graham

2 February 2024

In 2016, when Sam Allardyce left his post as the England men’s football manager by mutual agreement after one match and 67 days in charge, the England Under-21 team manager Gareth Southgate was hastily appointed as caretaker England manager for the next four matches. Southgate’s transformation, from a player best remembered for missing a penalty for England in the Euro 1996 semi final to arguably the most successful England manager since Sir Alf Ramsey, is told in ‘Dear England’, James Graham’s new play for the National Theatre. We saw the NTLive recording of the play at the Curzon cinema at Milton Keynes Gallery last Saturday. It’s a very funny, enjoyable and moving production, directed by Rupert Goold. The England footballers are brilliantly played by an extensive cast who create impersonations - of Harry Kane, Marcus Rashford, Raheem Sterling, Harry Maguire et al - that are both deliberately cartoonish while also capturing the players’ body language and posture uncannily accurately. Joseph Fiennes does a similar job playing Gareth Southgate - making him both laughably earnest and gently heroic - and Gina McKee is wonderful as the psychologist Southgate brings in to work with the England team. ‘Dear England’ refers to the open letter Southgate published in June 2021 ahead of the delayed Euro 2020 tournament, which addressed a country emerging from the Covid-19 pandemic and focussed on issues of equality, inclusivity and racial injustice. James Graham’s play tells the story of Southgate’s England team and its performances on the football pitch as a way of reflecting on the state of the country over the past few years. But football is the main focus of the play and the thoughtful maturing of the young England players through a range of challenges on and off the field is moving and inspiring.

'State of Wonder' by Ann Patchett

26 January 2024

Having recently discovered the work of the American novelist Ann Patchett - her novel ‘Bel Canto’ (reviewed here in December 2023) was one of my Picks of the Year for 2023 - my expectations were high as I started reading her 2011 novel ‘State of Wonder’. I wasn’t disappointed: ‘State of Wonder’ is another clever, intriguing and surprising tale that moves in directions you don’t expect but always feels believable, particularly in the realistic portrayal of its key characters. Marina Singh is a scientist working for a pharmaceutical firm in Minnesota. When she hears of the death of one of her closest colleagues while he was visiting a research project in the Amazon rainforest she travels to Brazil to find out exactly what happened - taking her far out of her comfort zone. The descriptions of her first few days adjusting to life in Manaus reminded me of my own work trips to Brazil and Cuba. ‘State of Wonder’ is a gripping story which is thought-provoking, unexpected and intelligent. I’m both wishing I had discovered Ann Patchett sooner and relishing the prospect of having her extensive back catologue to work through.

Tom Robinson

19 January 2024

As we set out to see his concert at The Stables in Wavendon last Saturday, even as long-time fans of Tom Robinson it felt perhaps a little soon to be seeing him again only nine weeks since we were at his gig at Storey's Field Centre in Cambridge. But that had been a solo performance and Saturday’s performance with his full band was a very different experience, and proved to be one of the best Tom Robinson gigs we have been to for many years. The Stables was packed: as I looked around the auditorium it was clear that his audience is now almost entirely middle-aged or older but I did spot five young women sitting together near the side of the stage. Once the support act started it quickly became clear that those young women were not there to see Tom Robinson! As I’ve mentioned here before Tom always uses his shows to introduce young musicians he has been championing on his BBC 6 Music radio show and this time the support slot was reserved for Bollo Bollo - a 4 piece indie/alternative rock band based in Buckinghamshire. It must have been a strange experience for them to be playing to a sell-out Tom Robinson audience but they - and their fan club - seemed genuinely thrilled to have been given this opportunity. When Tom Robinson and his band came on stage, after their first number Tom’s bass guitar stopped working, and there was a nice moment where the young bass player from Bollo Bollo managed to look simultaneously thrilled and slightly nervous about lending his instrument to Tom Robinson. Tom was in good form and the band were really rocking - particularly in ‘2-4-6-8 Motorway’ and ‘Up Against the Wall’. It was also lovely to hear Lee Forysth Griffiths (now a regular member of Tom’s band) sing one of his own songs: we first saw Lee as the support act for Tom Robinson at The Stables in about 2001.

'The Housekeepers' by Alex Hay

12 January 2024

In his novel 'The Housekeepers' (which I have just finished reading as an unabridged audio book, narrated by Jasmine Blackborow) Alex Hay transports the classic heist movie plot to Edwardian London where an all female gang led by a recently dismissed housekeeper plan to strip the house of her former employer of all of its possessions. Planning to do this at the moment the house is full of people (for a society ball) appears ridiculously ambitious or deliberately foolhardy. But, much like the Spanish Netflix series 'Money Heist', this is a meticulously calculated enterprise, which turns out to be about more than simple revenge or monetary gain. Reviews of 'The Housekeepers' led me to expect a comic caper but, while the novel has some gentle humour, it's actually quite a dark story. Alex Hay creates a very likeable gang of well drawn, flawed but sympathetic characters. And this beautifully written, carefully researched period piece gives an insight into life above and below stairs in Edwardian London.

'Dead Lions' by Mick Herron

4 January 2024

I thoroughly enjoyed ‘Slow Horses’, the opening book of Mick Herron's spy novel series (reviewed here in November 2023) so I was looking forward to reading the sequel ‘Dead Lions’ and it didn't disappoint. ‘Dead Lions’ further establishes the team of disgraced former spies operating out of Slough House in London, under the unconventional leadership of Jackson Lamb - an anti-hero in the mould of Long John Silver, Fagin or Logan Roy. ‘Dead Lions’ is a cleverly plotted novel with multiple strands and a series of bluffs and counter-bluffs. You are never quite sure whether you've worked out the answer to the riddle, or just what the other side wants you to think the answer is in order to distract you from what they are really doing. It’s nicely written, with a nod to Dickens in the descriptions of Slough House that bookend the novel through the eyes of two imagined four-legged intruders. I am looking forward to reading the rest of the series and I'm determined to read the novels before I start to watch the ‘Slow Horses’ TV series.

