'One for the Road' by Willy Russell

21 February 2013

The Royal Theatre, Northampton, reopened after refurbishment in 2006 with ‘Follies’ by Stephen Sondheim (reviewed here in November 2006) which was the first production by the Royal and Derngate’s new Artistic Director, Laurie Sansom. This week we were back at the Royal for Laurie Sansom’s final offering before he leaves to become Artistic Director of the National Theatre of Scotland. His Northampton swansong was the appropriately titled ‘One for the Road’ by Willy Russell. I’ve enjoyed Laurie Sansom’s work at Northampton. While avoiding the ambitious excesses of his predecessor, Rupert Goold (a hard act to follow), he has demonstrated a lightness of touch, a mastery of music and a great ability for comedy, across a very varied range of material. Laurie Sansom productions which stand out for me from the past seven years include ‘Follies’, a marvellous ‘Wizard of Oz’ (reviewed here in January 2009), 'The Prime of Miss Jean Brodie' (reviewed here in September 2008) and 'Mary Shelley's Frankenstein' adapted by Lisa Evans (reviewed here in February 2008) – all of which incorporated local amateur actors alongside a professional cast. I also fondly remember Sansom’s production of Alan Ayckbourn’s ‘Private Fears in Public Places’ – with the audience seated on the stage, amongst the action (reviewed here in July 2009) and the surreal televisual farce 'Soap' by Sarah Woods (reviewed here in April 2007) with its magnificent revolving stage.

‘One for the Road’ is a Willy Russell comedy originally written in 1976 but significantly revised in 1985 (to set the action in the 1980s). A disastrous dinner party in a new housing estate somewhere in the North of England leads two couples to question what they are doing with their lives and to wish for the freedom of the open road. ‘One for the Road’ feels like a cottage pie (or ‘hachis au parmentier’) incorporating ingredients including Mike Leigh’s ‘Abigail’s Party’ (with John Denver here standing in for Demis Roussos), Tom Stoppard’s ‘The Real Thing’ (but with ‘Wogan’ rather than ‘Desert Island Discs’) and 'Neighbourhood Watch' by Alan Ayckbourn (reviewed here in March 2012) (with its common theme of suburban gnome vandalism). Willy Russell’s play predates all of these so it is a little unfair to suggest it felt derivative. It was a very funny show with a dark Ayckbournian sting in the tail and a nice way to say farewell to Laurie Sansom.

'Canada' by Richard Ford

15 February 2013

"First, I'll tell you about the robbery our parents committed. Then about the murders, which happened later." The opening sentences of Richard Ford's 2012 novel, 'Canada', seemed immediately destined for classic status. It's an intriguing start to an interesting book (which I read as an unabridged audio book, read by Peter Marinker). The narrator of the novel is Dell Parsons - a 15-year old boy throughout the novel's main events, though the narrative voice is the adult Dell remembering these events. It's 1960 and Dell and his twin sister Berner are the children of an apparently 'normal' family in Great Falls, Montana. 'Canada' looks at the relatively small steps that can transform ordinary lives into the extraordinary. When Dell's father gets into financial difficulties he decides to rob a bank. But he's not really a bank robber and his ineptitude splits his family apart. Though once he has robbed a bank he is a bank robber isn't he? Dell is puzzled by the way in which people become defined (and redefined) by their actions. Despite its focus on dramatic, life-changing events, 'Canada' is a slow book which builds a detailed picture of the ordinary lives which are to be forever changed. And it has a strange structure: halfway through we are suddenly in a new setting with a completely new set of characters in which Dell is the only link to the first part of the novel. Soon, however, we realise that we are following a familiar pattern as Dell's new life is turned upside down. 'Canada' takes us "where many bad events originate, from just an inch away from the everyday".

