'The Uncommon Reader' by Alan Bennett

26 November 2008

In 'The Uncommon Reader' Alan Bennett imagines The Queen happening upon a mobile library and developing a passion for reading books. As she becomes less interested in her royal duties and more interested in getting back to her latest novel her staff begin a battle to discourage her new obsession with the printed word. In a mere 120 pages of light, humorous prose, Bennett manages to say a lot about monarchy, the royal household, the benefits of reading and the importance of writing. Novelist Lionel Shriver described it very accurately as "A beguiling bedtime story for grown-ups."

'New Europe' by Michael Palin

25 November 2008

  

I've just finished reading 'New Europe' - Michael Palin's book from the TV series of the same name. Quite strange reading the book having not seen any of the programmes but it's a fascinating series of snapshots of Eastern Europe and the Balkans, nonetheless. It was particularly interesting to read Palin's thoughts about Slovenia, having been there myself in June - but slightly disappointing that this familiar territory was dealt with in the first chapter, rather than being something to look forward to. Because of the scale of the expedition - covering 20 countries from the Mediterranean to the Baltic - some countries are covered very briefly. And I think the book suffers a bit from the nature of the TV programme which clearly requires plenty of 'set piece' events and meetings: where I would have liked a bit more general background, the limited time allotted to some locations is dominated by meeting a local celebrity. Nevertheless Michael Palin's voice and personality come through clearly and are very easy to read. And I now feel much clearer about the differences between all those Eastern European countries we tend to lump together: I now know the difference between Macedonia and Former Yugoslav Republic of Macedonia, Moldova and Moldavia, Republica Serbska and Republika Slovenija etc. Education with a light touch.

 

Tim Minchin

25 November 2008

 

Whenever I hear a comic song I always think of Harris: "Well, you don't look for much of a voice in a comic song. You don't expect correct phrasing or vocalisation. You don't mind if a man does find out, when in the middle of a note, that he is too high, and comes down with a jerk. You don't bother about time. You don't mind a man being two bars in front of the accompaniment, and easing up in the middle of a line to argue it out with the pianist, and then starting the verse afresh. But you do expect the words." ('Three Men in a Boat' by Jerome K. Jerome, 1889) Australian comedian Tim Minchin is a modern master of the comic song (and has no problem remembering the words!). We had heard a lot about Tim Minchin at the Edinburgh Fringe but we hadn't managed to see his show so we took the opportunity last Saturday to see him closer to home at The Stables at Wavendon. Every time we go to The Stables I get nervous, as we enter the car park, that we're going to be part of a select few - it's a big auditorium that can often look embarrassingly empty. On Saturday I was relieved to see the car park stewards at full stretch to pack us in: it was almost a full house and clearly most of the audience were already much more familiar with Tim Minchin than we were. There were cheers of recognition at the beginning of most of his songs and plenty of people singing along. To his credit Minchin didn't play on this adulation, treating each lyrical 'reveal' as if it was the first time he had sung it. He is a brilliant pianist - demonstrating some of the most amazing boogie woogie piano playing I've seen. And he incorporates a wide range of musical styles/pastiches. I'm very wary of sounding a critical note given the vitriolic revenge Tim Minchin took on a savage review by the Guardian journalist Daoust, which is now an integral part of his show - but actually that song is a good case in point. Maybe I'm just getting old, but it seems a shame that much of Minchin's witty wordplay and excellent observational humour is undermined by resorting to unnecessary bad language to generate a cheap laugh. Modern stand-up comedy seems to have established a culture where it cannot be edgy and cool unless it involves swearing. Tim Minchin is by no means the worst offender but I think he'll be much funnier when he gets his own Radio 4 series and has to ditch the bad language.