Northampton Symphony Orchestra concert

13 December 2023

The Northampton Symphony Orchestra's Christmas Cracker concert always attracts an enthusiastic family audience, but this was the first year I can remember us selling out the Spinney Theatre at Northampton School for Girls. It was very exciting to take to the stage on Sunday afternoon to see more than 500 faces looking back at us. This was a triumph for the NSO Committee and orchestra members who delivered a very effective marketing campaign - and for our conductor John Gibbons who planned and delivered an extremely family-friendly programme. We played a mixture of traditional seasonal tunes (including Morton Gould's innovative arrangement of 'Jingle Bells' and Leroy Anderson's 'Sleigh Ride'), Christmas carols, film music (from 'Frozen' and 'Mary Poppins') and two narrated pieces featuring our compere David Birch. 'Sugar Plum on the Run' by Lior Rosner tells the story of what happened to the Sugar Plum Fairy after the events of 'The Nutcracker' - and provides an excuse for a miscellany of variations on Tchaikovsky's 'Dance of the Sugar Plum Fairy'. We sandwiched Rosner's piece between movements from the actual 'Nutcracker Suite'. But our younger audience members seemed most excited by our performance of 'The Gruffalo' - Julia Donaldson and Axel Scheffler's tale set to music by Philip McKenzie. Like Prokofiev's 'Peter and the Wolf' this narrated piece features specific instruments of the orchestra as each of the main characters, with the piccolo (Graham Tear) as the mouse, E flat clarinet (Naomi Muller) as the fox, cor anglais (Harriet Brown) as the snake, French horn (Ian Jones) as the owl and the contra bassoon (Frank Jordan) as the Gruffalo. Each year the orchestra's transformation during the interval into a sea of santa hats, reindeer antlers and fancy dress gets sillier and sillier - and I think we looked particularly splendid on Sunday. But silliness does not come without risk: I had wrapped a long piece of tinsel around my French horn and just as we were approaching the climax of 'Frozen' I removed my third valve slide to empty it out in order to be ready for the big tune and managed to get a tiny strand of tinsel stuck in the exposed pipe, which prevented me from replacing the slide. As panic began to set in, I managed to play my next entry without using the third valve and then rapidly removed all tinsel and got the slide to fit back in without missing a note. Fortunately I  don't think anyone noticed my near disaster - but I will be steering clear of all tinsel in next year's Christmas Cracker concert!

'Bel Canto' by Ann Patchett

8 December 2023

I am a newcomer to the work of the American novelist Ann Patchett but, having just finished reading her brilliant 2001 novel ‘Bel Canto’ I am looking forward to exploring her other books. ‘Bel Canto’ tells the story of a mass hostage siege in a presidential mansion in an unnamed Latin American country. Among the array of international dignitaries held hostage at gunpoint is a famous American opera diva who had been giving a recital in the house. While this sounds like the plot of a thriller, Ann Patchett manages to make this seriously frightening situation into a gentle and quirky ensemble piece exploring relationships, language, music and quality of life. The slightly surreal, dreamlike quality of her prose reminded me of Kazuo Ishiguro (particularly his novel ‘The Unconsoled’ about a famous pianist who arrives in an unnamed central European city to perform a concert). The eccentric but charming multinational cast of characters imprisoned in the house (and those imprisoning them) reminded me of the novels of Louis de Bernières. And the gentle tone and compelling characters, all confined within the walls of the house, had lots of similarities to one of my favourite novels of recent years, ‘A Gentleman in Moscow’ by Amor Towles (reviewed here in September 2021). Ann Patchett brilliantly juxtaposes a beautiful, life-affirming story about the development of an effective and loving closed community with a brutal real-world framing. It’s an amazing novel.

Milton Keynes Sinfonia concert

30 November 2023

The last time I played with Milton Keynes Sinfonia was the concert in March 2020 just before we went into lockdown (reviewed here in March 2020). That evening had a strange atmosphere of nervousness about the rapidly worsening Coronavirus situation. My return to the Chrysalis Theatre in Milton Keynes last theatre to join the orchestra for an evening of ballet music was a much happier occasion. The programme included music from three ballets which all feature dolls, toys or puppets coming to life. The concert started with the ‘Introduction and Mazurka’ from ‘Coppélia’ by Delibes, followed by the ‘Nutcracker Suite’ by Tchaikovsky. But the main event was a performance of ‘Petrushka: A Burlesque in Four Scenes (1947 version)’ by Stravinsky. ‘Petrushka’ is a fiendishly difficult piece, incredibly dramatic and requiring supreme concentration from the orchestra to negotiate Stravinsky’s unpredictable shifts of rhythm and tempo. It also features a series of challenging solos. With apologies to everyone I have forgotten to mention, I was particularly impressed by the woodwind principals Lizzie Molloy (flute), Karen Mason (oboe), Tim Mackley (clarinet) and Ian Every (bassoon) and by my fellow horn player Tom Molloy, William Thallon on piano, Anwen Mai Thomas and a splendid trumpet solo by Nick Bunker. Though I think we were all quite nervous approaching the concert, conductor David Knight drew out an impressive and exciting performance from the orchestra and it was great fun to be part of it.

Northampton Symphony Orchestra concert

21 November 2023

In 2019 Northampton Symphony Orchestra performed at Clifton Cathedral in Bristol (reviewed here in November 2019) - our first trip away from Northamptonshire since I joined the orchestra in 2000. This had been intended as the first in a series of annual weekends away for the orchestra but our plans were curtailed by the pandemic. Last weekend NSO was finally on tour again, spending two days in Grantham where we performed a concert at the Church of Saint John the Evangelist in Spitalgate. The concert was part of a programme of fundraising to support more community activities at the recently reopened church, which has just secured National Lottery funding to launch a Community Fridge - a space that brings people together to share food, meet up, learn new skills and prevent fresh food from going to waste. Our host was the church's Director of Music, the soprano Helen Winter, who helped to organise the concert, brought her choir, the St John's Winter Singers (plus guests from other local choirs) to perform with us, and sang two amazing solos with the orchestra herself. We travelled to Grantham on Saturday morning, rehearsed in the church in the afternoon and had a meal together on Saturday evening, ahead of the concert on Sunday afternoon. With some people unable to join us for the weekend, it was a smaller orchestra than normal and our Music Director, John Gibbons, did a great job of arranging many of the pieces for the available forces. The concert included music by Delius, Vaughan Williams, Wagner, Fauré, Mozart and Mascagni. Orchestra member Hilary Glanville gave a stunning performance of the 'Pastoral Fantasia for Viola and String Orchestra' by Northampton's William Alwyn - a beautiful, haunting piece with echoes of Delius and Vaughan Williams. But the highlight of the concert (for me at least!) was the 'Konzertstück for four Horns' by Heinrich Hübler which featured the NSO horn section - Callie Rich, Callie Scully, Ian Jones and me. Hübler was a horn player who performed in the premiere of Schumann's 'Konzertstück for four horns and orchestra' and was inspired to compose a similar piece. Hübler's Konzertstück is slightly easier to play than the Schumann and more evenly shares the melodic lines amongst all four solo horns. We were very pleased with our first concerto performance together and it seemed to go down well with the enthusiastic audience at St John's. We are looking forward to playing the Hübler concerto again at the NSO Friends concert in July 2024. Our Grantham concert was a lovely occasion, featuring a wide variety of musical styles and some beautiful, delicate playing by the orchestra, including wonderful woodwind solos by Graham Tear, Sarah Mourant and Christine Kelk. Although we were a little under-rehearsed I think this just made us concentrate more carefully in the concert which was one of our best performances for a long time. We had a really enjoyable weekend in Grantham: it was nice to spend time together as an orchestra, with plenty of great conversation over food. Many thanks to Helen Winter, John Gibbons and Callie Rich for organising everything.

