12 October 2017
Regular readers will know I am a big fan of Tom Robinson who we saw perform many times across the country in the 1990s. After twelve years of ‘retirement’ from touring, it was wonderful to witness his return with a one-off gig at the Jazz Cafe (reviewed here in August 2014). Following a tour to promote a new album in 2015 (reviewed here in November 2015), Tom Robinson is now touring again to mark the 40th anniversary of his first hit single ‘2-4-6-8 Motorway’. With a new band, featuring Adam Phillips, Andy Treacey and Jim Simmons, he is performing the whole of the first Tom Robinson Band album ‘Power in the Darkness’ which was released in 1978 (including some songs the Tom Robinson Band never performed live because they were too difficult!). We were at The Stables in Milton Keynes on Wednesday for the second date in the tour and it was a fantastic evening. Tom Robinson has such a big back catalogue that his concerts usually provide a richly varied mix of musical styles, but this performance of songs from a single album (plus the EP that immediately followed it) strangely felt more satisfying, giving a coherence and consistency to the music. And there are some great songs on ‘Power in the Darkness’ which opens with a brilliant rock number in ‘Up Against the Wall’ and closes with the title track – here updated to comment on the crazy politics of 2017. Tom Robinson was on great form: now 67 years old he needed a little more recovery time between songs but showed no lack of energy in performance. And the band were incredibly impressive. With support from the wonderful Lee Forsyth Griffiths – who we first saw supporting Tom Robinson at The Stables in 2001 – and a rapturous reception from a sold-out audience, it was a magnificent gig.
Thursday, October 12, 2017
Wednesday, October 11, 2017
'Promise and Promiscuity' by Penny Ashton
11 October 2017
‘Promise and Promiscuity’ is “a new musical by Jane Austen and New Zealand’s Penny Ashton” which we saw at the Stantonbury Theatre in Milton Keynes on Tuesday. In this one-woman fringe show, Penny Ashton creates a mock Jane Austen tale, combining elements from ‘Pride and Prejudice’ and ‘Sense and Sensibility’ with contemporary references and some songs. It’s a very entertaining performance and Ashton is an excellent performer. Her physical movement is particularly impressive and helps her to switch rapidly between multiple characters without the need for props or costumes. In her wordless curtain calls as the main characters we instantly knew who each was meant to be. ‘Promise and Promiscuity’ is clearly a labour of love and demonstrates Penny Ashton’s affection for Jane Austen’s novels, while gently poking fun at them. At times I felt it fell somewhere between satirising Austen and simply re-creating an Austen story – not as cheekily postmodern as the improvised ‘Austentatious’ (reviewed here in August 2012) but not quite straight Jane Austen either. Nevertheless it was great fun and Penny Ashton is a very likeable performer.
‘Promise and Promiscuity’ is “a new musical by Jane Austen and New Zealand’s Penny Ashton” which we saw at the Stantonbury Theatre in Milton Keynes on Tuesday. In this one-woman fringe show, Penny Ashton creates a mock Jane Austen tale, combining elements from ‘Pride and Prejudice’ and ‘Sense and Sensibility’ with contemporary references and some songs. It’s a very entertaining performance and Ashton is an excellent performer. Her physical movement is particularly impressive and helps her to switch rapidly between multiple characters without the need for props or costumes. In her wordless curtain calls as the main characters we instantly knew who each was meant to be. ‘Promise and Promiscuity’ is clearly a labour of love and demonstrates Penny Ashton’s affection for Jane Austen’s novels, while gently poking fun at them. At times I felt it fell somewhere between satirising Austen and simply re-creating an Austen story – not as cheekily postmodern as the improvised ‘Austentatious’ (reviewed here in August 2012) but not quite straight Jane Austen either. Nevertheless it was great fun and Penny Ashton is a very likeable performer.
Tuesday, October 03, 2017
'Searching for Dr Branovic' by David Tristram
3 October 2017
We first encountered the blissfully silly plays of David Tristram at the TADS Theatre in Toddington in 2009 when the TADS Theatre Group presented his surreal murder mystery ‘Inspector Drake and the Black Widow’ (reviewed here in April 2009). We returned to TADS to see the other two Inspector Drake plays (reviewed here in July 2010 and April 2011) and thoroughly enjoyed them. So it was a treat to discover a new David Tristram play at TADS last Saturday. ‘Searching for Doctor Branovic’ is a very clever farce which is set in a more realistic universe than Inspector Drake but still has some of the same ridiculous but consistent internal logic and a good line in running jokes. The cast in David Sachon’s production were all great but David Hillman as the exasperated Detective Inspector Munroe stood out and Chloe White stole the show as the bewildered widow whose husband appears to be less dead than initially thought.
We first encountered the blissfully silly plays of David Tristram at the TADS Theatre in Toddington in 2009 when the TADS Theatre Group presented his surreal murder mystery ‘Inspector Drake and the Black Widow’ (reviewed here in April 2009). We returned to TADS to see the other two Inspector Drake plays (reviewed here in July 2010 and April 2011) and thoroughly enjoyed them. So it was a treat to discover a new David Tristram play at TADS last Saturday. ‘Searching for Doctor Branovic’ is a very clever farce which is set in a more realistic universe than Inspector Drake but still has some of the same ridiculous but consistent internal logic and a good line in running jokes. The cast in David Sachon’s production were all great but David Hillman as the exasperated Detective Inspector Munroe stood out and Chloe White stole the show as the bewildered widow whose husband appears to be less dead than initially thought.
Wednesday, September 27, 2017
'Nocturnes' by imitating the dog
27 September 2017
On Tuesday we were at the Stantonbury Theatre in Milton Keynes to see ‘Nocturnes’ - a new play by ‘imitating the dog’ which is on tour following a run at the Edinburgh Fringe in August. Written and directed by Andrew Quick and Pete Brooks, ‘Nocturnes’ is an exploration of the relationship between film and stage. A black & white film noir – a spy story set in Berlin in 1956 – is shown on a large screen, beneath which three actors stand at microphones on the stage, speaking the lines of dialogue for the film. Initially this appears just to be a very impressive gimmick: the lip-synching with the film is spot-on and it’s difficult for the audience to know whether to watch the film or the live actors. But gradually you realise something more clever is going on. As the two lead actors attempt to deviate from the written script with the occasional improvisation, the third person on the stage forces them back onto the proper text. Meanwhile the film begins to jump and distort in response to the disruptions on the stage. And the audience begins to realise that every line of dialogue can be taken either as part of the filmed story or as a comment on what is happening on stage. This ambiguity is strangely unsettling. Indeed the whole performance is a very strange experience. Like Pirandello’s ‘Six Characters in Search of an Author’, the characters Harry and Amy (played on stage and screen by Laura Atherton and Matt Prendergast) are aware they are trapped in a drama and become desperate to escape. ‘Nocturnes’ is an unusual and compelling theatrical experience.