 

Milton Keynes Sinfonia concert

17 November 2008

On Saturday I played with Milton Keynes Sinfonia in a concert which contrasted early and later works by those near contemporaries Richard Strauss and Ralph Vaughan-Williams. We started with the delightful ‘Serenade for Wind’ by Strauss – described by our conductor, David Knight, as ‘super-charged Haydn’. We were then joined by the wonderful soprano, Zoe South, for a thrilling performance of Strauss’s ‘Four Last Songs’ – delicate, powerful and immensely moving. (‘Beim Schlafengehen’ must be one of the most beautiful pieces of music ever written.) After the strings played Vaughan-Williams’ ‘Variations on Dives & Lazurus’, we finished with his ‘Symphony No 6’ – a fiendishly difficult piece which manages to echo Shostakovich without ever straying from the distinctive VW sound. I thought we gave an impressive performance of an ambitious and interesting programme.

‘Alex’by Charles Peattie and Russell Taylor

17 November 2008

Investment banker ‘Alex’ is the star of a Daily Telegraph strip cartoon by Charles Peattie and Russell Taylor. Opportunely milking the current financial turmoil, Peattie and Taylor have adapted ‘Alex’ for the stage as a one-man show, currently touring with Robert Bathurst, which we saw last Friday at the Royal Theatre, Northampton. The show ingeniously combined Bathurst’s performance with animated characters from the cartoon, projected on an assorted series of screens around the stage (the second week running where projected animations threatened to steal the show). Robert Bathurst’s interaction with his two-dimensional co-stars (for whom he provided all the voices) was very slick. It was also interesting to see the integration of the four-frame gags from the strip cartoon with over-arching plot and characters development (also so effectively achieved by Harry Venning and David Ramsden in the ‘Clare in the Community radio series, reviewed here in January 2007 and December 2007). ‘Alex’ reminded me a lot of Radio 4’s excellent ‘Weak at the Top’ sitcom by Guy Browning – though I think Alexander Armstrong’s John Weak was slightly more cynically ruthless. Great fun.

Northampton Symphony Orchestra concert

14 November 2008

Saturday was Graham Tear’s penultimate appearance as conductor of the Northampton Symphony Orchestra. After seven years on the podium Graham is stepping down, to be replaced in the New Year by Alexander Walker. Our programme on Saturday was an ambitious one but the orchestra rose to the occasion. Elgar’s Second Symphony is a long and complex piece: when we started to rehearse in September, I wasn’t convinced we were going to get to grips with it. I think we really benefited from the different perspectives of the four conductors who worked with us on the symphony as their audition piece. By the time we reached the concert it felt like the orchestra understood the work well and I think we gave a good account of it. I enjoyed Walton’s ‘Johannesburg Festival Overture’ which opened the concert, at St Matthew’s Church in Northampton, and I was pleased to be able to enjoy Lucy Parham’s impressive performance of Ravel’s ‘Piano Concerto in G’ from the audience – it’s a fiendishly difficult piece but the slow movement, in particular, is beautiful.

‘The Hound of the Baskervilles’ apapted for the stage by Clive Francis

14 November 2008

Last Friday we were at the Royal Theatre, Northampton, to see ‘The Hound of the Baskervilles’ with Peter Egan as Holmes and Philip Franks as Watson. It was a very enjoyable evening but the star of the show was undoubtedly the set. The stage was dominated by two open pages of an enormous book, onto which a variety of pictures, animation and text was projected. As the pages appeared to turn over, using the sort of animation you see in an e-book, we dived further into the story – looking out of the window of 221B Baker Street, racing across Dartmoor or recoiling from the rapidly advancing silhouette of the hound. While most of the acting happened in front of the pages, back-lighting was used occasionally to reveal actors behind (or within) the book. It was a very inventive and effective mix of technology and live action. Unfortunately, I don’t think the production had really settled on whether or not to play it for laughs. It reminded me at times of the wonderful Patrick Barlow stage adaptation of ‘The Thirty Nine Steps’ – particularly with just three actors playing all the subsidiary parts. But, whereas ‘The Thirty Nine Steps’ was entirely tongue in cheek (and very funny), ‘The Hound of the Baskervilles’ seemed to veer between melodrama and spoof. Franks’ Watson was a little too much in the Nigel Bruce, bumbling buffoon, line for me. And I was particularly puzzled to see Egan holding his violin and bow in the wrong hands – was he doing this for a bet or were we actually watching a mirror image? Good fun and visually stunning but we came out humming the set.