Tom Robinson

16 November 2023

Last Friday we made a first visit to Storey's Field Centre - the impressive new community centre in the new district of Eddington on the outskirts of Cambridge - to see Tom Robinson in concert. Regular readers will know I am a big fan of Tom Robinson who we have seen perform many times across the country (see: https://culturaldessert.blogspot.com/search?q=tom+robinson). As usual Tom used the show to introduce a young musician he has been championing on his BBC 6 Music radio show. This time singer-songwriter Sam Eagle used the concert to launch his debut album ‘Are You Listening?’ Sam is a brilliant guitarist with a delicate, precise voice who writes beautiful, wistful songs. Tom Robinson often updates the lyrics to his songs - this time including references to Downing Street parties and other recent events - but, at 73 years old, he explained he can’t always remember the new words so he had printed them out, meaning he had to keep putting his glasses on mid-song to be able to read them: ah, the perils of getting older! His longevity has also caused him to update his 1994 song ‘What if we live to be fifty’ to ‘What if I make it to eighty’. It was great to see him again and to revisit 'Glad to be Gay', 'War Baby', '2-4-6-8 Motorway' and many other old favourites.

'Three Things About Elsie' by Joanna Cannon

8 November 2023

Joanna Cannon’s novel ‘The Trouble with Goats and Sheep’ (reviewed here in January 2022) charmingly used a naive first person narrator to turn a fairly normal domestic situation into a thrilling mystery. As we saw events primarily through the eyes of 10-year old Grace we were never entirely sure whether she had spotted sinister activities that the grown-ups hadn't noticed or whether she was mistakenly misinterpreting things she didn't understand. I've just finished reading Joanna Cannon's 2018 novel 'Three Things About Elsie' which uses a similar device but with the protagonist at the opposite end of her life journey. Here the first person narrator is Florence, a woman in her 80s living in a retirement home. As she starts to encounter signs that an intruder has been in her room, and the reappearance of a shadowy character from her past, we begin to wonder how much of what she tells us is true and how much is the result of her failing memory. Like 'The Trouble with Goats and Sheep' the story becomes a detective mystery as Florence and her friends try to uncover long hidden secrets. It's an entertaining and engaging novel, easy to read but full of beautifully turned phrases and much cleverer than it first appears. As with 'The Trouble with Goats and Sheep' I felt the brilliantly unsettling device of the ambiguity of the narrator was watered down by inserting chapters from the points of view of some of the other main characters. But Joanna Cannon creates a great cast of likeable characters who initially appear to be cartoonish but gradually reveal their sympathetic human depth.

'Slow Horses' by Mick Herron

1 November 2023

I really enjoyed reading Mick Herron's spy thriller 'Slow Horses' - a novel that dives deep into the underbelly of intelligence work, far from the glamour often associated with the genre. Set against the backdrop of London's shadowy streets, 'Slow Horses' introduces readers to Slough House—MI5's dumping ground for disgraced operatives. The book blends the mundanity of bureaucratic exile with the high stakes of national security, creating a narrative that is both thrilling and absurdly comedic. Each chapter ends on a mini-cliffhanger that propels you eagerly to the next. As the slow horses grapple with a chance to redeem themselves by tackling an unexpected incident, Herron ramps up the pace. The plot, while often preposterous, is tightly woven and bursting with intrigue. 'Slow Horses' is the first in a series of novels and I'm looking forward to working my way through them.

Cruise to France and Spain

26 October 2023

We had a lovely cruise from Southampton to France and Spain last week on the MSC ship Virtuosa. We stopped at the beautiful old town of La Rochelle in France which has half-timbered medieval houses and Renaissance architecture, including passageways covered by 17th-century arches. It was wonderful to return to Frank Gehry's amazing Guggenheim Museum in Bilbao, Spain, which we originally visited in 2016. Our planned stop at La Coruna in Spain was cancelled as bad weather made it impossible to dock but instead we visited Le Havre in France. Largely destroyed during the Second World War, the city was rebuilt by the architect Auguste Perret, giving it a very distinct, and uniform, modernist appearance. We really enjoyed the Museum of Modern Art André Malraux (MuMa) which has one of France’s most extensive collections of impressionist paintings. Finally we stopped at Cherbourg in France, from where we caught the train to the delightful medieval city of Bayeux to see the Bayeux Tapestry. The excellent Musee de la Tapisserie de Bayeux allows you to walk alongside the 75m embroidery with an audio guide which talks you through the story of the events that led to the Battle of Hastings and the battle itself - and the accompanying exhibition and film explore the making of the tapestry and the history it depicts.

Northampton Symphony Orchestra concert

26 October 2023

The last time the Northampton Symphony Orchestra played Sibelius' 'Symphony No. 1', in 2008, I was impressed by the assured opening clarinet solo by Naomi Muller (reviewed here in April 2008). Performing the symphony again, in the recent NSO concert at St Matthews Church in Northampton on 14 October, Naomi’s reprise of her unaccompanied solo was even more stunning. And rediscovering the intricacies of the symphony after 15 years reminded me how much I like the music of Sibelius. The first symphony marked his move away from programmatic music that tells a particular story and brilliantly demonstrates the captivating power of ‘absolute’ or abstract music - creating a beautiful, powerful and emotional sound world that is uniquely Sibelius. Our NSO concert opened with the ‘Polonaise from Eugene Onegin’ by Tchaikovsky and featured the original version of Tchaikovsky’s ‘Variations on a Rococo Theme’ with the wonderful ‘cello soloist Florian Arnicans. We also played two works by Malcolm Arnold - his orchestral arrangement of the ‘Tango in D’ by Isaac Albeniz and his ballet music for the one-act dance-drama ‘Rinaldo and Armida’. I particularly enjoyed getting to know this rarely performed dramatic and tuneful work.

'So Far We Have Come' by Tamsin Elliott and Tarek Elazhary

13 October 2023

I have been enjoying 'So Far We Have Come' - the debut album by Tamsin Elliott and Tarek Elazhary. The multi-instrumentalist Tamsin Elliot is a British folk musician and a co-founder of the folk-jazz fusion group Solana, while the Egyptian oud player Tarek Elazhary brings a background in traditional Arabic music. The combination of their musical styles results in an intriguing and gentle collection of tracks. The album features 16th-century English dance tunes and classical Arabic melodies, backwoods jigs and Cairo folk. The title track, ‘So Far We Have Come’ brings together accordion and oud in a slow, contemplative dance. I also liked the interplay between oud and harp on several tracks.  'So Far We Have Come' is an unusual and lovely album.

