26 March 2008
The young folk singer, Bella Hardy, from Edale in Derbyshire was recently nominated for a BBC Radio 2 Folk Award and provided harmony vocals on the excellent debut album by Ruth Notman (reviewed here in February 2008). Last week we took the opportunity to see Bella perform in the newly refurbished bar at the Queen's Theatre in Barnstaple. The unusual surroundings ("like performing in Ikea") and small audience (18 people) made for an intimate gig. Bella was accompanied on the Anglo concertina by Chrs Sherburn and Chris's experience and laid-back comic personality made for plenty of gentle banter - an entertaining double act. Bella has a beautiful and impressive voice. She sings traditional English folk songs that tell a story - mostly grim tales, even when the music is uplifting. I would have welcomed a little more variety of style - it would have been good to hear her voice in a more modern idiom occasionally - but it was a lovely evening and I've been enjoying her CD 'Night Visiting'.
Wednesday, March 26, 2008
'In the Valley of Elah'
26 March 2008
Last Monday we were at the delightful little cinema in Lynton, North Devon, to see 'In the Valley of Elah' - a film with Tommy Lee Jones and Charlize Theron about American soldiers returning from Iraq. Although dealing with an extremely grim subject this was a clever and enjoyable film which repeatedly avoided the many traps it could easily have fallen into. Most of the horrors are recounted rather than shown and I think the message is more powerful for it.
Last Monday we were at the delightful little cinema in Lynton, North Devon, to see 'In the Valley of Elah' - a film with Tommy Lee Jones and Charlize Theron about American soldiers returning from Iraq. Although dealing with an extremely grim subject this was a clever and enjoyable film which repeatedly avoided the many traps it could easily have fallen into. Most of the horrors are recounted rather than shown and I think the message is more powerful for it.
Exmoor
26 March 2008
We had a lovely week at Brendon on Exmoor, exploring the moor, coast and valleys of North Devon (and parts of Somerset). We did lots of walking and had plenty of cream teas. The countryside is very pretty, varied and (during March at least) extremely quiet. We particularly enjoyed the coastal path near Woody Bay and the beautiful Doone Valley - though we discovered the dangers of assuming that 'bridlepath' is the same thing as 'footpath' when our route pointed straight across a busy river! (Not having a horse with us we enjoyed a lengthy and fruitless search for a footbridge followed by a rather adventurous crossing!) We were lucky with the weather which was cold but mostly clear and sunny - having avoided the storms of the previous week and the snow that followed our return. A relaxing break.
We had a lovely week at Brendon on Exmoor, exploring the moor, coast and valleys of North Devon (and parts of Somerset). We did lots of walking and had plenty of cream teas. The countryside is very pretty, varied and (during March at least) extremely quiet. We particularly enjoyed the coastal path near Woody Bay and the beautiful Doone Valley - though we discovered the dangers of assuming that 'bridlepath' is the same thing as 'footpath' when our route pointed straight across a busy river! (Not having a horse with us we enjoyed a lengthy and fruitless search for a footbridge followed by a rather adventurous crossing!) We were lucky with the weather which was cold but mostly clear and sunny - having avoided the storms of the previous week and the snow that followed our return. A relaxing break.
'Confessions of an Ugly Stepsister' by Gregory Maguire
26 March 2008
Some time in 2001 I heard someone on the radio talking about a novel that was going to tell the story of the childhood of the Wicked Witch of the West from The Wizard of Oz. Even though the book had not yet been published in the UK, I was hooked by the concept. During a trip to Seattle in 2002 I bought a copy of 'Wicked' by Gregory Maguire at the wonderful Elliot Bay Book Company store and I loved it. It has since become a bestseller and spawned a Broadway musical. So it was with some expectation that I started reading Gregory Maguire's 'Confessions of an Ugly Stepsister' which attempts a similar trick with the Cinderella story. 'Wicked' is a strange and peculiar book which travels into the realms of magical realism: 'Confessions' is less ambitious - more a straightforward historical novel - and better for it. Both take the 'Rosencrantz and Guildenstern Are Dead' approach - showing you familiar events from the point of view of previously minor characters. But I thought 'Confessions of an Ugly Stepsister' had more in common with those other Tom Stoppard plays (such as 'Travesties' and 'The Invention of Love') where the more familiar story that the characters inhabit only gradually reveals itself. By the time 'Confessions of an Ugly Stepsister' resolves itself into the events around Cinderella's appearance at the ball it is almost a surprise. It's a very neat and satisfying story and has a lot to say about appearances and transformations.