On Tuesday we were at the Stantonbury Theatre in Milton Keynes to see ‘Nocturnes’ - a new play by ‘imitating the dog’ which is on tour following a run at the Edinburgh Fringe in August. Written and directed by Andrew Quick and Pete Brooks, ‘Nocturnes’ is an exploration of the relationship between film and stage. A black & white film noir – a spy story set in Berlin in 1956 – is shown on a large screen, beneath which three actors stand at microphones on the stage, speaking the lines of dialogue for the film. Initially this appears just to be a very impressive gimmick: the lip-synching with the film is spot-on and it’s difficult for the audience to know whether to watch the film or the live actors. But gradually you realise something more clever is going on. As the two lead actors attempt to deviate from the written script with the occasional improvisation, the third person on the stage forces them back onto the proper text. Meanwhile the film begins to jump and distort in response to the disruptions on the stage. And the audience begins to realise that every line of dialogue can be taken either as part of the filmed story or as a comment on what is happening on stage. This ambiguity is strangely unsettling. Indeed the whole performance is a very strange experience. Like Pirandello’s ‘Six Characters in Search of an Author’, the characters Harry and Amy (played on stage and screen by Laura Atherton and Matt Prendergast) are aware they are trapped in a drama and become desperate to escape. ‘Nocturnes’ is an unusual and compelling theatrical experience.
Tuesday, September 26, 2017
Heliotrope Chamber Ensemble concert
26 September 2017
Performing a large chamber work with the Heliotrope Chamber Ensemble has become an annual treat, with last Saturday’s ‘Monumental Chamber Music’ concert, at Abington Avenue United Reformed Church in Northampton, marking my fourth appearance with the ensemble. After playing the 'Sonatina no. 2 for 16 Winds' by Richard Strauss ('From the Happy Workshop') last year (reviewed here in April 2016) I was really looking forward to tackling the Strauss ‘Sonatine no. 1 (‘From an Invalid’s Workshop’)’. It’s a similarly entertaining work with another incredibly challenging first horn part – brilliantly played by Meghan McCrimmon. The concert also included the ‘Divertissment’ for wind dectet by the French composer Emile Bernard, conducted by Catherine Rose, which featured a beautiful unaccompanied bassoon solo by Frank Jordan at the opening of the slow movement. But, for me, the highlight of the evening was a performance of Aaron Copland’s ballet suite ‘Appalachian Spring’ in its original scoring for flute, clarinet, bassoon, piano, double string quartet and double bass. Copland is one of a small number of composers whose style is so distinct you can identify a piece as one of his from hearing the merest fragment of a bar. ‘Appalachian Spring’ is peak Copland, creating an eerie, sparse beauty. Conducted by Stephen Bell (who also led the Strauss) the Heliotrope performance was delicate and haunting with particularly beautiful playing by Mara Griffiths (flute) and Michelle Yates (clarinet). It was another great Heliotrope chamber concert.
Performing a large chamber work with the Heliotrope Chamber Ensemble has become an annual treat, with last Saturday’s ‘Monumental Chamber Music’ concert, at Abington Avenue United Reformed Church in Northampton, marking my fourth appearance with the ensemble. After playing the 'Sonatina no. 2 for 16 Winds' by Richard Strauss ('From the Happy Workshop') last year (reviewed here in April 2016) I was really looking forward to tackling the Strauss ‘Sonatine no. 1 (‘From an Invalid’s Workshop’)’. It’s a similarly entertaining work with another incredibly challenging first horn part – brilliantly played by Meghan McCrimmon. The concert also included the ‘Divertissment’ for wind dectet by the French composer Emile Bernard, conducted by Catherine Rose, which featured a beautiful unaccompanied bassoon solo by Frank Jordan at the opening of the slow movement. But, for me, the highlight of the evening was a performance of Aaron Copland’s ballet suite ‘Appalachian Spring’ in its original scoring for flute, clarinet, bassoon, piano, double string quartet and double bass. Copland is one of a small number of composers whose style is so distinct you can identify a piece as one of his from hearing the merest fragment of a bar. ‘Appalachian Spring’ is peak Copland, creating an eerie, sparse beauty. Conducted by Stephen Bell (who also led the Strauss) the Heliotrope performance was delicate and haunting with particularly beautiful playing by Mara Griffiths (flute) and Michelle Yates (clarinet). It was another great Heliotrope chamber concert.
Friday, September 22, 2017
'The Box Garden' by Carol Shields
22 September 2017
I had forgotten how much I like the work of the Canadian novelist Carol Shields. Very much like Anne Tyler, Carol Shields (who died in 2003) wrote domestic dramas where something threatens to disrupt the pattern of day-to-day family life forcing the main character to reflect on her life and her future. I have just read ‘The Box Garden’ - a 1977 novel by Carol Shields which I found in a charity shop and it has rekindled my enthusiasm for her books. It is a very subtly but cleverly plotted novel. You are not sure where it is going to take you but by the time something dramatic happens to challenge the status quo the various members of the family at the heart of the story have been so well drawn that you can predict how each of them will react to the situation. It’s a beautifully written tale and has made me want to return to some of my favourite Carol Shields novels such as ‘Larry’s Party’ and ‘The Stone Diaries’.
I had forgotten how much I like the work of the Canadian novelist Carol Shields. Very much like Anne Tyler, Carol Shields (who died in 2003) wrote domestic dramas where something threatens to disrupt the pattern of day-to-day family life forcing the main character to reflect on her life and her future. I have just read ‘The Box Garden’ - a 1977 novel by Carol Shields which I found in a charity shop and it has rekindled my enthusiasm for her books. It is a very subtly but cleverly plotted novel. You are not sure where it is going to take you but by the time something dramatic happens to challenge the status quo the various members of the family at the heart of the story have been so well drawn that you can predict how each of them will react to the situation. It’s a beautifully written tale and has made me want to return to some of my favourite Carol Shields novels such as ‘Larry’s Party’ and ‘The Stone Diaries’.