'Politics On the Edge' by Rory Stewart

6 October 2023

I'm a regular listener to 'The Rest is Politics' - the political podcast presented by Alastair Campbell and Rory Stewart - and I'm enjoying reading Rory Stewart's new book 'Politics On the Edge'. This memoir looks back at Stewart's political career as the Conservative MP for Penrith and the Border and in a series of ministerial roles in the governments of David Cameron and Theresa May. As a junior minister he served under three Secretaries of State - Liz Truss, Priti Patel and Boris Johnson. He unsuccessfully stood for election as the London Mayor and for the leadership of the Conservative Party, before being expelled from the party by Johnson.  His account of this period is a tale of despair with our political system and serious concern for its future. Rory Stewart launches himself into each new ministerial post with a seriousness and dedication that is quickly frustrated by superiors who appear to be more interested in their popularity and image than actually tackling the problems. He is a self-deprecating narrator, highlighting his own political naivety and his embarrassment about the occasions when he was persuaded to toe a party line he disagreed with in order to seek advancement within the system. His description of his first days as an MP at the House of Commons is fascinating and his exasperation at being given insufficient time in each ministerial role before being moved to posts that he appeared to be increasingly unqualified for feels brutally honest. 'Politics on the Edge' is a revealing account of our recent political history that is very readable, entertaining and worrying.

'Pygmalion' by George Bernard Shaw

28 September 2023

On Saturday we were at the Old Vic in London to see Richard Jones' new production of 'Pygmalion' by George Bernard Shaw. Like many people I'm very familiar with the musical 'My Fair Lady' but I don't think I had ever seen the original play that inspired it. The first half of the play feels so close to the musical you keep expecting the characters to burst into those familiar songs. But after the interval the play becomes more interesting, darker and a more philosophical moral discussion. In this production Bertie Carvel plays a fairly unlikeable Henry Higgins with the remarkable Patsy Ferran as Eliza Doolittle and John Marquez almost stealing the show as Alfred Doolittle. We first saw Patsy Ferran in a Royal Shakespeare Company production of 'The Merchant of Venice' (reviewed here in August 2015). She's a wonderful physical actor: her movement across the stage is fascinating and she embodied Eliza's transition from flower girl to duchess beautifully and believably. The Old Vic production drew on the text of both the original 1913 play and Shaw's own Oscar-winning screenplay for the 1938 film version, using excerpts from the music written for the film by Arthur Honegger (reviewed here in December 2005). Although it is presented as a fairly light comedy, Pygmalion's gender politics is more modern than I had expected. But this production is worth seeing for Patsy Ferran's performance alone.

'Constant Companions' by Alan Ayckbourn

21 September 2023

On Monday we made our first visit to the Stephen Joseph Theatre in Scarborough to see Alan Ayckbourn’s new play ‘Constant Companions’. Stephen Joseph pioneered theatre-in-the-round and the theatre that bears his name - and where Alan Ayckbourn has premiered almost all of his plays - is a lovely, intimate auditorium, with a steep rake on all four sides, which gives everyone a great view and makes you feel like you are sitting on the stage. ‘Constant Companions’ is Ayckbourn’s 89th play and sticks to his principle of using a simple, single set that would be easy for an amateur theatre company to reproduce. Set in the near future, the play explores the potential evolution of our relationship with sentient machines, as humans grow increasingly attached to the androids they have built as their servants. As always, Ayckbourn’s light comedy disguises darker underlying messages, which here echo the current debates about artificial intelligence. ‘Constant Companions’ is told through three separate but linked alternating stories which each develop through completely different timeframes. Ayckbourn likes to play with concepts of time, but manages to do so in a way that is both quite complex (if you were to try to explain it) but completely clear and understandable (as you watch it). The ensemble cast all capture the fine balance between sit-com caricature and genuine poignancy - with Leigh Symonds as Winston and Naomi Petersen as ED, the ‘faulty’ android he has been sent to repair, providing the emotional centre to the play. This is the ninth Alan Ayckbourn play I have reviewed here but it was wonderful to see a premiere production, directed by Ayckbourn himself, at the Stephen Joseph Theatre for the first time.

'Wiener Philharmoniker Fanfare' by Richard Strauss

15 September 2023

Like many amateur arts groups, the Northampton Symphony Orchestra has now restarted its weekly rehearsals and we are preparing for our next concert, which is on 14 October. During the period between our Friends Concert each July and the orchestra starting again at the beginning of September I like to keep playing my French horn. This year I set myself the challenge of recording Richard Strauss’s ‘Fanfare for the Vienna Philharmonic’. This joyous fanfare was written for 8 horns, 6 trumpets and 6 trombones. I played all 20 parts on the horn to create a multi-track recording. This project took me most of August. The piece lasts just over two minutes but it was surprisingly difficult to play any of the parts perfectly in just one take. I re-recorded many sections, creating an enormous number of partial tracks. But I decided I wouldn’t cheat by adjusting the pitch or speed of my recordings. About halfway through I did begin to wish I hadn’t embarked on this challenge! But I persevered, and although there are plenty of mistakes in the finished recording it was still very satisfying to complete it. You can hear the results of my vanity project at: https://youtu.be/C-J_m2a6L3w (please be kind about it!)

'The Husband's Secret' by Liane Moriarty

8 September 2023

Having enjoyed Liane Moriarty's novel 'Apples Never Fall' (reviewed here in September 2022) I have now finished reading her 2013 book 'The Husband's Secret'. I was a little sceptical by one of the cover quotes which described the novel as "literally unputdownable" but I have to say that's not far from the truth. Liane Moriarty is very much the Australian Anne Tyler - writing about suburban domestic family life in which the comfortable equilibrium is threatened by an expected turn of events or someone's sudden desire for a change. 'The Husband's Secret' weaves the stories of three women in short chapters that alternate between their three viewpoints, with their narratives gradually starting to overlap. It is this structure that makes it so compelling, with many chapters ending on a mini-cliffhanger that is often not resolved until the point of view shifts back three chapters later. The novel revolves around an incredibly difficult ethical choice and, while it is too gentle and thoughtful to be classed as a thriller, there are three devastating end of chapter surprises that I genuinely didn't see coming. 