Some time in 2001 I heard someone on the radio talking about a novel that was going to tell the story of the childhood of the Wicked Witch of the West from The Wizard of Oz. Even though the book had not yet been published in the UK, I was hooked by the concept. During a trip to Seattle in 2002 I bought a copy of 'Wicked' by Gregory Maguire at the wonderful Elliot Bay Book Company store and I loved it. It has since become a bestseller and spawned a Broadway musical. So it was with some expectation that I started reading Gregory Maguire's 'Confessions of an Ugly Stepsister' which attempts a similar trick with the Cinderella story. 'Wicked' is a strange and peculiar book which travels into the realms of magical realism: 'Confessions' is less ambitious - more a straightforward historical novel - and better for it. Both take the 'Rosencrantz and Guildenstern Are Dead' approach - showing you familiar events from the point of view of previously minor characters. But I thought 'Confessions of an Ugly Stepsister' had more in common with those other Tom Stoppard plays (such as 'Travesties' and 'The Invention of Love') where the more familiar story that the characters inhabit only gradually reveals itself. By the time 'Confessions of an Ugly Stepsister' resolves itself into the events around Cinderella's appearance at the ball it is almost a surprise. It's a very neat and satisfying story and has a lot to say about appearances and transformations.
Thursday, March 13, 2008
Eilís Kennedy and Pauline Scanlon
13 March 2008
Spellbinding session from the beautiful west of Ireland voices of Eilís Kennedy and Pauline Scanlon on Charlie Gillett's Radio 3 show this week. You can listen again here and hear the first few tracks from their forthcoming album at: http://www.myspace.com/dinglewhitefemales.
Spellbinding session from the beautiful west of Ireland voices of Eilís Kennedy and Pauline Scanlon on Charlie Gillett's Radio 3 show this week. You can listen again here and hear the first few tracks from their forthcoming album at: http://www.myspace.com/dinglewhitefemales.
Monday, March 10, 2008
Milton Keynes City Orchestra concert
12 March 2008
On Sunday night we were at Milton Keynes Theatre to hear the Milton Keynes City Orchestra conducted by Sian Edwards. The first half of the concert was a performance of Beethoven's 'Triple Concerto' with Diana Cummings (violin), Nigel Clayton (piano) and the wonderful show-stealing Oleg Kogan ('cello) who was a late replacement for the injured Gerard Le Feuvre. After the interval the MKCO were joined by the Milton Keynes Music Service Symphony Orchestra for a joint performance of the overture 'The Italian Girl in Algiers' by Rossini. With nearly 100 players on the stage it looked and sounded amazing: the playing was incredibly tight and precise and my only disappointment was that (with one notable exception) all the woodwind solos were taken by the professional players rather than the local youngsters. Before they completed the concert with Haydn's 'Symphony No. 103 - Drum Roll', I was pleased to see MKCO take on something a little out of the ordinary with the strange, atmospheric 'Nostalgia' by Takemitsu - a tribute to the Russian film director Andrei Tarkovsky.
Northampton Symphony Orchestra concert
10 March 2008
Saturday's Northampton Symphony Orchestra concert was an exciting but exhausting challenge for those of playing in it. We started with the 'Symphonic Dances from West Side Story' by Leonard Bernstein - an incredibly difficult piece. While it might not have been perfect, I thought our performance was an impressive achievement with many of the complex rhythmic challenges mastered and some stunning passages. The orchestra then accompanied the excellent David Le Page in the Violin Concerto by Samuel Barber - one of my favourite works. We finished with Tchaikowsky's 'Symphony No. 6 - Pathetique' - both emotionally and physically draining but well worth the effort. There is nothing quite like the moment where the euphoria of the triumphant conclusion of the rousing third movment march is shattered by the devastating onslaught of the heart-wrenching final movement (particularly when the marathon third movement has left you feeling like you'll never be able to play another note!).
Saturday's Northampton Symphony Orchestra concert was an exciting but exhausting challenge for those of playing in it. We started with the 'Symphonic Dances from West Side Story' by Leonard Bernstein - an incredibly difficult piece. While it might not have been perfect, I thought our performance was an impressive achievement with many of the complex rhythmic challenges mastered and some stunning passages. The orchestra then accompanied the excellent David Le Page in the Violin Concerto by Samuel Barber - one of my favourite works. We finished with Tchaikowsky's 'Symphony No. 6 - Pathetique' - both emotionally and physically draining but well worth the effort. There is nothing quite like the moment where the euphoria of the triumphant conclusion of the rousing third movment march is shattered by the devastating onslaught of the heart-wrenching final movement (particularly when the marathon third movement has left you feeling like you'll never be able to play another note!).
Tuesday, March 04, 2008
'Rafta, Rafta ...' by Ayub Khan-Din
4 March 2008
I very much enjoyed the National Theatre production of 'Rafta, Rafta ...' by Ayub Khan-Din which we saw at Milton Keynes Theatre last Saturday. It was based on the 1953 play 'All in Good Time' by Bill Naughton (which was filmed as 'The Family Way' with Hywel Bennett and John Mills) but updated to focus on an Indian family in modern day Bolton. A young couple, unable to afford their own home, start their married life sharing the groom's parents' small terraced house. The original plot worked remarkably well in its new setting - some things don't change that much and have a kind of universality across cultures! Michael Coveney, writing in the programme, suggested that Naughton sits on a line of popular playwriting from the likes of Harold Brighouse to Alan Bennett and Alan Ayckbourn. There are clear echoes of 'Hobson's Choice' here and 'Rafta, Rafta ...' definitely has the look and feel of an Ayckbourn play - and is similarly extremely funny. Like Ayckbourn it is accessible and entertaining while gradually revealing its deeper, darker themes. There was a great central performance from Harish Patel as the comical patriarch, and a wonderful set showing a dolls-house cross-section of his two-up, two-down.