'Night Must Fall' by Emlyn Williams

6 November 2008

Torrential rain last Saturday deprived the Woburn bonfire of our company. Instead we made the short journey to Toddington to see a performance of Emlyn Williams' 'Night Must Fall' by the Toddington Amateur Dramatic Society (TADS). TADS operates from its own 75-seat theatre and has just secured a grant of £50,000, from the Landfill Communities Fund of the Waste Recycling Group, which will fund a major programme of refurbishment. 'Night Must Fall' is a psychological thriller written in 1935 in which the focus is more on the mind of the killer rather than on a 'whodunnit' plot. This makes it a fairly ambitious undertaking for an amateur company - added to which it is quite a long play - but the TADS production was very impressive with some outstanding individual performances.

BBC Philharmonic concert

30 October 2008

Erich Wolfgang Korngold is now remembered principally as a film composer from the golden age of Hollywood – one of those Jewish artists exiled from Europe by the rise of fascism. A few years ago I first discovered his wonderful later works for the concert hall – particularly the lovely ‘Violin Concerto’ which the Northampton Symphony Orchestra performed with Thomas Gould (reviewed here in April 2008). But I had not appreciated that Korngold was also a remarkable child prodigy. The ‘Schauspiel Overture’, which opened the BBC Philharmonic concert we attended at the Bridgewater Hall in Manchester last Friday, was Korngold’s first published orchestral work, composed at the age of 14. (By this age he had already completed two piano sonatas, a two-act ballet and a piano trio!) The overture was performed across Europe by nearly every great conductor of the day and Henry Wood introduced it at The Proms in London in 1912 – making Korngold, to this day, the youngest composer ever performed at The Proms. The ‘Schauspiel Overture’ (‘overture to a drama’ – though with no specific play in mind) is a sumptuous piece, already demonstrating what would become the Korngold sound. The BBC Philharmonic followed the overture with the world premiere of ‘Beautiful Passing’ – a violin concerto by the American composer Steven Mackey. Violinist Leila Josefowicz gave a very physical performance of this challenging work which reflects on the finals days of Mackey’s dying mother. There were some beautifully moving quiet passages and lots of fascinating sound effects from the percussion department – including bowed cymbals and tennis balls being dropped onto the skin of the timpani. The concert concluded with Dvorak’s ‘Symphony No 9 – From the New World’ with the BBC Phil in fine form under the young Slovakian conductor Juraj Valcuha.

 

'The Long Dark Tea Time of the Soul' by Douglas Adams

23 October 2008

If you loved the BBC Radio 4 adaptation of the Douglas Adams novel 'Dirk Gently's Holistic Detective Agency' (reviewed here in November 2007) half as much as I did, then I'm probably enjoying the sequel, 'The Long Dark Tea Time of the Soul' (currently being broadcast at 11 pm on Thursdays - listen again at http://www.bbc.co.uk/programmes/b00dp6hx) twice as much as you. Dirk Maggs and John Langdon have done a wonderful job of realising this equally bemusing and entertaining novel as a radio serial. Wonderful cast, excessive use of sound effects, great music and a totally incomprehensible plot. You really need to listen to each episode at least twice to have any idea what's going on. The title is a quotation from an earlier Douglas Adams novel, 'Life, The Universe and Everything': "...it was the Sunday afternoons he couldn't cope with, and that terrible listlessness which starts to set in ... as you stare at the clock the hands will move relentlessly on to four o'clock, and you will enter the long dark teatime of the soul...". Marvellous! 