'42nd Street' by Michael Stewart and Mark Bramble with songs by Harry Warren and Al Dubin

8 September 2023

Having recently seen one of my two favourite musicals, ‘Guys and Dolls’, at the Bridge Theatre in London (reviewed here in May 2023), it was a real treat to see my other favourite musical ‘42nd Street’ at Milton Keynes Theatre last Friday. ‘42nd Street’ is a classic tap dance musical with songs by Harry Warren and Al Dubin. It is based on a 1933 film but didn’t become a stage musical until 1980. Jonathan Church’s production for Leicester Curve is great fun, with some amazing performances. There’s nowhere to hide with tap, as the audience can hear if any of the steps are misplaced, but the precision in Bill Deamer’s choreography on Friday evening was very impressive. And Nicole-Lily Baisden was wonderful as Peggy Sawyer - the chorus girl getting her big break (“Sawyer, you're going out a youngster, but you've got to come back a star!”). ‘42nd Street’ is a celebration of song and dance - the quintessential show about putting on a show, with the bare minimum of plot. I hadn’t spotted it before but one of the songs (‘Dames’) includes the line “but who cares if there’s a plot or not”. This version of the show didn’t quite match the once-in-a-lifetime experience of seeing Mark Bramble’s stunning production of ‘42nd Street’ at the Theatre Royal, Drury Lane in 2017 (reviewed here in August 2017) with its massive cast of 55 people on stage (compared to 26 in the Leicester Curve production). But the combination of Warren & Dubin’s melodies and the ensemble tap-dance routines are always guaranteed to put a smile on your face.

'The Lion House' by Christopher de Bellaigue

1 September 2023

Having become fascinated with the Ottoman Empire after listening to the excellent Empire podcast (reviewed here in January 2023) I was intrigued to hear Rory Stewart (on The Rest is Politics podcast) recommending 'The Lion House', a novel by Christopher de Bellaigue set in the court of Suleyman the Magnificent. 'The Lion House', which I have just finished reading as an unabridged audio book, narrated by Barnaby Edwards, starts in 1522, two years after Suleyman succeeded his father, Selim I, as Sultan. Christopher de Bellaigue outlines the rivalry and connections between Suleyman's Ottoman Empire and the Holy Roman Empire of Charles V,  King Francis I of France, King Henry VIII of England, the Pope and the Doge of Venice. He introduces us to some of the key characters in Suleyman's court, including: Ibrahim - the Greek slave who became Suleyman's Grand Vizier; Alvise Gritti - the illegitimate son of the Doge of Venice who served Suleyman as an Ottoman Minister and Regent of Hungary; Suleyman's Polish wife Roxelana; and Barbarossa - the Barbary pirate who was appointed admiral of the Ottoman fleet. 'The Lion House' is more of an old-fashioned, slightly fictionalised, history book rather than a novel. It tells the macro story of Suleyman's Empire from the position of omniscient narrator, with very little dialogue. But it's a fascinating story.

Edinburgh Festivals 2023

1 September 2023

We had a great time at the Edinburgh festivals last week. This year we decided to go for 5 days rather than our usual 7, but we still managed to see 20 shows - and we chose well. I’m grateful to Kelly for her recommendations which were among our favourites. ‘Beautiful Evil Things’ was a one-woman show from Ad Infinitum in which Deborah Pugh plays the decapitated head of Medusa telling us the story of the Trojan Wars in a tour de force of physical theatre and story-telling. ‘Her Green Hell’ was another amazing one-woman performance, from TheatreGoose, with Sophie Kean playing the sole survivor of a plane crash in the Peruvian jungle, trying to make her way to safety - the remarkable true story of Juliane Koepcke and the 1971 LANSA Flight 508 plane crash. We also loved Out of the Forest theatre’s production: ‘The Brief Life & Mysterious Death of Boris III, King of Bulgaria’. King Boris III chose to ally with Hitler’s Germany rather than Russia in the Second World War but went on to undermine the Nazi’s plans, saving the lives of around 50,000 Bulgarian Jews before apparently being assassinated. Joseph Cullen and Sasha Wilson’s play with a cast of five was a hilarious comic pantomime that also managed to present a fascinating and respectful account of this forgotten episode in European history. We went to two stunning orchestral concerts at the Usher Hall. We saw the Oslo Philharmonic, conducted by Klaus Makela, give a thrilling performance of Shostakovich’s ‘Symphony No 5’. They also accompanied Yuja Wang playing both Ravel’s ‘Piano Concerto in G major’ and his ‘Piano Concerto for the Left Hand’ - which we played with the Northampton Symphony Orchestra a few years ago (reviewed here in November 2017). And we really enjoyed seeing the Simon Bolivar Symphony Orchestra from Venezuela playing the Beethoven Choral Symphony with the Edinburgh Festival Chorus - with conductor Rafael Payare pushing the pace throughout.

'Bleak Expectations' by Mark Evans

18 August 2023

I have been a big fan of the BBC Radio 4 Dickens parody ‘Bleak Expectations’ for many years (reviewed here in August 2008 and November 2012). As I wrote here in 2008: “Mixing its metaphors and Dickensian clichés in an enormous Victorian cauldron of gruel, Bleak Expectations creates a hilarious surreal world that could only exist on radio.” Proving me completely wrong, writer Mark Evans has now adapted his show for the stage and last Saturday we were at the Criterion Theatre in London to see it. The stage version features a completely new cast playing faithful recreations of my favourite characters. Dom Hodson as Pip Bin has exactly the right naive enthusiasm and blissful ignorance of the consequences of his actions, John Hopkins is ridiculously evil as Pip’s ex guardian Gently Benevolent and Marc Pickering has a ball playing all members of the Hardthrasher family. Best of all is JJ Henry demonstrating the unbreakable optimism of Harry Biscuit who is convinced that there is no problem that cannot be solved with swans (and cake!). Caroline Leslie’s production also, cleverly, includes a different guest star each week as the narrator, Sir Philip Bin. On Saturday our narrator was Stephen Fry - who seemed perfectly cast as the short-tempered pompous older version of the show’s protagonist (played on the radio by Richard Johnson). The guest narrator provides opportunities for some very funny ad-libbing with the cast and breaking of the fourth wall. Although I suspect everything is meticulously scripted, ‘Bleak Expectations’ has the feel of an improvised comedy in the vein of ‘Austentatious’ (reviewed here in August 2012). The enthusiastic young cast also reminded me of some of the funniest touring outdoor theatre companies such as the Pantaloons (reviewed here many times) and the Handlebards (first reviewed here in July 2018). It’s all incredibly silly but for a long-time fan it was brilliant. Harrumble!

'Romeo and Juliet' by WIlliam Shakespeare

9 August 2023

Last Friday evening we were back at Wrest Park in Silsoe to see another outdoor performance by the Lord Chamberlain’s Men. Last year we saw them perform 'As You Like It' (reviewed here in August 2022). This year's touring production is 'Romeo and Juliet', directed by Peter Stickney. The Lord Chamberlain's men provide the closest experience to what it must have been like to see the original versions of Shakespeare's plays - with an all male cast and Elizabethan costume. There are no gimmicks - just very high quality acting. They don't use any amplification, but even though we were near the back of the biggest audience I think I have seen for an outdoor production we could hear every word. We were lucky to have picked a dry evening and "the two hours' traffic of our stage" passed very enjoyably.