I very much enjoyed the National Theatre production of 'Rafta, Rafta ...' by Ayub Khan-Din which we saw at Milton Keynes Theatre last Saturday. It was based on the 1953 play 'All in Good Time' by Bill Naughton (which was filmed as 'The Family Way' with Hywel Bennett and John Mills) but updated to focus on an Indian family in modern day Bolton. A young couple, unable to afford their own home, start their married life sharing the groom's parents' small terraced house. The original plot worked remarkably well in its new setting - some things don't change that much and have a kind of universality across cultures! Michael Coveney, writing in the programme, suggested that Naughton sits on a line of popular playwriting from the likes of Harold Brighouse to Alan Bennett and Alan Ayckbourn. There are clear echoes of 'Hobson's Choice' here and 'Rafta, Rafta ...' definitely has the look and feel of an Ayckbourn play - and is similarly extremely funny. Like Ayckbourn it is accessible and entertaining while gradually revealing its deeper, darker themes. There was a great central performance from Harish Patel as the comical patriarch, and a wonderful set showing a dolls-house cross-section of his two-up, two-down.
Friday, February 29, 2008
'There Will Be Blood'
29 February 2008
Paul Thomas Anderson's film 'There Will Be Blood' has received rave reviews - particularly for its tour-de-force performance by Daniel Day Lewis - with some daring to compare it with 'Citizen Kane'. It therefore had a lot to live up to when I went to see it yesterday and, while it didn't entirely succeed, it is a very impressive work. From the start it has the feel of an epic with wide open landscapes, long silences and a gritty visceral portrayal of the realities of digging for oil at the turn of the 19th/20th centuries. There is some great cinematography - you really need to see it on a big screen for those scenes where the camera fixes on a long view of the countryside in which something important is happening between two tiny figures in the bottom left hand corner. The plot is intriguingly unpredictable whilst, paradoxically, almost everything that happens seems to have been telegraphed by a casual comment much earlier in the film. And while we clearly spend much of the film rooting for Daniel Day Lewis's character, Daniel Plainview, - particularly in his battles with the extremely creepy preacher played by Paul Dano - we never really like him. Is he a monster? - or just an ordinary man trying to achieve his goals? Is he lonely? - or just manipulative? An impressive film that generates more questions than it answers - and probably needs to be seen several times.
Paul Thomas Anderson's film 'There Will Be Blood' has received rave reviews - particularly for its tour-de-force performance by Daniel Day Lewis - with some daring to compare it with 'Citizen Kane'. It therefore had a lot to live up to when I went to see it yesterday and, while it didn't entirely succeed, it is a very impressive work. From the start it has the feel of an epic with wide open landscapes, long silences and a gritty visceral portrayal of the realities of digging for oil at the turn of the 19th/20th centuries. There is some great cinematography - you really need to see it on a big screen for those scenes where the camera fixes on a long view of the countryside in which something important is happening between two tiny figures in the bottom left hand corner. The plot is intriguingly unpredictable whilst, paradoxically, almost everything that happens seems to have been telegraphed by a casual comment much earlier in the film. And while we clearly spend much of the film rooting for Daniel Day Lewis's character, Daniel Plainview, - particularly in his battles with the extremely creepy preacher played by Paul Dano - we never really like him. Is he a monster? - or just an ordinary man trying to achieve his goals? Is he lonely? - or just manipulative? An impressive film that generates more questions than it answers - and probably needs to be seen several times.
Wednesday, February 27, 2008
'Vampire Weekend' by Vampire Weekend
27 February 2008
My new favourite band is Vampire Weekend. Their eponymous debut CD combines the cocky swagger of Arctic Monkeys (reviewed here in February 2006 and April 2007) with the American indie sound of bands like Tilly and the Wall (reviewed here in March 2007), a liberal use of strings and harpsichord and South African and West African guitar sounds - a unique and infectious concoction.
My new favourite band is Vampire Weekend. Their eponymous debut CD combines the cocky swagger of Arctic Monkeys (reviewed here in February 2006 and April 2007) with the American indie sound of bands like Tilly and the Wall (reviewed here in March 2007), a liberal use of strings and harpsichord and South African and West African guitar sounds - a unique and infectious concoction.