'Borgen' by Adam Price

7 February 2013

I am a big fan of political drama. I have fond memories of the BBC Radio 4 dramas ‘The House’ by Christopher Lee and ‘Number 10’ by Jonathan Myerson, and the TV adaptation of ‘A Very British Coup’ by Chris Mullin, as well as ‘Yes Minister’ and ‘The Thick of It’. But I can’t think of any better example of the genre than ‘Borgen’ – the Danish TV series by Adam Price. I’ve just finished watching the second series of ‘Borgen’ on BBC Four and I’m getting withdrawal symptoms already. Sidse Babett Knudsen is wonderful as as Prime Minister Birgitte Nyborg: you can see the angst in her face as she tries to balance doing the right thing with the need for political compromise. The reality of coalition politics is frustrating and fascinating. The character of spin doctor Kasper Juul (played by Pilou Asbæk) manages to be both despicable and sympathetic and his on/off relationship with journalist Katrine Fønsmark (Birgitte Hjort Sørensen) is a constant sub-plot. If you’re missing ‘Borgen’ too I would recommend Vicky Frost’s excellent episode-by-episode blog on the Guardian website, see: http://www.guardian.co.uk/tv-and-radio/series/borgen-episode-by-episode (but beware of spoilers if you are still watching series two).

'Get Follicled' by Lea Pryer

1 February 2013

Before Christmas we were delighted by our local amateur pantomime, ‘Rapunzel’ at the TADS Theatre (reviewed here in December 2012). Last Saturday we returned to Toddington to see the adult version, ‘Get Follicled: the True Story of Rapunzel’, again written and directed by Lea Pryer. Using the same set, the same cast (minus one or two of the younger actors) and following roughly the same plot, this was a parallel universe ‘Rapunzel’. For those seeking an ‘adult pantomime’ I suspect this fulfilled all the expectations that phrase suggests. It was incredibly crude, with nothing so subtle as a double entendre. Much of the show was very funny with the comic talents of Janet Bray, Rachel Birks, Mike Collins and Rory White wonderfully demonstrated in their adlibs and interplay with the audience. But, for me, the funniest moments were those aspects shared with the family-friendly version – the puppets, the facial expressions, the corpsing. And, given that the audience for the performance of ‘Rapunzel’ we saw in December was overwhelming adults, I felt most of us might have been happier with a reprise of that more innocent tale.

Milton Keynes Chorale and Danesborough Chorus concert

25 January 2013

Since the mid-1970s Milton Keynes has boasted two large choral societies – the Milton Keynes Choral which was founded in 1974 and the Danesborough Chorus which was formed the following year. Since 1977 the two choirs have collaborated on an annual joint concert, enabling them to tackle ambitious repertoire as a single, massive chorus. Last Sunday we were at Milton Keynes Theatre for this year’s joint performance – a programme of music by Mozart, culminating in the ‘Mass in C minor’. The massed ranks of more than 200 singers sounded great accompanied by the period instruments of the Meridian Sinfonia and the two choruses naturally lent themselves to the eight-part double choir format of Mozart’s Mass. Conductor Tom Appleton was enthusiastic and entertaining (and his witty, emotive programme notes were a treat!). It was a lovely concert and a great way to mark the recent retirement of David Roberts after 36 years as Chairman of the Danesborough Chorus.

'Sweet Tooth' by Ian McEwan

17 January 2013

Last August, in Edinburgh, we saw Mark Lawson interviewing Ian McEwan about his new novel, ‘Sweet Tooth’ – a spy story set in the early 1970s at the height of the cold war. I've now got around to reading ‘Sweet Tooth’ (as an unabridged audio book, narrated by Juliet Stevenson). It tells the story of Serena Frome (rhymes with plume), a Cambridge graduate who joins MI5 and is deployed to act as a patron to a promising young writer, T H Haley, whom it is hoped will write anti-communist novels. Haley is not to know that the funding Serena brings comes from MI5 and deception and lies create a dangerous balance in their relationship. ‘Sweet Tooth’, however, is not really a spy novel – it is about creativity, literature and fiction. Who is writing the narrative of our lives – and where do they get their ideas from? It was an enjoyable read, with a fine cast of suspicious characters, and it keeps the reader guessing to the end about where the inevitable twist will come from.