 

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

15 October 2008

We didn't manage to get gold-dust tickets to see David Tennant as Hamlet but we were organised enough to book (back in February!) to see him in the Royal Shakespeare Company's parallel production of 'Love's Labour's Lost'. So on Saturday we made our way through the Stratford Mop Fair, which had taken over the streets of Stratford-upon-Avon, to the Courtyard Theatre - the temporary home of the RSC while the Royal Shakespeare Theatre is being renovated. I hadn't seen 'Love's Labour's Lost' before: it's a relatively early Shakespeare and not the most complete of his plays. The plot is more or less over by the interval, leaving the second half to a series of set-piece dances and pageants. You can clearly see elements that will become 'As You Like It' and 'Much Ado About Nothing' (as well as a flavour of 'The Merry Wives of Windsor'). David Tennant was a great Benedick in BBC Radio 3's production of 'Much Ado About Nothing' a few years ago, so it it was fascinating to see him as Berowne - very much the prototype for Benedick. He was fantastic - an electric stage presence - very hard to take your eyes off him - and extremely funny. A very enjoyable production with a great cast - I particularly liked Mariah Gale as the Princess of France and Nina Sosanya as Rosaline and it was lovely to see a familiar face from the Northampton Royal Theatre, Natalie Walter, in her RSC debut season. But it was very much David Tennant's show.

Kings Place opening festival

7 October 2008

Kings Place is London’s newest concert venue – a gleaming glass and steel block round the back of Kings Cross station, overlooking Regent’s Canal. It houses two concert halls, two galleries and the new offices of The Guardian. The building opened last weekend with a festival of a hundred short concerts over five days. We dropped in on Sunday afternoon and saw two performances. ‘Sound Walk’ was a collaboration between sound artists Tony Whitehead and Matthew Sansom, presented by the Society for the Promotion of New Music. Tony Whitehead had spent a day in and around Kings Cross, keeping a sound diary in which he wrote descriptions of the noises he heard, then honing these descriptions into a poem. Whitehead’s words were projected, verse by verse, onto a screen while we listened to Matthew Sansom’s composition – a soundscape constructed from recordings he had made of the ambient sounds of Kings Cross. This was serious, contemplative work which benefited from being presented in a concert hall: had I encountered it in a gallery or on a CD my attention span might not have been long enough to appreciate it, but sitting in a darkened room, concentrating on the patterns of sounds and words, it was fascinating how things were gradually revealed. We then moved to the main concert hall to hear the Brodsky Quartet, and clarinettist Mark van de Wiel, perform Sir Peter Maxwell Davies’ ‘Hymn to Artemis Locheia’, introduced by the composer. Max explained that the work had been commissioned by the head of the London Fertility Clinic, to commemorate his father, and dealt with the idea of creation, the creative process and the cycle of life. A fairly long piece (around thirty minutes) it was often difficult and challenging listening but I found the quieter, slower passages very beautiful. It was a very impressive performance with virtuosic playing, particularly by Mark van de Wiel. There was a compelling moment, a few minutes from the end of the piece, when one of the violinists broke a string, as a result of a particularly violent pizzicato, but kept going seamlessly – the only clue that anything was wrong being the additional furrowing of his brow as he concentrated on working out how to play the remaining notes on his three remaining strings. Kings Place is an impressive venue – a monument to the new.

'Lost in a Good Book' by Jasper Fforde

3 October 2008

Another week, another Jasper Fforde novel. Time travelling my way backwards through the Thursday Next canon at an increasing rate of daypers, this week I've read 'Lost in a Good Book' - the second novel in the series. It is fun to see how many hidden nuggets there are in Fforde's books that could only really make sense with the benefit of hindsight, having read the later works - though it does remove some of the tension to know, for example, that the world doesn't end next Thursday (having been saved, of course, by Thursday Next). I'm now really looking forward to finally getting the full picture by reading the first book, 'The Eyre Affair'.