Monday, February 25, 2008
'Mary Shelley's Frankenstein' adapted by Lisa Evans
25 February 2008
Having read Mary Shelley's original novel for the first time last year (reviewed here in May 2007), I was particularly looking forward to the new stage version of 'Frankenstein' adapted by Lisa Evans for the Northampton Royal & Derngate and Frantic Assembly. Laurie Sansom's ambitious production awakened memories of Rupert Goold's stagings of 'Faust', 'Paradise Lost' and 'Hamlet' which built the Royal Theatre's reputation for innovation. 'Frankenstein' was another impressive show with much to admire. Victor Frankenstein's story was set within a modern tale in which a woman visits her sister, Mary, in a secure psychiatric hospital where she is being held following her conviction for murdering her baby. This invites consideration of the term 'monster' and echoes Mary Shelley's themes of birth, creation and death. In her hospital room Mary is reading 'Frankenstein' and it is a magical moment when she first opens up the book and the characters explode through a trap door onto the stage to play out the drama in front of her. The links between Mary's story and the book are subtly strengthened as she takes on some of the roles in Frankenstein's narrative. But the main coup-de-theatre is the decision to cast the dancer Richard Winsor as the monster. Winsor has been one of the principal dancers in Matthew Bourne's company (playing the title role in 'Edward Scissorhands', reviewed here in January 2006) and gives an amazing physical performance as the monster: the scene in which he comes to life is truly incredible. He is compelling throughout, commanding the stage and acrobatically cantering up and down the set. Having said that, I'm not sure he was quite scary enough: I don't think his physical appearance would have created such a strong instant reaction from everyone he encountered and there were times when the tension was punctured by the audience seeing too much of the monster too soon. I also thought the framing device of Mary's story wasn't quite substantial enough: given that 'Frankenstein' is already a series of 'nested narratives', I think we needed something more unpredictable to draw us into the framing story. Perhaps it was because I had read the book quite recently but this very faithful adaptation lacked some elements of surprise and shock. Nevertheless there were some great moments and much food for thought - and it was wonderful to see Laurie Sansom continuing the practice of using a 'community cast' of local amateurs in the supporting roles (as he did in 'Follies' reviewed here in November 2006).
Having read Mary Shelley's original novel for the first time last year (reviewed here in May 2007), I was particularly looking forward to the new stage version of 'Frankenstein' adapted by Lisa Evans for the Northampton Royal & Derngate and Frantic Assembly. Laurie Sansom's ambitious production awakened memories of Rupert Goold's stagings of 'Faust', 'Paradise Lost' and 'Hamlet' which built the Royal Theatre's reputation for innovation. 'Frankenstein' was another impressive show with much to admire. Victor Frankenstein's story was set within a modern tale in which a woman visits her sister, Mary, in a secure psychiatric hospital where she is being held following her conviction for murdering her baby. This invites consideration of the term 'monster' and echoes Mary Shelley's themes of birth, creation and death. In her hospital room Mary is reading 'Frankenstein' and it is a magical moment when she first opens up the book and the characters explode through a trap door onto the stage to play out the drama in front of her. The links between Mary's story and the book are subtly strengthened as she takes on some of the roles in Frankenstein's narrative. But the main coup-de-theatre is the decision to cast the dancer Richard Winsor as the monster. Winsor has been one of the principal dancers in Matthew Bourne's company (playing the title role in 'Edward Scissorhands', reviewed here in January 2006) and gives an amazing physical performance as the monster: the scene in which he comes to life is truly incredible. He is compelling throughout, commanding the stage and acrobatically cantering up and down the set. Having said that, I'm not sure he was quite scary enough: I don't think his physical appearance would have created such a strong instant reaction from everyone he encountered and there were times when the tension was punctured by the audience seeing too much of the monster too soon. I also thought the framing device of Mary's story wasn't quite substantial enough: given that 'Frankenstein' is already a series of 'nested narratives', I think we needed something more unpredictable to draw us into the framing story. Perhaps it was because I had read the book quite recently but this very faithful adaptation lacked some elements of surprise and shock. Nevertheless there were some great moments and much food for thought - and it was wonderful to see Laurie Sansom continuing the practice of using a 'community cast' of local amateurs in the supporting roles (as he did in 'Follies' reviewed here in November 2006).
Friday, February 22, 2008
'One Good Turn' by Kate Atkinson
22 February 2008
Reading the blurb at the front of Kate Atkinson's latest novel, 'One Good Turn', I realised that I have read all her published books. While this obviously suggests that I like her writing, I think what has kept me reading is her exploration of a variety of styles - from the wonderful family saga of 'Behind the Scenes at the Museum' to the comedy thriller ('Emotionally Weird'), dalliances with magic realism (in 'Human Croquet' and the short story collection 'Not the End of the World') and an innovative take on the detective novel ('Case Histories'). Jackson Brodie, the hero of 'Case Histories', gets a second outing in 'One Good Turn' which is subtitled 'A Jolly Murder Mystery' but I found it quite a different book with a complex but subtle structure. The story is told in the third person but the point of view rotates, chapter by chapter, through at least half a dozen main characters. In many cases the switch of viewpoint at the start of the chapter allows the author to skip back a few minutes and replay the latest action from a different perspective. This creates a gradual unveiling of what has happened. As with many of Atkinson's books, clever twists are sufficiently signposted for the reader to guess them just before the characters do - making for an extremely satisfying and enjoyable read. Intriguing, gripping, not too demanding but cleverer than it first appears. There is a running theme about Russian dolls and you gradually realise that the stories of each of the main characters do not just overlap but actually seem to fit inside each other. While the resolution of numerous loose ends is deftly achieved, the plot does seem to rest on a few enormously unlikely coincidences but, as long you don't take it too seriously, it's lots of fun. And, having seen Kate Atkinson at the Edinburgh Book Festival some years ago, it was particularly interesting to find her writing a scene about an author appearing at the Edinburgh Book Festival ...