WOMAD 2023

2 August 2023

Last weekend I was back at Charlton Park in Wiltshire for the WOMAD Festival. At most festivals it is impossible to see everything (there were 160 artists performing at WOMAD this year) so you end up curating your own mini festival. I saw 23 performances (including 18 full sets) and this year my WOMAD was dominated by a series of remarkable women.

Liraz is a singer who was born to an Iranian-Jewish family and raised in Israel. In 2020, in defiance of the Iranian government, she recorded an album in a hidden basement in Istanbul with her Israeli octet and musicians from Tehran who cannot be named for fear of reprisals back home. Her music is joyous Middle Eastern pop underpinned by life-affirming political messages.

Marina Satti is a classically trained Greek-Sudanese singer  who founded Fonés - a female a cappella group performing traditional polyphonic songs  - and Chόres - a choir of 150 women aged 13–55. She combines catchy pop music with close harmony female vocals which draw on Greek and Bulgarian traditions and, at times, sound very like my favourite Finnish group Värttinä (reviewed here in August 2006). This video from 2019 showcases the vocal harmonies of Marina Satti and Fonés: https://www.youtube.com/watch?v=UEs0YJrdjYg  

It was great to see the Manchester-born Palestinian singer, musician and broadcaster Reem Kelani again, who I last saw at WOMAD in 2007 (reviewed here in August 2007) and whose 2006 debut album 'Sprinting Gazelle' is still a favourite of mine. Her explanation of the stories behind her songs gave fascinating insights into Middle Eastern and Mediterranean ancient and recent history and I would recommend listening to her Radio 4 documentary on the role of music in Egypt's 2011 revolution, 'Songs for Tahrir', which is available on BBC Sounds: https://www.bbc.co.uk/programmes/b019fxjf  

There were two great comic performances at WOMAD this year. It was wonderful to see the brilliant New Orleans-style Riot Jazz Brass Band - ten years after I first saw them at WOMAD (reviewed here in August 2013). As their website says Riot Jazz "hail from the grimy protoplasm of Manchester’s prolific creative scene, spreading unconditional love and irresistible energy across the nation and continent".  But what makes a Riot Jazz performance is their irrepressible frontman MC Chunky. Part compere, part comedian, part rapper, he provides a running commentary during and in between the tunes, orchestrating the audience participation, introducing the band and entertaining everyone, all in a strong Manchester accent. His role is also a very clever way of getting round the brass player's challenge of not being able to play continuously for an hour without a break. Here's a flavour of Riot Jazz: https://www.youtube.com/watch?v=s8iaBTIYv2w

Puuluup are a self-styled Estonian zombie-folk duo who play hiiu kannel (a rectangular violin-like instrument) and use electronic loopers to create multi-layered songs. As they explained "there used to be 38 other musicians in the band but it was too expensive so we got rid of them and bought a looper, and now we are rich". They have perfected a very serious kind of ridiculousness and the deadpan humour of their introductions to the songs is hilarious. We are told that most Estonian folk songs are about agriculture, or cross-country skiing. And when they finally play a love song it is an ode to a piece of technology - a wind turbine "but otherwise it is just like any other love song". This short video will give you an idea of taste of the craziness: https://www.youtube.com/watch?v=pVFFHgqrvZg

I always enjoy the Taste The World stage at WOMAD, where artists who are performing at the festival are interviewed while cooking a traditional dish from their country. This year I saw the eccentric Austrian singer Alicia Edelweiss wrongfoot her interviewer when asked whether the Knödel recipe she was demonstrating had been passed down through generations of her family, explaining that she had actually found it online last week in preparation for this session. And the most moving moment of the weekend was Sahra Halgan from Somaliland cooking a traditional meat casserole while talking about having to act, at the age of 16, as an untrained nurse during the war of independence against Somalia. When the resistance ran out of medicine, painkillers or antibiotics, she tried to relieve the pain of the wounded in the only way left to her - by singing to them. Somaliland has been a self-declared republic for 32 years, with a population of nearly 6 million people and regular democratic elections, but is still not officially recognised by the United Nations. Sahra Halgan singing, smiling and holding  a small Somaliland flag, while sprinkling spices into her bubbling casserole will be one of the images that stays with me from WOMAD 2023.

Finally it was a real privilege to see the legendary Afro-Peruvian singer Susana Baca. At 79 years her voice still has strength and delicacy, and her gentle, beautiful songs are delivered through a beaming smile.

You can see a selection of my photos from WOMAD 2023 at: http://culturaloutlook.blogspot.com/search/label/WOMAD2023

London Athletics Meet

25 July 2023

On Sunday we were back at the London Stadium in the Queen Elizabeth Olympic Park in East London for the Diamond League London Athletics Meet. This was billed as the biggest one-day athletics meeting in the world and we were part of a crowd of 50,000 watching an impressive line-up of Olympic and World Champions from across the globe. We didn’t move from our seats for just over four hours of gripping competition. With continuously overlapping track and field events coming thick and fast there is always something to watch - often too much happening at the same time! It was great to see some familiar British athletes competing - including Dina Asher-Smith, Katarina Johnson-Thompson and Hannah Cockcroft. We enjoyed a very entertaining Women’s Pole Vault competition, won by Wilma Murto of Finland. It was great to be there to see Zharnel Hughes beat the British record in the Men’s 200m set by John Regis in 1993. Femke Bol from the Netherlands looked outstanding in beating the European record for the Women's 400m Hurdles, with the third-fastest time ever. And there was an incredibly exciting finale to the afternoon as Scotland’s Jemma Reekie came from third place on the final bend to win the Women's 800m.

‘Groundhog Day’ by Tim Minchin and Danny Rubin

21 July 2023

Last Wednesday we were at the Old Vic in London to see the stage musical version of ‘Groundhog Day’, with music and lyrics by Tim Minchin and book by the screenwriter of the 1993 film, Danny Rubin. ‘Groundhog Day’ was originally produced at the Old Vic seven years ago, reuniting Minchin with Director Matthew Warchus, who had worked together on ‘Matilda’. Now, appropriately enough, ‘Groundhog Day is back at the Old Vic, in a revised version. In comparison to the film, the stage version has more time to explore the premise of what you would do if you were condemned to repeat the same day over and over again. The first half is fun but a little inconsequential. But after the interval the production becomes darker, more morally complex and much more interesting. Andy Karl’s performance as TV weatherman Phil Connors is a tour de force. He is hardly off stage throughout the show and the sleight of hand needed to ensure he is always ready to emerge from the bed in his B&B as the day starts again - despite having just been somewhere else on stage in a completely different costume - is brilliantly done.