'Author, Author' by David Lodge

17 January 2013

I've never read anything by Henry James – I don’t think I've even seen a film or TV adaptation of any of his novels – so I wasn't sure how interesting I was going to find ‘Author, Author’, David Lodge’s book about Henry James. I needn't have worried: you’re in safe hands with David Lodge. ‘Author, Author’ wears its research lightly and contains much invented dialogue but it still felt more biography than novel to me. It doesn't attempt a complete biography, and I found it intriguing that Lodge chose not to write about the creation of the early novels that made Henry James famous, nor about the late, great novels for which he is now best remembered. Instead ‘Author, Author’ focusses on the 1880s and 1890s when James is living in London and attempting, unsuccessfully, to conquer the London stage as a playwright. I guess “famous author writes successful novel” wouldn't have made much of a story. David Lodge has created a compelling tale which paints a rounded picture of a complex, flawed but extremely sympathetic character. Much of the book is centred around James’s friendship with the Punch cartoonist George Du Maurier (father of the actor Gerald du Maurier and grandfather of the writer Daphne du Maurier). George du Maurier (who created the famous ‘curate’s egg’ cartoon) comes across as a lovely man and a very good friend to James. But when du Maurier tries his hand at writing a novel and instantly achieves the kind of worldwide success, acclamation and fame that James can only dream of (with his debut novel ‘Trilby’ – which gave us both the eponymous hat and the notion of the ‘svengali’) their friendship is seriously tested. ‘Author, Author’ has a strong supporting cast as Henry James crosses the paths of a wide range of literary and theatrical greats including H G Wells, George Bernard Shaw, Ellen Terry, Oscar Wilde, Edith Wharton and a five-year old Agatha Christie. ‘Author, Author’ may be guilty of not knowing whether it is itself a novel or a biography but it’s a fascinating and engaging portrait of a revered author.

'The Life and Times Of ...' by The Hot 8 Brass Band

11 January 2013

I've been listening to The Hot 8 Brass Band from New Orleans this week. Their new album, ‘The Life and Times Of …’, has a cheerful, funky swagger. This is the New Orleans marching jazz band tradition reinvented by the hip-hop generation. The music is wild, raucous and untamed whilst also slick, neat and tight. The cover of ‘Ghost Town’ by The Specials is a particular delight.

'The Value of Culture' by Melvyn Bragg

4 January 2013

I've been hooked on Melvyn Bragg’s marvellous 5-part BBC Radio 4 series, ‘The Value of Culture’, which has been broadcast every day this week. Like an extended edition of ‘In Our Time’, Melvyn Bragg has been questioning a range of experts to get to grips with what we mean by ‘culture’, the origins of the word and its usage, and why culture is important. He has taken us on a journey, from Matthew Arnold (writing in ‘Culture and Anarchy’ in 1869) who thought that culture is “the best which has been thought and said", to the anthropologist E. B. Tylor who wrote (in 1871) that culture is " that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society” to Raymond Williams (in ‘Moving from High Culture to Ordinary Culture’ in 1958) who said "Culture is ordinary: that is the first fact. Every human society has its own shape, its own purposes, its own meanings. Every human society expresses these, in institutions, and in arts and learning.” This tension between ‘high culture’, ‘culture’ as that which separates humans from other animals, ‘culture’ as creative expression and the notion of ‘mass culture’ is fascinating. It was refreshing to listen to a radio programme that genuinely made you think. If you missed ‘The Value of Culture’ all five episodes will be available for the next twelve months at http://www.bbc.co.uk/programmes/b01pmg02. Brilliant stuff: what a great way to start the new year.