‘Hard-Boiled Wonderland and the End of the World’ by Haruki Murakami
22 September 2017
Regular readers will know I am a big fan of the Japanese novelist Haruki Murakami. Earlier this year I spotted a couple of early Murakami novels I hadn’t read in a charity shop in Great Malvern. One of these was his 1985 novel ‘Hard-Boiled Wonderland and the End of the World’ which I have just finished reading. This book has all the usual Murakami elements – a contemporary real-world Japan setting into which magical realism starts to intrude, a parallel fantasy world and a host of Western cultural references. Murakami is probably an acquired taste – particularly in relation to his reluctance to tie up the loose ends of his incredibly weird plots. ‘Hard-Boiled Wonderland and the End of the World’ resolves more satisfyingly that many of his books but it’s still a very peculiar plot. I love the quirkiness and unpredictability of a Murakami novel and the seriousness with which he, and his characters, take their musical references – in this case, for example, discussing the merits of various different recordings of the ‘Brandenburg Concertos’. But if you are new to Haruki Murakami I would still suggest starting by reading 'Kafka on the Shore' (reviewed here in October 2006).
Regular readers will know I am a big fan of the Japanese novelist Haruki Murakami. Earlier this year I spotted a couple of early Murakami novels I hadn’t read in a charity shop in Great Malvern. One of these was his 1985 novel ‘Hard-Boiled Wonderland and the End of the World’ which I have just finished reading. This book has all the usual Murakami elements – a contemporary real-world Japan setting into which magical realism starts to intrude, a parallel fantasy world and a host of Western cultural references. Murakami is probably an acquired taste – particularly in relation to his reluctance to tie up the loose ends of his incredibly weird plots. ‘Hard-Boiled Wonderland and the End of the World’ resolves more satisfyingly that many of his books but it’s still a very peculiar plot. I love the quirkiness and unpredictability of a Murakami novel and the seriousness with which he, and his characters, take their musical references – in this case, for example, discussing the merits of various different recordings of the ‘Brandenburg Concertos’. But if you are new to Haruki Murakami I would still suggest starting by reading 'Kafka on the Shore' (reviewed here in October 2006).
Canary Islands Cruise
22 September 2017
We had a lovely cruise on the new P&O ship Britannia, visiting Spain, Madeira and the Canary Islands. We enjoyed lovely weather and fairly calm seas. Lanzarote was our favourite of the islands we visited but the highlight of our holiday was a return to the lovely city of Cadiz, which we visited last year on our previous cruise. On board the ship we did a lot of ballroom dancing: it’s wonderful to be able to dance to an excellent live band every night. And I took my first ever tap dancing lessons – something I have wanted to do for years and really enjoyed.
You can see a selection of my holiday photos at: https://culturaloutlook.blogspot.co.uk/search/label/CanariesSept2017
We had a lovely cruise on the new P&O ship Britannia, visiting Spain, Madeira and the Canary Islands. We enjoyed lovely weather and fairly calm seas. Lanzarote was our favourite of the islands we visited but the highlight of our holiday was a return to the lovely city of Cadiz, which we visited last year on our previous cruise. On board the ship we did a lot of ballroom dancing: it’s wonderful to be able to dance to an excellent live band every night. And I took my first ever tap dancing lessons – something I have wanted to do for years and really enjoyed.
You can see a selection of my holiday photos at: https://culturaloutlook.blogspot.co.uk/search/label/CanariesSept2017
Friday, September 01, 2017
'Stay With Me' by Ayobami Adebayo
1 September 2017
It was interesting to see ‘Yerma’ in the week I finished reading Ayobami Adebayo’s novel ‘Stay With Me’ (which I read as an unabridged audio book, narrated by Adjoa Andoh). This is another story of a couple’s desperation to have children – but in a very different context. Set in Nigeria in the 1980s and 1990s, ‘Stay With Me’ reveals a society which feels shockingly alien. The gender divide is stark, with polygamy the norm – and the reason for a husband to take multiple wives is entirely about providing the family with sufficient offspring. ‘Stay With Me’ tells its family saga through first person narration from the point of view of both Yejide and her husband Akin. It’s not a happy story – and it is set against a backdrop of military coups and armed robberies. But it provides a fascinating insight into what feels like a very old-fashioned, family focussed society but is actually a fairly recent period in Nigeria’s history.
It was interesting to see ‘Yerma’ in the week I finished reading Ayobami Adebayo’s novel ‘Stay With Me’ (which I read as an unabridged audio book, narrated by Adjoa Andoh). This is another story of a couple’s desperation to have children – but in a very different context. Set in Nigeria in the 1980s and 1990s, ‘Stay With Me’ reveals a society which feels shockingly alien. The gender divide is stark, with polygamy the norm – and the reason for a husband to take multiple wives is entirely about providing the family with sufficient offspring. ‘Stay With Me’ tells its family saga through first person narration from the point of view of both Yejide and her husband Akin. It’s not a happy story – and it is set against a backdrop of military coups and armed robberies. But it provides a fascinating insight into what feels like a very old-fashioned, family focussed society but is actually a fairly recent period in Nigeria’s history.
'Yerma' by Simon Stone after Federico García Lorca
1 September 2017
On Thursday we were at Leighton Buzzard Theatre to see the live screening of Simon Stone’s production of ‘Yerma’ from the Young Vic in London. Adapted by 31-year-old Australian director and writer Simon Stone from the 1934 play by Federico García Lorca, this ‘Yerma’ is set in contemporary London and features an amazing performance by Billie Piper. The play tells the story of a young couple (played by Billie Piper and Brendan Cowell) trying to start a family. We piece together their journey through a rapid series of short scenes, each separated by a passage of time (48 hours, a few months, two years) indicated by captions in a way that reminded me of Harold Pinter’s ‘Betrayal’. The dialogue is smart, hip and often overlapping and it took me a while to ‘tune in’ but the effect is very realistic. Indeed Stone does a remarkable job of making an old-fashioned brutal tragedy completely believable in this modern context. The set, by Lizzie Clachan encases the stage in a massive glass box, giving the impression that we are watching specimens in some scientific experiment and creating spooky effects with multiple reflections of the actors in the glass – in a similar way to the set for Polly Findlay's RSC production of 'The Merchant of Venice' (reviewed here in August 2015). The acting is excellent throughout: I particularly enjoyed Maureen Beattie as the unemotional, determinedly rational mother. The script is incredibly witty and the play is often very funny but, ultimately, it tells a grim tale. And Billie Piper, on stage for almost every minute of the play, gives an achingly real portrayal of a life gradually falling apart.