Reading the blurb at the front of Kate Atkinson's latest novel, 'One Good Turn', I realised that I have read all her published books. While this obviously suggests that I like her writing, I think what has kept me reading is her exploration of a variety of styles - from the wonderful family saga of 'Behind the Scenes at the Museum' to the comedy thriller ('Emotionally Weird'), dalliances with magic realism (in 'Human Croquet' and the short story collection 'Not the End of the World') and an innovative take on the detective novel ('Case Histories'). Jackson Brodie, the hero of 'Case Histories', gets a second outing in 'One Good Turn' which is subtitled 'A Jolly Murder Mystery' but I found it quite a different book with a complex but subtle structure. The story is told in the third person but the point of view rotates, chapter by chapter, through at least half a dozen main characters. In many cases the switch of viewpoint at the start of the chapter allows the author to skip back a few minutes and replay the latest action from a different perspective. This creates a gradual unveiling of what has happened. As with many of Atkinson's books, clever twists are sufficiently signposted for the reader to guess them just before the characters do - making for an extremely satisfying and enjoyable read. Intriguing, gripping, not too demanding but cleverer than it first appears. There is a running theme about Russian dolls and you gradually realise that the stories of each of the main characters do not just overlap but actually seem to fit inside each other. While the resolution of numerous loose ends is deftly achieved, the plot does seem to rest on a few enormously unlikely coincidences but, as long you don't take it too seriously, it's lots of fun. And, having seen Kate Atkinson at the Edinburgh Book Festival some years ago, it was particularly interesting to find her writing a scene about an author appearing at the Edinburgh Book Festival ...
Tuesday, February 19, 2008
Matthew Bourne's 'Nutcracker'
19 February 2008
On Saturday we were at Milton Keynes Theatre to see Matthew Bourne's 'Nutcracker' - a modern dance realisation of the Tchaikowsky ballet. Colourful, witty, playful and larger than life this was more like a dance version of 'Charlie and the Chocolate Factory' than Victorian whimsy. Very much like Bourne’s dance version of 'Edward Scissorhands' (reviewed here in January 2006), I would have preferred more direct connection with the music but it was lots of fun and enthusiastically received by a packed house. I particularly liked the liquorice allsorts and a stunning leap onto the oversized pillow at the back of the set.
On Saturday we were at Milton Keynes Theatre to see Matthew Bourne's 'Nutcracker' - a modern dance realisation of the Tchaikowsky ballet. Colourful, witty, playful and larger than life this was more like a dance version of 'Charlie and the Chocolate Factory' than Victorian whimsy. Very much like Bourne’s dance version of 'Edward Scissorhands' (reviewed here in January 2006), I would have preferred more direct connection with the music but it was lots of fun and enthusiastically received by a packed house. I particularly liked the liquorice allsorts and a stunning leap onto the oversized pillow at the back of the set.
Monday, February 11, 2008
'Juno'
11 February 2008
I used to love watching 'Hill Street Blues' but it usually took me up to the first ad-break to tune into what they were saying - I found the fast, cross-talking, American accents extremely hard to follow. I felt a bit the same on Sunday watching 'Juno' - the new Canadian comedy film directed by Jason Reitman. The universal language of the North American teenager with its rapid mumbling appears, like, totally incomprehensible, dude. But it was well worth sticking with it and tuning into the dialogue because the script, by Diablo Cody, is one of the wittiest I've come across in a long time. Juno is a 16-year old schoolgirl - a bravura performance by Ellen Page - who decides to see through her accidental pregnancy and to allow her baby to be adopted by a childless couple. Not to be confused with other lesser recent films on the unwanted pregnancy theme, 'Juno' is charming, quirky, witty and strangely beautiful. All the main characters are well-drawn, well-acted and sympathetic. It's an extremely funny and poignant film. 'Juno' has been much praised and received several five star reviews (maybe slightly over generous but it's definitely worth at least four stars) so we were surprised to find that, just two days after it was released, we had the whole cinema to ourselves at the early evening showing on Sunday - though perhaps this says more about the Odeon in Milton Keynes than the film. At least the audience was remarkably well-behaved!