Northampton Symphony Orchestra concert

21 December 2012

With our regular conductor, Alexander Walker, away conducting ‘The Nutcracker’ in Norway, this year’s Northampton Symphony Orchestra Christmas Cracker Concert provided a first opportunity for guest conductor Stephen Ellery to join us for a concert. Steve often takes NSO rehearsals when Alex is away and is great fun to work with. This year the Christmas Cracker Concert had a pantomime and fairy tale theme and featured Humperdink’s wonderful ‘Hansel and Gretel Overture’, the ‘Mother Goose Suite’ by Ravel, the overture to Rossini’s opera ‘La Cenerentola’ (‘Cinderella’ – reviewed here in November 2010) and music from the Disney films ‘Snow White and the Seven Dwarfs’ (by Frank Churchill) and ‘Aladdin’ (by Alan Menkin and Tim Rice). Steve really seemed to enjoy himself and the audience loved his enthusiasm and eccentricities, especially when he ran in through the auditorium dressed in a full bear costume, and roaring at various audience members, to conduct the ‘Three Bears Phantasy’ by Eric Coates! The orchestra were also very taken with Steve’s habit, at the end of each piece, of calling on particular players to take an individual bow by miming the relevant instruments. There was also some lovely comic interplay between the conductor and our excellent compere, Graham Padden. And when Steve turned round to conduct the audience, in the Christmas carols and to get them whistling along to ‘Whistle While You Work’, he seemed to inspire them to enjoy themselves as much he was. I think we all left the concert with smiles on our faces.

'Rapunzel' by Lea Pryer

21 December 2012

It was a delight to return to the TADS Theatre in Toddington last Saturday to see this year’s TADS pantomime. ‘Rapunzel’ was written and directed by Lea Pryer, who wrote the wonderful 2010 pantomime ‘The Pirate Princess’ (reviewed here in December 2010). ‘Rapunzel’ was another original script which incorporated the conventional pantomime elements. I particularly loved Rapunzel’s tower and the use of puppetry to show the prince climbing up on Rapunzel’s long hair which was hilarious. Mike Collins, who stood out as a mercurcial Irish Puck in the TADS production of ‘A Midsummer Night’s Dream’ (reviewed here in May 2012) was very strong as Prince Edward. The wonderful youngster Harry Rodgers (who was Flute in ‘A Midsummer Night’s Dream’) confirmed his graduation from TADS Teens, taking his place next to regular Janet Bray as one of the two gargoyle henchmen of the enchantress Griselda. As Griselda Rachel Birks stole the show with a commanding performance, a fantastic sneer of contempt for the audience and a nice line in heckle put-downs as she battled with a completely sold-out, largely adult audience. Rachel Birks and Chloe Palmer, who played Rapunzel, have particularly strong singing voices and the success of the musical numbers bodes well for the forthcoming TADS production of ‘Little Shop of Horrors’.

'Sweet Danny Wilson' by Danny Wilson

14 December 2012

One of the joys of the instant availability of music online is rediscovering half-remembered tunes from many years ago. Gone are the days when you leapt to your feet when a particular song came on the radio in the knowledge that it was your only opportunity to hear it. Now a memory can pop into your head and within seconds you can have found the relevant track on Spotify and started listening to it again. Last week, for some reason, I found myself thinking about the opening line “I'm sorry for upsetting the apple cart” and desperately trying to remember the song it comes from. After a little detective work I had downloaded the greatest hits of Danny Wilson (‘Sweet Danny Wilson’) and was reliving the late 1980s with the song ‘Never Gonna Be The Same’. Danny Wilson was a Scottish pop group formed in 1984. Like Alice Cooper, Danny Wilson was the name of the band rather than the singer – named not after the much-loved Barnsley Football Club manager (“it’s just like watching Brazil”) but in honour of the 1952 Frank Sinatra film, ‘Meet Danny Wilson’. Danny Wilson’s biggest hit was ‘Mary’s Prayer’ which reached number 3 in the UK charts in 1988. The other song of theirs I remember is ‘The Second Summer Of Love’. Their music is catchy, tuneful 80s pop with a Scottish tinge – not unlike Hue and Cry, Orange Juice and Hipsway – well worth revisiting. It’s strange how every song you listen to in December sounds like it was intended to be a Christmas song – those are sleigh bells in ‘Never Gonna Be The Same’ aren't they?