On Thursday we were at Leighton Buzzard Theatre to see the live screening of Simon Stone’s production of ‘Yerma’ from the Young Vic in London. Adapted by 31-year-old Australian director and writer Simon Stone from the 1934 play by Federico García Lorca, this ‘Yerma’ is set in contemporary London and features an amazing performance by Billie Piper. The play tells the story of a young couple (played by Billie Piper and Brendan Cowell) trying to start a family. We piece together their journey through a rapid series of short scenes, each separated by a passage of time (48 hours, a few months, two years) indicated by captions in a way that reminded me of Harold Pinter’s ‘Betrayal’. The dialogue is smart, hip and often overlapping and it took me a while to ‘tune in’ but the effect is very realistic. Indeed Stone does a remarkable job of making an old-fashioned brutal tragedy completely believable in this modern context. The set, by Lizzie Clachan encases the stage in a massive glass box, giving the impression that we are watching specimens in some scientific experiment and creating spooky effects with multiple reflections of the actors in the glass – in a similar way to the set for Polly Findlay's RSC production of 'The Merchant of Venice' (reviewed here in August 2015). The acting is excellent throughout: I particularly enjoyed Maureen Beattie as the unemotional, determinedly rational mother. The script is incredibly witty and the play is often very funny but, ultimately, it tells a grim tale. And Billie Piper, on stage for almost every minute of the play, gives an achingly real portrayal of a life gradually falling apart.
Thursday, August 24, 2017
'42nd Street' by Michael Stewart and Mark Bramble with songs by Harry Warren and Al Dubin
24 August 2017
‘42nd Street’ was a 1933 film directed by Lloyd Bacon with songs by Harry Warren and Al Dubin, and choreography by the inimitable Busby Berkeley. It was the classic feelgood backstage musical about the chorus girl who steps in for an indisposed leading lady and becomes a star – designed to cheer up depression-era America. ‘42nd Street’ didn’t become a stage musical until 1980 when the producer David Merrick commissioned a book by Michael Stewart and Mark Bramble and added more Warren & Dubin songs (originally written for other films). The show was a hit and the subsequent London West End production, in 1984, is famous for life imitating art as the teenaged Catherine Zeta-Jones actually had to stand in when both the actor playing Peggy Sawyer and her understudy were taken ill, and was then cast permanently in the role, launching her professional career. I saw that West End production when it toured to the Opera House in Manchester in the late 1980s and I can remember being bowled over from the start of the show when the current rises to reveal row upon row of people tap dancing to the title song. So I was looking forward to seeing whether the show was as good as I remembered when we went to see the latest West End revival, directed by the show’s author Mark Bramble, with choreography by Randy Skinner, at the Theatre Royal, Drury Lane, last Saturday. It was brilliant! Even that opening moment didn’t disappoint as the curtain rose a few tentative inches and paused to show forty pairs of tap dancing feet, before completing its ascent to reveal the whole massive stage of the Theatre Royal. ‘42nd Street’ is a delightfully old-fashioned musical: there is very little plot but the dialogue is snappy, the songs are wonderful and the dance numbers are truly amazing. This production has a cast of 55 people on stage (plus 19 musicians in the pit) and provides an endless supply of big dance numbers, including a typical Busby Berkeley circle of dancers lying on the stage with a huge overhead mirror to show the audience the kaleidoscopic patterns they create. The star name in the cast is Sheena Easton as awkward diva Dorothy Brock: I was particularly impressed by her singing in the challenging chromatic intervals of ‘About a Quarter To Nine’. But the show definitely belongs to the dancers: Clare Halse as Peggy Sawyer and Stuart Neal as Billy Lawlor were both incredible. With tap dancing there really is nowhere to hide – it’s audibly obvious if you put a foot wrong. And the increasingly ambitious tap routines create a thrilling, breath-holding fascination before delivering beautifully every time. By the final spectacular ensemble dances I had tears in my eyes from the sheer joy of this stunning live entertainment. ‘42nd Street’ is still a feelgood show for depressing times – go see it.
‘42nd Street’ was a 1933 film directed by Lloyd Bacon with songs by Harry Warren and Al Dubin, and choreography by the inimitable Busby Berkeley. It was the classic feelgood backstage musical about the chorus girl who steps in for an indisposed leading lady and becomes a star – designed to cheer up depression-era America. ‘42nd Street’ didn’t become a stage musical until 1980 when the producer David Merrick commissioned a book by Michael Stewart and Mark Bramble and added more Warren & Dubin songs (originally written for other films). The show was a hit and the subsequent London West End production, in 1984, is famous for life imitating art as the teenaged Catherine Zeta-Jones actually had to stand in when both the actor playing Peggy Sawyer and her understudy were taken ill, and was then cast permanently in the role, launching her professional career. I saw that West End production when it toured to the Opera House in Manchester in the late 1980s and I can remember being bowled over from the start of the show when the current rises to reveal row upon row of people tap dancing to the title song. So I was looking forward to seeing whether the show was as good as I remembered when we went to see the latest West End revival, directed by the show’s author Mark Bramble, with choreography by Randy Skinner, at the Theatre Royal, Drury Lane, last Saturday. It was brilliant! Even that opening moment didn’t disappoint as the curtain rose a few tentative inches and paused to show forty pairs of tap dancing feet, before completing its ascent to reveal the whole massive stage of the Theatre Royal. ‘42nd Street’ is a delightfully old-fashioned musical: there is very little plot but the dialogue is snappy, the songs are wonderful and the dance numbers are truly amazing. This production has a cast of 55 people on stage (plus 19 musicians in the pit) and provides an endless supply of big dance numbers, including a typical Busby Berkeley circle of dancers lying on the stage with a huge overhead mirror to show the audience the kaleidoscopic patterns they create. The star name in the cast is Sheena Easton as awkward diva Dorothy Brock: I was particularly impressed by her singing in the challenging chromatic intervals of ‘About a Quarter To Nine’. But the show definitely belongs to the dancers: Clare Halse as Peggy Sawyer and Stuart Neal as Billy Lawlor were both incredible. With tap dancing there really is nowhere to hide – it’s audibly obvious if you put a foot wrong. And the increasingly ambitious tap routines create a thrilling, breath-holding fascination before delivering beautifully every time. By the final spectacular ensemble dances I had tears in my eyes from the sheer joy of this stunning live entertainment. ‘42nd Street’ is still a feelgood show for depressing times – go see it.