Northampton Symphony Orchestra concert

21 July 2023

On Sunday 9 July I played in the Northampton Symphony Orchestra’s annual Friends Concert - a Sunday afternoon bonus concert for the Friends of the Orchestra which provides an opportunity for us to play a range of shorter and lighter pieces. This year’s programme included ‘The Gold and Silver Waltz’ by Franz Lehár, Franz von Suppè’s ‘Isabella Overture’ and the musical joke ‘Perpetuum Mobile’ by Johann Strauss II. We also featured a young clarinet soloist from Northamptonshire Music and Performing Arts trust playing the first movement of Weber’s ‘Clarinet Concerto No 2’ and NSO leader Emily Groom played the beautiful ‘Romance for violin and orchestra No. 2 in F major’ by Beethoven. The strings of the orchestra played Elgar’s ‘Serenade For Strings’ and we performed the ever popular ‘Hebrides Overture (Fingal's Cave)’ by Mendelssohn. It was a lovely way to end our 2022-23 concert season.

Wimbledon 2023

21 July 2023

On the middle Saturday of the Wimbledon Tennis Tournament we were very lucky to have tickets for No 1 Court where the roof was shut for most of the afternoon as rain came and went outside. We saw the men’s 3rd seed Daniil Medvedev lose the first set to Marton Fucsovics of Hungary before going on to win in four very competitive sets. Secondly we watched the women’s 2nd seed Aryna Sabalenka beat Anna Blinkova in straight sets. Finally we enjoyed an entertaining heavyweight contest between Alexander Zverev and Matteo Berrettini with Berrettini winning in three sets but needing two tie breaks to do so.

'Much Ado About Nothing' by William Shakespeare

21 July 2023

On Friday 7 July we were back at the Roman Theatre of Verulamium in St Albans to see the Ovo Theatre production of ‘Much Ado About Nothing’. It was a beautiful evening for an outdoor performance (though we struggled at first as the sun was directly in our eyes!). It was a typical Ovo production - an irreverent take on Shakespeare complete with 1980s pop music, audience participation and a small cast playing multiple parts (occasionally confusingly!). Great fun.

'Terminal World' by Alastair Reynolds

7 July 2023

Having really enjoyed Alastair Reynolds’ incredibly clever and satisfying genre-crossing novel 'Eversion' (reviewed here in June 2023) I was keen to read something else by him. ‘Terminal World’, published in 2010, is a more conventional science fiction novel, set in a far future, dystopian, steampunk Earth. It’s a thrilling chase adventure which takes us through a variety of places and encounters. I liked that the reader has to work quite hard to understand how this future world works: there is very little exposition - you just gradually piece together what is going on. But the plot constantly drives you forward and it’s a bewildering but enjoyable ride.

'Anomaly' by Jasdeep Singh Degun

30 June 2023

Jasdeep Singh Degun is a young sitarist and composer from Leeds who combines classical music traditions from across India with European orchestral music, jazz and 1990s Asian underground. His debut album ‘Anomaly’ (released by Real World Records in 2022) is a beautiful gentle collection of tracks across a range of styles, featuring other young British Asian musicians and string chamber orchestra. Jasdeep Singh Degun was mentored by Nitin Sawhney on the 2016 Sky Academy Arts Scholarship and he honours his mentor on the album with a version of Sawhney’s classic song ‘Nadia’. It’s a lovely album: you can listen to it all on YouTube at: https://www.youtube.com/playlist?list=OLAK5uy_kujeSGIWXpkUwkUEt3mSrSQCBb3tdJ89A

Northampton Symphony Orchestra concert

21 June 2023

Northampton Symphony Orchestra conductor John Gibbons and the NSO committee have been doing a wonderful job in making each of our recent concerts feel like a significant event - not just another orchestral concert but a truly special occasion. Last Saturday’s NSO concert certainly fell into this category as we provided a rare opportunity to experience a live performance of Dimitri Shostakovich’s epic ‘Symphony No 11: The Year 1905’. Written at the time of the 40th anniversary of the 1917 Russian revolution, Shostakovich negotiated his troubled relationship with the Soviet authorities with typical ambiguity by appearing both to celebrate and undermine the anniversary, creating a programmatic work focussing on the failed 1905 revolution. In January 1905 a peaceful protest outside the Tsar’s Winter Palace in St Petersburg turned into a massacre with the Imperial Guard killing around 1,000 protesters. The symphony has the feel of a film score, following the events of that tragic day from peaceful calm to brutal slaughter. It is an incredibly exciting piece of music, with huge dynamic ranges that really need to be heard live. The relentless energy of the final movement, driven by a deafening array of percussion instruments, conjures up the onslaught of Soviet tanks, perhaps suggesting much later military interventions. Our NSO performance of this amazing work was thrilling and owed much to an excellent percussion section (Keith Crompton, Nathan Burt, Matt Butler, Delwyn Calcraft-Jones, Tina Kenny and Huw Morgan). Also memorable was the incredibly moving unison melody played by the entire viola section in the slow third movement ('In Memoriam'). I was pleased to get my brief quiet solo horn fanfare out of the way at the beginning of the first movement and I was in awe of Terry Mayo who had to produce the same solo fanfare on trumpet repeatedly throughout the symphony. But I have even more respect for Harriet Brown whose substantial cor anglais solo comes almost at the end of the final movement and who must have had nerves of steel to play this gentle lament so beautifully after having to wait through the whole of the thunderous, emotional symphony for this moment of gentle reflection. This video gives a really interesting overview of Shostakovich’s 11th Symphony: Shostakovich: How to Compose a Massacre: https://www.youtube.com/watch?v=RU7a1b4yE-Q We opened the concert with the ‘William Tell Overture’ by Rossini, with a gorgeous cello solo by Corinne Malitskie. And the concert also featured a rare performance of Hamilton Harty’s setting of ‘Ode to a Nightingale’ by John Keats (from which F Scott Fitzgerald took the line ‘tender is the night’). It’s a lovely piece, brilliantly sung in our concert by the Irish soprano Alison Roddy. Hamilton Harty’s orchestration creates a Wagnerian feel with elements of Elgar and Richard Strauss. It is another great piece of music I have enjoyed getting to know by playing it. You can listen to ‘Ode to a Nightingale’ performed by Heather Harper with the Ulster Orchestra conducted by Bryden Thomson at: https://www.youtube.com/watch?v=HVVoWOjWKTM

'The Anarchy' by William Dalrymple

16 June 2023

Inspired by the excellent Empire podcast, presented by the historians William Dalrymple and Anita Anand (reviewed here in January 2023), I have just got around to reading ‘The Anarchy’ - William Dalrymple’s fascinating book explaining the rise and fall of the East India Company. The story of how “India’s transition to colonialism took place through the mechanism of a for-profit corporation which existed entirely for the purpose of enriching its investors” is truly incredible, appalling and chilling - not least how much of the company’s metamorphosis from trader to army to leader of a continent seems to have come about through fairly random happenstance and luck. The book taught me much I didn’t know about the history of India but also showed me connections I was completely unaware of with the American War of Independence, the Napoleonic Wars and much more. As William Dalrymple concludes: “The East India Company remains today history’s most ominous warning about the potential for the abuse of corporate power - and the insidious means by which the interests of shareholders can seemingly become those of the state”. ‘The Anarchy’ is essential reading.