‘Standing in Another Man’s Grave’ by Ian Rankin

7 December 2012

There was a degree of inevitability that, like Arthur Conan-Doyle with Sherlock Holmes, having retired his famous fictional detective, Ian Rankin would be persuaded to resurrect John Rebus. In ‘Standing in Another Man’s Grave’ Rebus doesn’t have to return from death like Holmes. This is a more prosaic return from retirement which finds Rebus working, as a civilian, in a police cold case unit and, unsurprisingly, getting drawn into a current murder investigation. ‘Standing in Another Man’s Grave’, which I read as an unabridged audio book, narrated by James Macpherson, was an engrossing serial killer mystery with all the tropes that made Ian Rankin’s Rebus novels so successful. I felt a little disappointed with the denouement, which seemed a bit corny after the clever puzzle that was gradually unravelled through the rest of the book. But I enjoyed the return of Rebus and hope we haven’t seen the last of him.

'One of Our Thursdays is Missing' by Jasper Fforde

7 December 2012

Halfway through reading Jasper Fforde’s latest Thursday Next novel, 'The Woman Who Died a Lot' (reviewed here in April 2012), I realised I had missed the previous book in the series. Regular readers may remember that I started reading the series in reverse order so reading the latest two books backwards seemed an appropriate continuation, in keeping with the surreal complexities of the books themselves. I have now finished reading ‘One of Our Thursdays in Missing’. Thursday Next is largely absent from this novel which is set in the ‘bookworld’ and features the ‘written Thursday’ – the fictional version of the literary detective – who is called into action to investigate the real Thursday’s disappearance. This is a very silly, and incredibly confusing, exercise in surreal meta-fiction, which owes a debt to ‘Don Quixote’ (reviewed here in January 2012) but takes the conceit much further. Fforde’s development of the bookworld into a geographical form, with the possibilities of journeys across genres, demonstrates the thinking which led him to create the post-apocalyptic world of ‘Shades of Grey’ (reviewed here in April 2011). I suspect you either love or hate this kind of thing but I’m really looking forward to the next adventures of Thursday Next.

The Blockheads

7 December 2012

When we visited Kent in March, you may remember I was struck by the fact that that the village next to Sandwich is called Ham. We returned to the area last week for a lovely long weekend in Ham. On Friday evening we made the short trip to the Astor Community Theatre in Deal to see a concert by The Blockheads. We last saw The Blockheads in Milton Keynes 5 years ago (reviewed here in July 2007) when they were celebrating their thirtieth anniversary, with Phil Jupitus standing in for the late Ian Dury. The Deal concert was part of their thirty-fifth anniversary tour – particularly impressive as the drummer is only 26 years old! This time there were no guest stars, just a very slick band that have clearly been playing together for a long time. The original members of the band must all be in their 60s: Mickey Gallagher lamented the passing years, saying “we used to turn up to gigs and ask where are the women – now we ask where are the toilets!”. But the Blockheads are still a great band. Last time we saw them they were joined by the great jazz saxophone player Gilad Atzmon, but this time the quite different style of excellent regular saxophonist Dave Lewis, combined with Ian Dury’s witty lyrics and the cockney accent of singer Derek the Draw made The Blockheads sound, at times, remarkably like Madness. It was a great gig – I look forward to the fortieth anniversary!

'Duet for One' by Tom Kempinski

29 November 2012

As the publication of the Leveson report approached, for some reason I have been thinking a lot about Andy Hamilton and Guy Jenkin’s much-missed Channel 4 sitcom ‘Drop the Dead Donkey’. So it was lovely to have the chance to see on of its stars, Haydn Gwynne, at the Watford Palace Theatre last Saturday in ‘Duet for One’ by Tom Kempinski. The play focuses on a world-renowned violin soloist who has recently been diagnosed with multiple sclerosis. In a series of visits to a therapist (played by William Gaunt) she begins to come to terms with the end of her performing career and the major changes to her life. ‘Duet for One’ has clear parallels with the life of the ‘cellist Jacqueline du Pré whose career was cut short by multiple sclerosis. It also says a lot about the nature of psychotherapy and ‘talking cures’ and reminded me of 'Freud's Last Session' by Mark St Germain which we saw in New York last year (reviewed here in April 2011). ‘Duet for One’ is a moving and clever play, and the performances by Hadyn Gwynne and William Gaunt were excellent, but I felt that, dramatically, it needed a little more variety. It consists of a series of conversations between the same two people in the same room and, although there was certainly development of character and a journey of discovery and realisation, I felt it needed something more.