Tuesday, August 15, 2017
'Golden Hill' by Francis Spufford
15 August 2017
I last encountered the historical writer Francis Spufford through his excellent BBC Radio 4 mini-series about HG Wells’ ‘The War of the Worlds’, ‘Following the Martian Invasion’ (reviewed here in March 2017). Spufford brings an historian’s touch to his first novel ‘Golden Hill’, which I have just finished reading (as an unabridged audio book, narrated by Sarah Borges). ‘Golden Hill’ is a brilliant tour de force. Set in Manhattan in 1746, when New York City has a population of 7,000 and feels like a frontier town, ‘Golden Hill’ is written in the style of novels of that period – a ‘Joseph Andrews’ for the New World. As a contemporary novel written in an historical style, it reminded me of Jo Baker's 'Longbourn' (reviewed here in April 2014), 'The Thousand Autumns of Jacob de Zoet’ by David Mitchell (reviewed here in August 2011) and 'The Luminaries' by Eleanor Catton (reviewed here in December 2013). ‘Golden Hill’ grips from the start as a mysterious young man arrives on a ship from London with a bill of exchange for an unbelievable amount of money. The novel is beautifully written, historically fascinating with wonderfully drawn characters and a mesmeric plot. It manages to be a very funny comic novel without reducing its protagonists to caricatures. And there is a final satisfying twist which is achieved without any damage to the believability of the story. ‘Golden Hill’ is one of the best novels I’ve read in years – very highly recommended.
I last encountered the historical writer Francis Spufford through his excellent BBC Radio 4 mini-series about HG Wells’ ‘The War of the Worlds’, ‘Following the Martian Invasion’ (reviewed here in March 2017). Spufford brings an historian’s touch to his first novel ‘Golden Hill’, which I have just finished reading (as an unabridged audio book, narrated by Sarah Borges). ‘Golden Hill’ is a brilliant tour de force. Set in Manhattan in 1746, when New York City has a population of 7,000 and feels like a frontier town, ‘Golden Hill’ is written in the style of novels of that period – a ‘Joseph Andrews’ for the New World. As a contemporary novel written in an historical style, it reminded me of Jo Baker's 'Longbourn' (reviewed here in April 2014), 'The Thousand Autumns of Jacob de Zoet’ by David Mitchell (reviewed here in August 2011) and 'The Luminaries' by Eleanor Catton (reviewed here in December 2013). ‘Golden Hill’ grips from the start as a mysterious young man arrives on a ship from London with a bill of exchange for an unbelievable amount of money. The novel is beautifully written, historically fascinating with wonderfully drawn characters and a mesmeric plot. It manages to be a very funny comic novel without reducing its protagonists to caricatures. And there is a final satisfying twist which is achieved without any damage to the believability of the story. ‘Golden Hill’ is one of the best novels I’ve read in years – very highly recommended.
County Wicklow
15 August 2017
Earlier this year my brother and his wife moved to the Republic of Ireland and last week we visited them in their new home in the beautiful Wicklow Mountains, South of Dublin. We had a lovely week exploring County Wicklow – walking part of the Wicklow Way with stunning views of the Great Sugar Loaf mountain, walking the spectacular coastal path from Bray to Greystones and looking down on the dramatic valley of the two lakes, Glendalough. We visited the stately homes of Castletown and Powerscourt and enjoyed a brilliant concert by the Chamber Philharmonia Cologne in Wicklow Town. We also visited the mediaeval town of Kilkenny on the opening day of the Kilkenny Arts Festival. And we were very lucky with the weather – hardly any rain and plenty of glorious sunshine. You can see a selection of my photos of Wicklow at: http://culturaloutlook.blogspot.co.uk/search/label/Wicklow2017
Earlier this year my brother and his wife moved to the Republic of Ireland and last week we visited them in their new home in the beautiful Wicklow Mountains, South of Dublin. We had a lovely week exploring County Wicklow – walking part of the Wicklow Way with stunning views of the Great Sugar Loaf mountain, walking the spectacular coastal path from Bray to Greystones and looking down on the dramatic valley of the two lakes, Glendalough. We visited the stately homes of Castletown and Powerscourt and enjoyed a brilliant concert by the Chamber Philharmonia Cologne in Wicklow Town. We also visited the mediaeval town of Kilkenny on the opening day of the Kilkenny Arts Festival. And we were very lucky with the weather – hardly any rain and plenty of glorious sunshine. You can see a selection of my photos of Wicklow at: http://culturaloutlook.blogspot.co.uk/search/label/Wicklow2017
Tuesday, August 01, 2017
WOMAD 2017
1 August 2017
I have been writing here about my annual visit to the WOMAD Festival every year since 2006, so regular readers will be expecting a list of my key highlights, a boast about how many bands I saw and some comments on the weather – and I don’t plan to disappoint you! This year it was good to get the chance to see again some old favourites as well as some great new discoveries. It was WOMAD 2009 when I last saw the great Wassalou singer from Mali, Oumou Sangaré (reviewed here in July 2009 and March 2009), and it was wonderful to see her on great form again on the Open Air Stage this weekend. I wrote here in January 2016 about ‘Junun’ – the wonderfully hard-to-categorise album of music by the Israeli composer Shye Ben Tzur, recorded with a troupe of Sufi qawwali musicians and Radiohead's Jonny Greenwood – and it was great to get the chance to see this music performed live by Shye Ben Tzur & Rajasthan Express on Friday. One of the most bizarre moments of the weekend was watching Dorit Chrysler and Charlie Draper from the New York Theremin Society performing a mixture of classical, jazz and contemporary music on the original electronic instrument – I want a theremin! Talking of bizarre, it was a joy to discover the brilliant Spooky Men’s Chorale from the Blue Mountains of Australia. As their own publicity says “Men. Singing Songs. Some of them are funny.” Their idiosyncratic mixture of dead-pan comedy, pathos and beautiful harmonies felt like a combination of the amazing Chumbawamba performance at WOMAD 2010 (reviewed here in July 2010) and the legendary Flying Pickets. Here’s a flavour of the Spooky Men’s Chorale: https://www.youtube.com/watch?v=RiFJL4IrH7Y. And another standout moment in an increasingly bizarre weekend was watching a 28-piece brass band playing Mike Oldfield’s ‘Tubular Bells’. Tubular Brass, arranged and conducted by Sandy Smith, also accompanied the young electronic music experimentalist Hannah Peel in her new work ‘Mary Casio’. But my favourite performances from WOMAD 2017 were all from the Baltic. Estonian fiddler Maarja Nuut and the Estonia folk trio Trad.Attack! both create very modern music from traditional folk sources. It has been eleven years since I last saw one of my favourite bands, the great Finnish folk/rock band Värttinä, live (reviewed here at WOMAD in August 2006) and it was fantastic to see their three female vocalists performing as Värttinä Vocal Trio on Saturday. They were joined by the English folk star Eliza Carthy for a wonderful English/Finnish version of ‘Three Drunken Maidens’. But my favourite song was the beautiful ‘Emoton’ which you can hear at: https://www.youtube.com/watch?v=VjsSMIXOnn0. For the record I beat last year’s tally of 22 bands, seeing 23 performances in total last weekend. And the weather was a mixed bag this year – hot, sunny, cold, wet, windy and very muddy by the end of the weekend. You can see a selection of my WOMAD 2017 photos at: https://culturaloutlook.blogspot.co.uk/search/label/WOMAD2017.