'Eversion' by Alastair Reynolds

9 June 2023

I am keen to recommend Alastair Reynolds’ excellent novel ‘Eversion’, without giving too much away about it, as I really enjoyed being surprised by its twists and turns. Although Reynolds is best known as a science fiction writer, this book starts as an historical tale of a ship sailing up the coastline of Norway in the early 19th century. But then things get increasingly complicated. The best praise I can give ‘Eversion’ is that it reminded me of three of my favourite novels - from three very different genres. But I won’t tell you which because that would spoil the surprise!

Canada and USA

 9 June 2023

We had an amazing holiday in Canada and the USA over the past two weeks. We flew to Montreal and then drove across Quebec to Saint John in New Brunswick then on to Cape Breton Island in Nova Scotia. We then flew from Halifax to Boston, Massachusetts for a couple of days before joining a cruise on the Holland America ship Zaandam. The cruise took us to Bar Harbor in Maine, back to Halifax and Cape Breton, and then visited Charlottetown on Prince Edward Island, Quebec City and Montreal. It felt like several holidays sandwiched together! We were very lucky with the weather, getting mostly cool, sunny days with very little rain, and not seeing any evidence of the wildfires that are now causing so many problems. I think the highlight was our stay at a remote self-catering cottage overlooking the beautiful Bras D’Or Lake in Cape Breton, from where we explored the stunning Cabot Trail through Cape Breton Highlands National Park.

‘Guys and Dolls’ by Frank Loesser, Jo Swerling and Abe Burrows

16 May 2023

When Nicholas Hytner and Nick Starr opened the Bridge Theatre, next to Tower Bridge in London, in 2017, they created a very flexible theatre space. This has provided the opportunity for Hytner and set designer Bunny Christie to develop some very innovative promenade productions. I really enjoyed watching live screenings of their promenade stagings of 'Julius Caesar' (reviewed here in April 2018) and 'A Midsummer Night's Dream' (reviewed here in October 2019). On Saturday we were at the Bridge Theatre to see Hytner’s new promenade production of ‘Guys and Dolls’ by Frank Loesser, Jo Swerling and Abe Burrows - though we opted to sit in the gallery, looking down at the performance rather than promenading. It was fascinating to watch the floor of the theatre, laid out as a New York street scene, gradually fill with hundreds of people as the audience wandered in. But the show becomes truly spectacular when the actors emerge from the crowd and large sections of the floor rise hydraulically to form small stages for each scene. An army of stewards constantly shuffle the crowd back, before the ground they have been standing on starts to move. And the lighting (by Paule Constable) shifts our attention to different parts of the arena as the story flows seamlessly across Bunny Christie’s constantly moving set. It’s a brilliantly slick theatrical experience. ‘Guys and Dolls’ is the Bridge Theatre’s first musical and it’s a triumph. As long-time readers may remember, ‘Guys and Dolls’ is one of my favourite musicals. I still treasure the memory of seeing the legendary National Theatre production in the early 1980s (with Lulu as Miss Adelaide). When we last saw a production of ‘Guys and Dolls’, at Milton Keynes Theatre (reviewed here in February 2007) I came to it with raised expectations and was a bit disappointed. But the Bridge Theatre performance has completely rekindled my enthusiasm for the show. ‘Guys and Dolls’ has some of the best songs of any musical and the script (in the style of Damon Runyon) is genuinely funny. There was some excellent singing - from Celinde Shoenmaker as Sara Brown, Andrew Sherwood as Sky Masterson and Cedric Neal as Nicely-Nicely Johnson - and Daniel Mays does a great comic turn as Nathan Detroit. Marisha Wallace, who has toured with Simply Red, Michael Ball & Alfie Boe, and Lisa Stansfield, brought a powerful soul voice to Miss Adelaide. And there was some great choreography by Arlene Phillips with James Cousins. It’s a wonderful musical party - with some brilliant additional interval performances. I came out beaming.

'Wuthering Heights' by Emily Brontë, adapted by Lucinka Eisler and Ben Lewis

12 May 2023

Emily Brontë’s 'Wuthering Heights' is one of the many classic novels I have never got around to reading. More unusually, until last Saturday I had also somehow managed to avoid the many stage, film, TV and radio adaptations. So when we went to see the new version of 'Wuthering Heights' by the Inspector Sands theatre company at the Royal Theatre in Northampton, I genuinely did not know the story. This excellent production, conceived and developed by Lucinka Eisler and Ben Lewis and jointly produced by China Plate, Inspector Sands, Royal & Derngate, Northampton and Oxford Playhouse, presents the story as a tale recounted by six actors, each playing multiple roles, often questioning each other via a microphone to unpick the events at Wuthering Heights. It's a dark, brutal story of repeated abuse and violence but told, in this production, with much humour. Photos of the characters are helpfully stuck to a board at the back of the stage to provide a family tree - the actors removing their picture when a character dies. The grim tale of Catherine Earnshaw and Heathcliff is recounted in hindsight by the housekeeper Nelly Dean (Giulia Innocenti). It's a very inventive production, excellently acted. Condensing a complicated novel-length plot into a stage play, however, made it feel quite confusing at times - maybe assuming that most people would already be familiar with the story. So it has now prompted me to start reading the novel.

'Family Album' by Penelope Lively

4 May 2023

Penelope Lively’s 2009 novel ‘Family Album’ is a beautifully constructed series of snapshots of an eccentric English family. The opening chapter introduces us to the family as foreign affairs journalist Gina brings her new partner to meet her parents at the family home in which she grew up. But the following chapters start to flick backwards and forwards in time to show us the family’s history from the points of view of nine family members. It is impressive how Penelope Lively manages to make such a large cast of principal characters so distinct and well drawn: by the end of the novel you really feel you know them all. And her prose is gorgeous: a short passage describing walking down the staircase past photos of the children at various ages acts as a filmic montage of their childhoods. There are plenty of skeletons in the family’s cupboards (and their cellar) and much sadness in their stories. But this is a warm family portrait, drawn with love.