I used to love watching 'Hill Street Blues' but it usually took me up to the first ad-break to tune into what they were saying - I found the fast, cross-talking, American accents extremely hard to follow. I felt a bit the same on Sunday watching 'Juno' - the new Canadian comedy film directed by Jason Reitman. The universal language of the North American teenager with its rapid mumbling appears, like, totally incomprehensible, dude. But it was well worth sticking with it and tuning into the dialogue because the script, by Diablo Cody, is one of the wittiest I've come across in a long time. Juno is a 16-year old schoolgirl - a bravura performance by Ellen Page - who decides to see through her accidental pregnancy and to allow her baby to be adopted by a childless couple. Not to be confused with other lesser recent films on the unwanted pregnancy theme, 'Juno' is charming, quirky, witty and strangely beautiful. All the main characters are well-drawn, well-acted and sympathetic. It's an extremely funny and poignant film. 'Juno' has been much praised and received several five star reviews (maybe slightly over generous but it's definitely worth at least four stars) so we were surprised to find that, just two days after it was released, we had the whole cinema to ourselves at the early evening showing on Sunday - though perhaps this says more about the Odeon in Milton Keynes than the film. At least the audience was remarkably well-behaved!
'The Clean House' by Sarah Ruhl
11 February 2008
On Saturday we were at the Royal Theatre in Northampton to see their production of 'The Clean House' by Sarah Ruhl. This is a quirky comedy reflecting on the therapeutic powers of housework and comedy. Lane is a successful doctor with no time to clean her own house. Her young Brazilian cleaning lady, Matilde, hates housework and dreams of becoming a stand-up comedian. Lane's sister, Virginia, fills her empty life with cleaning. It's an unusual play with nice touches of surrealism and you're never quite sure where it's going. It's quite short and I worried that it might end too suddenly, proving more slight and inconsequential than it promised - but in the end there is resolution - an enjoyable, thought-provoking, funny, refreshingly different evening at the theatre. Patricia Hodge and Eleanor Bron are dependably strong but I really enjoyed Natalia Tena as Matilde (she was Tonks in the latest Harry Potter film - a name to watch). 'The Clean House' is now touring - well worth catching.
On Saturday we were at the Royal Theatre in Northampton to see their production of 'The Clean House' by Sarah Ruhl. This is a quirky comedy reflecting on the therapeutic powers of housework and comedy. Lane is a successful doctor with no time to clean her own house. Her young Brazilian cleaning lady, Matilde, hates housework and dreams of becoming a stand-up comedian. Lane's sister, Virginia, fills her empty life with cleaning. It's an unusual play with nice touches of surrealism and you're never quite sure where it's going. It's quite short and I worried that it might end too suddenly, proving more slight and inconsequential than it promised - but in the end there is resolution - an enjoyable, thought-provoking, funny, refreshingly different evening at the theatre. Patricia Hodge and Eleanor Bron are dependably strong but I really enjoyed Natalia Tena as Matilde (she was Tonks in the latest Harry Potter film - a name to watch). 'The Clean House' is now touring - well worth catching.
Thursday, February 07, 2008
'Threads' by Ruth Notman
7 February 2008
I am very grateful to Steve Heap for alerting me to the wonderful debut album by 18-year-old folk singer Ruth Notman, 'Threads' is released on Steve's own label, Mrs Casey Music, and he is rightly proud of it. Ruth is from Nottingham and her Northern vowels give her more than a passing resemblance to Kate Rusby (reviewed here in June 2006) but her amazing vibrato gives her voice a distinctive quiver. 'Threads' is an engaging and interestingly varied collection of songs and got a four star review from Robin Denselow in The Guardian (see http://arts.guardian.co.uk/filmandmusic/story/0,,2215420,00.html). Some of the original songs reminded me of Karine Polwart (reviewed here in November 2005 and April 2006) and I particularly liked the jaunty piano-backed waltz 'Limbo' which sounded a lot like Nerina Pallot (reviewed here in May 2006). You can listen to a couple of tracks from 'Threads' at http://www.myspace.com/ruthnotman1. Do have a listen - then buy the CD and support this rising young star.
I am very grateful to Steve Heap for alerting me to the wonderful debut album by 18-year-old folk singer Ruth Notman, 'Threads' is released on Steve's own label, Mrs Casey Music, and he is rightly proud of it. Ruth is from Nottingham and her Northern vowels give her more than a passing resemblance to Kate Rusby (reviewed here in June 2006) but her amazing vibrato gives her voice a distinctive quiver. 'Threads' is an engaging and interestingly varied collection of songs and got a four star review from Robin Denselow in The Guardian (see http://arts.guardian.co.uk/filmandmusic/story/0,,2215420,00.html). Some of the original songs reminded me of Karine Polwart (reviewed here in November 2005 and April 2006) and I particularly liked the jaunty piano-backed waltz 'Limbo' which sounded a lot like Nerina Pallot (reviewed here in May 2006). You can listen to a couple of tracks from 'Threads' at http://www.myspace.com/ruthnotman1. Do have a listen - then buy the CD and support this rising young star.