I have been writing here about my annual visit to the WOMAD Festival every year since 2006, so regular readers will be expecting a list of my key highlights, a boast about how many bands I saw and some comments on the weather – and I don’t plan to disappoint you! This year it was good to get the chance to see again some old favourites as well as some great new discoveries. It was WOMAD 2009 when I last saw the great Wassalou singer from Mali, Oumou Sangaré (reviewed here in July 2009 and March 2009), and it was wonderful to see her on great form again on the Open Air Stage this weekend. I wrote here in January 2016 about ‘Junun’ – the wonderfully hard-to-categorise album of music by the Israeli composer Shye Ben Tzur, recorded with a troupe of Sufi qawwali musicians and Radiohead's Jonny Greenwood – and it was great to get the chance to see this music performed live by Shye Ben Tzur & Rajasthan Express on Friday. One of the most bizarre moments of the weekend was watching Dorit Chrysler and Charlie Draper from the New York Theremin Society performing a mixture of classical, jazz and contemporary music on the original electronic instrument – I want a theremin! Talking of bizarre, it was a joy to discover the brilliant Spooky Men’s Chorale from the Blue Mountains of Australia. As their own publicity says “Men. Singing Songs. Some of them are funny.” Their idiosyncratic mixture of dead-pan comedy, pathos and beautiful harmonies felt like a combination of the amazing Chumbawamba performance at WOMAD 2010 (reviewed here in July 2010) and the legendary Flying Pickets. Here’s a flavour of the Spooky Men’s Chorale: https://www.youtube.com/watch?v=RiFJL4IrH7Y. And another standout moment in an increasingly bizarre weekend was watching a 28-piece brass band playing Mike Oldfield’s ‘Tubular Bells’. Tubular Brass, arranged and conducted by Sandy Smith, also accompanied the young electronic music experimentalist Hannah Peel in her new work ‘Mary Casio’. But my favourite performances from WOMAD 2017 were all from the Baltic. Estonian fiddler Maarja Nuut and the Estonia folk trio Trad.Attack! both create very modern music from traditional folk sources. It has been eleven years since I last saw one of my favourite bands, the great Finnish folk/rock band Värttinä, live (reviewed here at WOMAD in August 2006) and it was fantastic to see their three female vocalists performing as Värttinä Vocal Trio on Saturday. They were joined by the English folk star Eliza Carthy for a wonderful English/Finnish version of ‘Three Drunken Maidens’. But my favourite song was the beautiful ‘Emoton’ which you can hear at: https://www.youtube.com/watch?v=VjsSMIXOnn0. For the record I beat last year’s tally of 22 bands, seeing 23 performances in total last weekend. And the weather was a mixed bag this year – hot, sunny, cold, wet, windy and very muddy by the end of the weekend. You can see a selection of my WOMAD 2017 photos at: https://culturaloutlook.blogspot.co.uk/search/label/WOMAD2017.
Thursday, July 27, 2017
'GLOW' by Liz Flahive and Carly Mensch
27 July 2017
I’ve just finished watching the excellent new Netflix comedy drama series ‘GLOW’. The Gorgeous Ladies of Wrestling was a real 1980s TV franchise from which Liz Flahive and Carly Mensch have created this fictionalised show about the development of the show. Alison Brie plays Ruth – an aspiring actor struggling to land a serious role who comes to see the schlocky world of wrestling as a chance to perform. There is a great ensemble cast, including British pop singer Kate Nash making an impressive acting debut. ‘GLOW’ is very funny but ultimately succeeds because it really makes you care about the characters – as well as actually persuading this sceptic about the value of the staged sport it portrays. There is lots of 1980s period detail. And standup comedian Marc Maron steals the show as the sleazy director trying to bring a disparate group of women together to wrestle on camera.
I’ve just finished watching the excellent new Netflix comedy drama series ‘GLOW’. The Gorgeous Ladies of Wrestling was a real 1980s TV franchise from which Liz Flahive and Carly Mensch have created this fictionalised show about the development of the show. Alison Brie plays Ruth – an aspiring actor struggling to land a serious role who comes to see the schlocky world of wrestling as a chance to perform. There is a great ensemble cast, including British pop singer Kate Nash making an impressive acting debut. ‘GLOW’ is very funny but ultimately succeeds because it really makes you care about the characters – as well as actually persuading this sceptic about the value of the staged sport it portrays. There is lots of 1980s period detail. And standup comedian Marc Maron steals the show as the sleazy director trying to bring a disparate group of women together to wrestle on camera.
Friday, July 21, 2017
Northampton Symphony Orchestra concert
21 July 2017
The last concert of each Northampton Symphony Orchestra season is always a private performance for the Friends of the Orchestra - a chance to say thank you for their support and an opportunity for the orchestra to explore repertoire that might not fit into one of our main concerts. This year's NSO Friends' Concert, last Sunday, concluded our season of Fifth Symphonies with Beethoven's 'Symphony no 5'. With such a famous piece of music it is easy to take it for granted and assume you know it all. So it was good to have the opportunity, over the past few weeks, to really get to grips with the symphony and to appreciate why it is such a successful and well known work. During 2016-17 we have played the fifth symphonies by Shostakovich, Glazunov, Sibelius, Alwyn, Mendelssohn and Beethoven. It has been a really enjoyable and interesting season of concerts, cleverly programmed by NSO Conductor, John Gibbons. But I'm not sure whether we really identified any particular characteristics of fifth symphonies. It is interesting that for many composers the fifth symphony seems to be a particularly significant work but, beyond the fact that getting as far as writing five symphonies is likely to indicate a maturing of the composer's skill, I don't think we noticed any other common features.