'The Prime of Miss Jean Brodie' by Muriel Spark, adapted for the stage by Jay Presson Allan

29 September 2008

Another trip to the Royal Theatre in Northampton last Saturday to see another excellent in-house production. I had seen clips of the celebrated 1961 film of 'The Prime of Miss Jean Brodie' but had never watched it in full, nor read the original novel by Muriel Spark. Nevertheless it felt quite familiar so it was exciting to discover, through the stage adaptation by Jay Presson Allan, that the story was much darker and more complex than I had expected. I was surprised to discover how much Alan Bennett's 'The History Boys' owes to 'The Prime of Miss Jean Brodie' - and, in a neat reciprocation, how much Laurie Sansom's Royal & Derngate production was indebted to Nicholas Hytner's staging of the Alan Bennett play. I loved the set - apparently constructed entirely from blackboards covered in the chalked memories of earlier lessons. And it was fantastic to see Sansom once again integrating local amateur performers into the cast (as he did in Follies - reviewed here in November 2006 - and Mary Shelley's Frankenstein - reviewed here in February 2008). This time the senior chamber choir of Northampton School for Girls, 'Madrigalis', was used to populate Miss Brodie's class and provide musical interludes. Anna Francolini was great as Brodie - confident, charismatic, quirky, inspirational yet strangely naive: truly the crème de la crème.

'Ivanov' by Anton Chekhov, in a new version by Tom Stoppard

24 September 2008

On Saturday we were in London to see Kenneth Branagh in ‘Ivanov’ – Chekhov’s first play in a new version by Tom Stoppard. It was an impressive production with a starry cast and it was wonderful to see this rare appearance on the London stage by Branagh. His naturalistic performance subtly gripped rather than punching you between the eyes – resisting the temptation to wear his technique on his sleeve – and you had to look closely to see the small mannerisms betraying his character’s developing depression. It was very much an ensemble piece with a show-stealing comic performance from Kevin McNally and excellent contributions from the wonderful Gina McKee and the Andrea Riseborough as young Sasha. I’m not sure I was convinced by the play – I found the tone uneven and the allusions to Hamlet a bit laboured – but there were some stunning moments and it was often very funny.

‘The Well of Lost Plots’ by Jasper Fforde

24 September 2008

If you’ve been swept along by my enthusiasm for the bizarre comic crime novels of Jasper Fforde you’ll love ‘The Well of Lost Plots’, but if you’ve not developed the taste you’re probably getting fed up with me going on about him. (I’d still recommend starting by reading ‘The Big Over Easy’.) ‘The Well of Lost Plots’ is the third novel in the ‘Thursday Next’ series and I feel it is completely appropriate to Fforde’s surreal time-travelling narrative to be reading the books out or order. Having already read the book which follows it (‘Something Rotten’ – reviewed here in August 2008) ‘The Well of Lost Plots’ made much more sense and it was great fun following certain storylines with the benefit of hindsight. This novel involves Thursday Next trying to keep order within works of fiction – counselling the characters in ‘Wuthering Heights’ and trying to prevent them from changing the ending. There are quite a few gags which you might miss if you are not familiar with the relevant books but the humour is enjoyably corny rather than pretentious. As always, Fforde plants a few ideas early on which return satisfyingly at crucial moments, just when you had forgotten them. And it was wonderful to see the emerging explanation of a link between the Thursday Next stories and Fforde’s Nursery Crime series of novels. Incredibly silly fun.