'Bleak Expectations' by Mark Evans

22 November 2012

Harrumble! for the return of Mark Evans’ joyously silly Radio 4 comedy ‘Bleak Expectations’ (previously reviewed here in August 2008) which started its fifth series this week (Thursdays, 6.30 pm, BBC Radio 4). It’s come a long way from the initial Dickensian parody and has become so self-reverential that new listeners might find it difficult to appreciate, but for those of us who have been there from the start it’s wonderful stuff. And you've just got to love the unbreakable optimism of Harry Biscuit who is convinced that there is no problem that cannot be solved with swans (and cake!).

Northampton Symphony Orchestra concert

16 November 2012

Our Northampton Symphony Orchestra concert last Saturday featured one of my favourite pieces of music, the Second Symphony by Jean Sibelius. This was the first full symphony I played on joined the senior Saturday-morning orchestra at Didsbury Music Centre nearly 30 years ago and I have always had a soft spot for it. Even after the rigour of weeks of rehearsal for this concert I haven’t tired of Sibelius 2: it’s a sophisticated, emotional work that manages to be both delicate and powerful with a truly rousing finale. Our performance on Saturday was the best we had played the piece: I hope it was as enjoyable to listen to as it was to be part of. Mozart’s ‘Sinfonia Concertante’ provided an interesting contrast to the Sibelius, requiring a different kind of discipline. The orchestra’s leader, Trevor Dyson, and principal viola, Maria Dehandschutter, were excellent soloists.

'NW' by Zadie Smith

9 November 2012

Zadie Smith burst onto the literary scene in 2000 with her remarkable debut novel, ‘White Teeth’ – a brilliant comic tale of modern multicultural Britain. Her latest novel, ‘NW’ (which I have just finished reading as an unabridged audio book read by Karen Bryson and Don Gilet), is a more serious affair. It’s a fascinating book which tells of the lives of two thirty-something women who grew up together on an estate in North West London. The first section focuses on Leah Hanwell, her family and friends in the present day – gradually filling in her backstory through flashback and reminiscence. The writing is teasingly impressionistic, giving us all the pieces of Leah’s life but leaving the reader to complete the jigsaw. At first this style felt difficult to follow and I was frustrated by the slow progress of what I had assumed was to be the main plot. But after a while you learn to let the stream of consciousness flow over you and the richness of the beautifully written prose builds a wonderfully rounded picture. The second half of the book gives us the life story of Leah’s childhood friend Keisha Blake, in linear, chronological order through a rapid series of nearly 200 very short chapters. This section felt easier and more enjoyable to read and the inevitable convergence of Leah and Keisha’s stories had a satisfying feel. Buried almost unseen in the middle of the stories of these two women there is a small, sad murder mystery that pulls the various strands of the novel together. ‘NW’ is an epic London novel with a Dickensian feel – a ‘Bleak House’ for the 21^st century, perhaps.

'Medea' by Euripides: a new version by Mike Bartlett

2 November 2012

On Saturday we were at the Watford Palace Theatre to see Mike Bartlett’s new contemporary version of ‘Medea’ by Euripides (a Watford Palace, Headlong and Citizens Theatre, Glasgow joint production). After a hectic week at work I wasn't sure I was really in the mood for Greek tragedy but this was a very witty, tragi-comic ‘Medea’ which preserved all the original elements (right through to the inevitable, bloody conclusion) while creating a really enjoyable, and often very funny, piece of theatre. This didn't feel like ancient characters merely transplanted into a modern setting but a very believable 21^st century domestic drama. Rachael Stirling was great in the title role – simultaneously distraught, disturbed, angry, clever, witty and self-aware. And a special mention should also go to the wonderful life-size doll’s house set (by Ruari Murchison) with its sliding walls revealing each of the rooms of Medea’s home in turn.