The rest of our programme on Sunday included Sullivan's overture to 'The Yeomen of the Guard' and Handel's 'Music for the Royal Fireworks'. But the star attraction was the return of the brilliant young saxophonist, Jess Gillam, who played John Williams' 'Escapades' with the NSO at our February 2017 concert. Jess is due to make three appearances at this year's BBC Proms, starting with the John Williams Prom this Thursday (which is being shown on BBC4 on the evening of Friday 21 July). She joined us again on Sunday to try out some pieces by Chick Corea that will form part of one of her Proms performances. Jess Gillam is an amazing performer and it was a privilege to see her in action again.
Sunday's concert also marked a final appearance with the NSO by my fellow horn player, Ian Frankland. Ian has been with NSO for 19 years and we have played alongside each other since 2000. We've had a great time and played in some amazing concerts together. I'll really miss Ian and wish him well for his forthcoming move to Copenhagen.
The last concert of each Northampton Symphony Orchestra season is always a private performance for the Friends of the Orchestra - a chance to say thank you for their support and an opportunity for the orchestra to explore repertoire that might not fit into one of our main concerts. This year's NSO Friends' Concert, last Sunday, concluded our season of Fifth Symphonies with Beethoven's 'Symphony no 5'. With such a famous piece of music it is easy to take it for granted and assume you know it all. So it was good to have the opportunity, over the past few weeks, to really get to grips with the symphony and to appreciate why it is such a successful and well known work. During 2016-17 we have played the fifth symphonies by Shostakovich, Glazunov, Sibelius, Alwyn, Mendelssohn and Beethoven. It has been a really enjoyable and interesting season of concerts, cleverly programmed by NSO Conductor, John Gibbons. But I'm not sure whether we really identified any particular characteristics of fifth symphonies. It is interesting that for many composers the fifth symphony seems to be a particularly significant work but, beyond the fact that getting as far as writing five symphonies is likely to indicate a maturing of the composer's skill, I don't think we noticed any other common features.
The rest of our programme on Sunday included Sullivan's overture to 'The Yeomen of the Guard' and Handel's 'Music for the Royal Fireworks'. But the star attraction was the return of the brilliant young saxophonist, Jess Gillam, who played John Williams' 'Escapades' with the NSO at our February 2017 concert. Jess is due to make three appearances at this year's BBC Proms, starting with the John Williams Prom this Thursday (which is being shown on BBC4 on the evening of Friday 21 July). She joined us again on Sunday to try out some pieces by Chick Corea that will form part of one of her Proms performances. Jess Gillam is an amazing performer and it was a privilege to see her in action again.
Sunday's concert also marked a final appearance with the NSO by my fellow horn player, Ian Frankland. Ian has been with NSO for 19 years and we have played alongside each other since 2000. We've had a great time and played in some amazing concerts together. I'll really miss Ian and wish him well for his forthcoming move to Copenhagen.
Friday, July 14, 2017
'Alan Partridge: Nomad' by Alan Partridge with Rob Gibbons, Neil Gibbons and Steve Coogan
14 July 2017
When I reviewed the Alan Partridge ‘autobiography’, ‘I, Partridge: We Need to Talk About Alan’ (in May 2012) I was particularly taken with how it managed to replay many of the best known Partridge moments (from radio and TV series going back more than 20 years) without making the book feel like a ‘greatest hits’ exercise, merely replaying old jokes, but actually adding a further layer of hindsight humour by re-telling the various incidents in exactly the way Alan himself would. The ‘sequel’, ‘Alan Partridge: Nomad’ by Alan Partridge with Rob Gibbons, Neil Gibbons and Steve Coogan (which I have just finished reading as an unabridged audio book, narrated by Alan Partridge) cleverly extends this technique. In this diary of Alan’s ill-fated attempt to get a TV commission for a celebrity walking series (in the style of Julia Bradbury or Clare Balding) by embarking on an emotional trek across East Anglia in the footsteps of his father, he includes his reflections on almost everything that has happened to Alan Partridge since the publication of ‘I, Partridge’. This includes telling us about the events that form the plot of Declan Lowney’s excellent 2013 film ‘Alan Partridge: Alpha Papa’. The whole Alan Partridge canon has become increasingly meta-textual. Rob Gibbons and Neil Gibbons are genuine Partridge fans who have turned their obsessively pedantic (Patridgean?) attention to detail regarding Alan’s history to superb effect in the books.
When I reviewed the Alan Partridge ‘autobiography’, ‘I, Partridge: We Need to Talk About Alan’ (in May 2012) I was particularly taken with how it managed to replay many of the best known Partridge moments (from radio and TV series going back more than 20 years) without making the book feel like a ‘greatest hits’ exercise, merely replaying old jokes, but actually adding a further layer of hindsight humour by re-telling the various incidents in exactly the way Alan himself would. The ‘sequel’, ‘Alan Partridge: Nomad’ by Alan Partridge with Rob Gibbons, Neil Gibbons and Steve Coogan (which I have just finished reading as an unabridged audio book, narrated by Alan Partridge) cleverly extends this technique. In this diary of Alan’s ill-fated attempt to get a TV commission for a celebrity walking series (in the style of Julia Bradbury or Clare Balding) by embarking on an emotional trek across East Anglia in the footsteps of his father, he includes his reflections on almost everything that has happened to Alan Partridge since the publication of ‘I, Partridge’. This includes telling us about the events that form the plot of Declan Lowney’s excellent 2013 film ‘Alan Partridge: Alpha Papa’. The whole Alan Partridge canon has become increasingly meta-textual. Rob Gibbons and Neil Gibbons are genuine Partridge fans who have turned their obsessively pedantic (Patridgean?) attention to detail regarding Alan’s history to superb effect in the books.