Wednesday, February 06, 2008
The BBC Radio 2 Folk Awards 2008
6 February 2008
On Monday evening I was the guest of Steve Heap and Folk Arts England at the BBC Radio 2 Folk Awards 2008 in London. It was brilliant! I could tell it was going to be an exciting occasion from the moment I walked into the reception at The Brewery. Scanning the crowd for someone I knew I came face to face with a very familiar figure: just before I started to say "where do I know you from" I realised it was Bob Hoskins! The room was full of famous people (and me!) - from the aristocracy of the folk world (including the likes of Martin Carthy, Maddy Prior and Shirley Collins) to Jennifer Saunders, Adrian Edmondson, Aled Jones, Alexei Sayle and Romeo Stodart from The Magic Numbers (reviewed here in July 2007). At one point I was standing between Kate Rusby (reviewed here in June 2006) and Eliza Carthy. Just as I was thinking I knew everyone but no-one knew me I was approached by someone who recognised me from the recent VAN Trustees event in Birmingham. When the show started the A-list celebrity count continued to escalate with awards being presented by Sean Bean, John Paul Jones of Led Zeppelin, Steve Harley, Graham Coxon from Blur, Brenda Blethyn and Phil Collins. But the fun of celebrity-spotting was quite properly eclipsed by the music. Steve Heap was delighted to see family friend (and no relation) Martin Simpson pick up the awards for best original song and album of the year and Martin's performance (with Kate Rusby on backing vocals) was a highlight. There were also performances by The Imagined Village (who I saw at WOMAD - reviewed here in August 2007), Seth Lakeman (reviewed here in April 2006 and August 2007), Rachel Unthank and The Winterset and John Martyn who received the lifetime achievement award. But my favourites were the electrifying Lau who brought the house down (and won the best group award) and the completely gorgeous Gaelic singer Julie Fowlis (reviewed here in February 2006 and April 2007) who was named folk singer of the year. It was wonderful to hear John Spiers (collecting the best live act award on behalf of Bellowhead - reviewed here in October 2006) using his acceptance speech to stress that the best thing about folk music is that anyone can do it and encouraging everyone to have a go. The show was very slickly compered by Mike Harding. You can find more details, video clips and listen again to the Radio 2 broadcast at http://www.bbc.co.uk/radio2/events/folkawards2008/ I had a wonderful time - many thanks Steve.
On Monday evening I was the guest of Steve Heap and Folk Arts England at the BBC Radio 2 Folk Awards 2008 in London. It was brilliant! I could tell it was going to be an exciting occasion from the moment I walked into the reception at The Brewery. Scanning the crowd for someone I knew I came face to face with a very familiar figure: just before I started to say "where do I know you from" I realised it was Bob Hoskins! The room was full of famous people (and me!) - from the aristocracy of the folk world (including the likes of Martin Carthy, Maddy Prior and Shirley Collins) to Jennifer Saunders, Adrian Edmondson, Aled Jones, Alexei Sayle and Romeo Stodart from The Magic Numbers (reviewed here in July 2007). At one point I was standing between Kate Rusby (reviewed here in June 2006) and Eliza Carthy. Just as I was thinking I knew everyone but no-one knew me I was approached by someone who recognised me from the recent VAN Trustees event in Birmingham. When the show started the A-list celebrity count continued to escalate with awards being presented by Sean Bean, John Paul Jones of Led Zeppelin, Steve Harley, Graham Coxon from Blur, Brenda Blethyn and Phil Collins. But the fun of celebrity-spotting was quite properly eclipsed by the music. Steve Heap was delighted to see family friend (and no relation) Martin Simpson pick up the awards for best original song and album of the year and Martin's performance (with Kate Rusby on backing vocals) was a highlight. There were also performances by The Imagined Village (who I saw at WOMAD - reviewed here in August 2007), Seth Lakeman (reviewed here in April 2006 and August 2007), Rachel Unthank and The Winterset and John Martyn who received the lifetime achievement award. But my favourites were the electrifying Lau who brought the house down (and won the best group award) and the completely gorgeous Gaelic singer Julie Fowlis (reviewed here in February 2006 and April 2007) who was named folk singer of the year. It was wonderful to hear John Spiers (collecting the best live act award on behalf of Bellowhead - reviewed here in October 2006) using his acceptance speech to stress that the best thing about folk music is that anyone can do it and encouraging everyone to have a go. The show was very slickly compered by Mike Harding. You can find more details, video clips and listen again to the Radio 2 broadcast at http://www.bbc.co.uk/radio2/events/folkawards2008/ I had a wonderful time - many thanks Steve.
Friday, February 01, 2008
'Sweeney Todd: The Demon Barber of Fleet Street'
1 February 2008
Watching the dark, gritty BBC TV serialisation of 'Oliver Twist' just before Christmas, it seemed the most bizarre subject to have been made into a musical. Lionel Bart's 'Oliver!' is a grim, gruesome thriller turned twee. To see what it could have been you need to watch Tim Burton's new film of the Stephen Sondheim musical 'Sweeney Todd: The Demon Barber of Fleet Street' which I saw this week. Strange, then, that the film features Johnny Depp channelling Anthony Newley - though Depp's Sweeney Todd is Bill Sikes rather than the Artful Dodger - an older, more world-weary and surly Edward Scissorhands. Burton's film is a stunning, mostly monochrome vision of Victorian London. He pulls off a rare trick in creating a musical that is truly scary. There is just about enough plot to carry us through but the pace is a bit variable: at times it feels like this gloriously designed film is stopping to gaze at itself. But once we got to the Viennese waltz of the pie song it hooked us into an increasingly frantic dance of death. From the opening deafeningly sinister chords of the Rugby School Chapel organ, the music is wonderful - a rare occasion to welcome the excessive volume that most modern cinemas seem to favour. And Helena Bonham-Carter is grotesquely, gothically gorgeous as Mrs Lovett: the quintessential Corpse Bride. I also loved the chair - straight out of Wallace and Gromit! 'Sweeney Todd' is definitely not for the squeamish but it's not really 'horror' - more a Shakespearean tragedy - with oodles of blood and tray upon tray of meat pies.