Warsaw Village Band

16 September 2008

The Warsaw Village Band were one of my highlights of the 2007 WOMAD Festival (reviewed here in August 2007) so I jumped at the chance to see them closer to home at The Stables last Sunday. WVB are six young, classically-trained musicians on a mission to seek out and learn traditional, rural, Polish folk music and re-interpret it for a generation raised on rock 'n' roll. Seriously authentic and reverent to their sources they manage to create a nonetheless modern and distinctive sound. Traditional acoustic instruments (violins, 'cello, cimbalom and a variety of percussion), amplified with plenty of echo, create rapid, repetitive, pulsing textures. Sudden shifts of rhythm and time signature add interest and uncertainty. The three female voices are strong and piercing, their jarring harmonies placing them, geographically and musically, between the distinctive Bulgarian choral sound and the Finnish folk vocals of groups like Värttinä (reviewed here in August 2006). The contrasting timbres of the three vocalists add interest as they take turns with the melody and create an effect of harmony even when they are in unison. WVB are very musically slick, bringing precision to the rough folk sound without losing any of its edginess. They are very exciting to watch - though sometimes a little overly serious: it would be nice to see a bit more interaction with the audience and the occasional smile! I particularly enjoyed some of the tracks from their new album, 'Infinity', which used pizzicato violin and 'cello to conjure up beautifully hypnotic music - an entrancing contrast to their usual excitingly frantic whirl. ‘Uprooting’ (2004) was the album that brought them to international attention but, after listening to it this week, I think ‘Infinity’ is even better.

‘Keep Your Silver Shined' by Devon Sproule

11 September 2008

I didn’t manage to see Canadian-born singer songwriter Devon Sproule at WOMAD but I have been listening to her album, ‘Keep Your Silver Shined’. It’s a lovely acoustic blend of country-flavoured swing – featuring Sproule’s gentle, whispered vocals over delicately picked guitar, pedal steel guitar, brushed snare drum, bass and occasional fiddle or clarinet. At times it sounds a lot like Fairground Attraction – but with a Virginia accent rather than a Scottish one. A consistently slick album, though I would have liked more of the exuberance of its stand-out track ‘Old Virginia Block’.

‘The Invention of Everything Else’ by Samantha Hunt

5 September 2008

Five years ago we saw a great show at the Edinburgh Fringe called ‘Brilliant! The Blinding Enlightenment of Nikola Tesla’ by The Electric Company Theatre. This told the amazing story of the life of Serbian physicist, inventor, and electrical engineer, Nikola Tesla – the inventor of alternating current. Largely forgotten now, Tesla’s brilliance and vision was hampered by a combination of his altruistic attitude to wanting share his inventions with mankind and the more capitalist and self-serving approach of his rivals, particularly Thomas Edison. Tesla was a fascinatingly eccentric character with few close human relationships but a particular passion for pigeons. I’ve just been reading ‘The Invention of Everything Else’, a new novel by Samantha Hunt which fictionalises Tesla’s final days and tells the remarkable story of his life. It’s a wonderfully ‘inventive’ novel, eschewing linear narrative and piecing together Tesla’s story like a jigsaw puzzle. Hunt also creates a number of fictional characters whose lives overlap with the 86-year old Tesla at the Hotel New Yorker in 1943. These characters’ own stories echo the main themes of Tesla’s life and (unknowingly) visit various places that were significant to him. It’s great fun – a really enjoyable and unpredictable read. My only criticism was that, knowing a little about Tesla from the play, mixing his biography with fictional elements might lead you to believe Hunt has made it all up. But the true story of Nikola Tesla is truly incredible: in this case truth is stranger than fiction.

'The Rain Before It falls' by Jonathan Coe

26 August 2008

Jonathan Coe is one of my favourite contemporary authors: I loved his novels 'What a Carve Up!', 'The House of Sleep', 'The Rotters' Club' and its sequel 'The Closed Circle'. Coe's latest novel, 'The Rain Before It Falls' is quite a different kind of book. It feels more conventional and straightforward though it does use an interesting narrative device: most of the story is told as the main character reflects on her life by describing a series of twenty photographs. This creates an episodic telling of a dramatic family saga focusing mainly on mothers and daughters. It's a sad tale without any of the set-piece comedy or the political links to current events of Coe's earlier books. The story kept my attention and was very moving but I was hoping for something more. After finishing the novel I began to wonder whether I was missing a subtle twist. Were we not supposed to trust the narrator through whose eyes we have been looking? Was there something she wasn't telling us? Or was this simply what it seemed - a well-written, gripping, melancholy tale?