'Respectable' by Lynsey Hanley
14 July 2017
Since the EU referendum in June last year, I’ve been thinking a lot about the class divisions that were highlighted by the vote in so many communities that clearly felt disconnected from, and disillusioned with, Government and the ‘metropolitan elite’. In September 2016 I saw the Guardian journalist Lynsey Hanley give a brilliantly entertaining and provocative presentation about class and culture at the Creative People and Places conference in Doncaster. Lynsey Hanley’s book ‘Respectable: Crossing the Class Divide’ has been my timely, inspiring and challenging companion over the past few months. It has made a significant impression on my thinking in a very similar way to ‘Welcome to Everytown’ – Julian Baggini’s exploration of mainstream culture (reviewed here in April 2008). So it was particularly interesting to discover a reference in ‘Respectable’ to ‘Welcome to Everytown’ – especially as I hadn’t come to this reference when I met Julian Baggini for the first time in February and encouraged him to read ‘Respectable’. Lynsey Hanley uses her own experience of social mobility as a platform to explore and explode many middle class assumptions about working class people and culture. It is an important and fascinating book – highly recommended.
Since the EU referendum in June last year, I’ve been thinking a lot about the class divisions that were highlighted by the vote in so many communities that clearly felt disconnected from, and disillusioned with, Government and the ‘metropolitan elite’. In September 2016 I saw the Guardian journalist Lynsey Hanley give a brilliantly entertaining and provocative presentation about class and culture at the Creative People and Places conference in Doncaster. Lynsey Hanley’s book ‘Respectable: Crossing the Class Divide’ has been my timely, inspiring and challenging companion over the past few months. It has made a significant impression on my thinking in a very similar way to ‘Welcome to Everytown’ – Julian Baggini’s exploration of mainstream culture (reviewed here in April 2008). So it was particularly interesting to discover a reference in ‘Respectable’ to ‘Welcome to Everytown’ – especially as I hadn’t come to this reference when I met Julian Baggini for the first time in February and encouraged him to read ‘Respectable’. Lynsey Hanley uses her own experience of social mobility as a platform to explore and explode many middle class assumptions about working class people and culture. It is an important and fascinating book – highly recommended.
'Titus Andronicus' by William Shakespeare
14 July 2017
Last Tuesday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see the new RSC production of ‘Titus Andronicus’. I had never seen ‘Titus Andronicus’ before and, although this was a stunning production, I don’t think I want to see it again. I knew the play has a reputation for being particularly gory but I found the plot incredibly discomfiting as well as not making a great deal of sense. There is a horrifically brutal rape scene that sits very uneasily with the dark comedy that follows. There is also an incredible amount of blood spilled during the performance: don’t sit in the front row! Blanche McIntyre’s modern-dress production is an amazing theatrical experience which compares contemporary crises to the decline of Roman civilisation, opening with anti-austerity protesters in hoodies trying to storm fences protecting the Roman Senate. There were some very witty touches, such as making the messenger Titus Andronicus sends to the Emperor into a cyclist with a padded ‘Deliveroma’ box on his back. And having some of the speeches delivered from a podium with a microphone allowed for a quiet comic undercutting of some of the more declarative text. The (very) dark humour reminded me of the 2005 National Theatre production of ‘Theatre of Blood’ (adapted by Lee Simpson and Phelim McDermott from the 1973 MGM movie). The always-impressive David Troughton, who I last saw at the RSC as Gloucester in ‘King Lear’ (reviewed here in September 2016) is wonderful as Titus Andronicus (is he working his way through the goriest Shakespearean parts?). This is a quality production of a very peculiar play.
Last Tuesday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see the new RSC production of ‘Titus Andronicus’. I had never seen ‘Titus Andronicus’ before and, although this was a stunning production, I don’t think I want to see it again. I knew the play has a reputation for being particularly gory but I found the plot incredibly discomfiting as well as not making a great deal of sense. There is a horrifically brutal rape scene that sits very uneasily with the dark comedy that follows. There is also an incredible amount of blood spilled during the performance: don’t sit in the front row! Blanche McIntyre’s modern-dress production is an amazing theatrical experience which compares contemporary crises to the decline of Roman civilisation, opening with anti-austerity protesters in hoodies trying to storm fences protecting the Roman Senate. There were some very witty touches, such as making the messenger Titus Andronicus sends to the Emperor into a cyclist with a padded ‘Deliveroma’ box on his back. And having some of the speeches delivered from a podium with a microphone allowed for a quiet comic undercutting of some of the more declarative text. The (very) dark humour reminded me of the 2005 National Theatre production of ‘Theatre of Blood’ (adapted by Lee Simpson and Phelim McDermott from the 1973 MGM movie). The always-impressive David Troughton, who I last saw at the RSC as Gloucester in ‘King Lear’ (reviewed here in September 2016) is wonderful as Titus Andronicus (is he working his way through the goriest Shakespearean parts?). This is a quality production of a very peculiar play.
'Great Expectations' by Charles Dickens, adapted by Laura Turner
14 July 2017
On Saturday 1 July we were at the National Trust stately home at Claydon near Buckingham for an outdoor theatre production by Chapterhouse Theatre Company. We have seen many Chapterhouse productions over recent years (at a variety of venues) and they always bring an impressive cast of young actors who rise to the many challenges of an outdoor performance. Laura Turner has made a specialism of adapting classic novels for Chapterhouse outdoor productions and this time we saw her adaptation of ‘Great Expectations’ by Charles Dickens. It was a beautiful evening to spend in such a lovely setting, with Claydon itself playing the part of Satis House and a wonderful sunset providing the backdrop to the play. The cast were all very strong but Dominic Quinn, making his Chapterhouse debut as a late replacement for the actor playing Magwitch and Jaggers, was particularly impressive.
On Saturday 1 July we were at the National Trust stately home at Claydon near Buckingham for an outdoor theatre production by Chapterhouse Theatre Company. We have seen many Chapterhouse productions over recent years (at a variety of venues) and they always bring an impressive cast of young actors who rise to the many challenges of an outdoor performance. Laura Turner has made a specialism of adapting classic novels for Chapterhouse outdoor productions and this time we saw her adaptation of ‘Great Expectations’ by Charles Dickens. It was a beautiful evening to spend in such a lovely setting, with Claydon itself playing the part of Satis House and a wonderful sunset providing the backdrop to the play. The cast were all very strong but Dominic Quinn, making his Chapterhouse debut as a late replacement for the actor playing Magwitch and Jaggers, was particularly impressive.
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