Watching the dark, gritty BBC TV serialisation of 'Oliver Twist' just before Christmas, it seemed the most bizarre subject to have been made into a musical. Lionel Bart's 'Oliver!' is a grim, gruesome thriller turned twee. To see what it could have been you need to watch Tim Burton's new film of the Stephen Sondheim musical 'Sweeney Todd: The Demon Barber of Fleet Street' which I saw this week. Strange, then, that the film features Johnny Depp channelling Anthony Newley - though Depp's Sweeney Todd is Bill Sikes rather than the Artful Dodger - an older, more world-weary and surly Edward Scissorhands. Burton's film is a stunning, mostly monochrome vision of Victorian London. He pulls off a rare trick in creating a musical that is truly scary. There is just about enough plot to carry us through but the pace is a bit variable: at times it feels like this gloriously designed film is stopping to gaze at itself. But once we got to the Viennese waltz of the pie song it hooked us into an increasingly frantic dance of death. From the opening deafeningly sinister chords of the Rugby School Chapel organ, the music is wonderful - a rare occasion to welcome the excessive volume that most modern cinemas seem to favour. And Helena Bonham-Carter is grotesquely, gothically gorgeous as Mrs Lovett: the quintessential Corpse Bride. I also loved the chair - straight out of Wallace and Gromit! 'Sweeney Todd' is definitely not for the squeamish but it's not really 'horror' - more a Shakespearean tragedy - with oodles of blood and tray upon tray of meat pies.
Monday, January 21, 2008
Kaznowski Quartet concert
21 January 2008
For only the second time in the eight years we have lived in Eversholt, on Sunday there was a concert in our village church. The excellent local Kaznowski Quartet (Jan Kaznowski, Caroline Waters, Martin Gough and David Knight) gave us a mixed programme ('From Bach to the Beatles') based around the 'Petite Suite' by Debussy. We heard great arrangements for string quartet by Carlo Martelli and Bill Thorp of works by Dvorak, Grieg, Mozart and Bach interspersed with the four Debussy movements together with 'Penny Lane' and 'The Folks Who Live on the Hill'. It was a lovely afternoon and it was great to see the church absolutely packed.
For only the second time in the eight years we have lived in Eversholt, on Sunday there was a concert in our village church. The excellent local Kaznowski Quartet (Jan Kaznowski, Caroline Waters, Martin Gough and David Knight) gave us a mixed programme ('From Bach to the Beatles') based around the 'Petite Suite' by Debussy. We heard great arrangements for string quartet by Carlo Martelli and Bill Thorp of works by Dvorak, Grieg, Mozart and Bach interspersed with the four Debussy movements together with 'Penny Lane' and 'The Folks Who Live on the Hill'. It was a lovely afternoon and it was great to see the church absolutely packed.
‘May Contain Nuts’ by John O'Farrell
21 January 2008
The literary career of John O'Farrell seems to be following a course plotted by Nick Hornby. Having found success with a heartfelt and very funny memoir ('Things Can Only Get Better'), O'Farrell's first novel ('The Best A Man Can Get') was extremely enjoyable and cleverer than it initially appeared. He followed this with a similar second novel ('This is Your Life') and a couple of collections of his newspaper columns. Now, just as Nick Hornby did in 'How to be Good', John O'Farrell has written a novel where the first person narrator is female. 'May Contain Nuts' is the cutting edge tale of rich families in Chelsea desperate to get their children into a good school. He has lots of fun at the expense of four-wheel-drives, private tutors etc but I found it a bit predictable and I wasn't really convinced by O'Farrell as a woman.
The literary career of John O'Farrell seems to be following a course plotted by Nick Hornby. Having found success with a heartfelt and very funny memoir ('Things Can Only Get Better'), O'Farrell's first novel ('The Best A Man Can Get') was extremely enjoyable and cleverer than it initially appeared. He followed this with a similar second novel ('This is Your Life') and a couple of collections of his newspaper columns. Now, just as Nick Hornby did in 'How to be Good', John O'Farrell has written a novel where the first person narrator is female. 'May Contain Nuts' is the cutting edge tale of rich families in Chelsea desperate to get their children into a good school. He has lots of fun at the expense of four-wheel-drives, private tutors etc but I found it a bit predictable and I wasn't really convinced by O'Farrell as a woman.
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