28 August 2014
Last week we were in Edinburgh, marking the 20th anniversary of our first visit to the Edinburgh festivals. For several years we went every August but then restricted our visits to every other year, so I'm not sure how many times we have been in total but we've certainly seen a lot of shows. This year we saw 26 performances in the 6 days we were in Edinburgh.
As usual we took advantage of some of the free BBC Radio shows at Potterrow, starting the day with BBC Radio Scotland's 'MacAulay and Co', with Fred MacAulay and Susan Calman introducing a wide selection of the best comedy acts on the Fringe. We also enjoyed an excellent edition of Radio 3's 'The Verb' hosted by the inimitable Ian McMillan.
The PBH Free Fringe continues to grow in scale and stature. We saw some wonderful free shows, including 'Prufrock and Me' – a personal account of one man's relationship to T. S. Eliot's poem 'The Love Song of J Alfred Prufrock' by Dave Williams – and stand-up comedian Josh Howie's clever, edgy and hilarious show 'AIDS: A Survivor's Story' in which nothing was quite what it seemed.
We saw two Edinburgh International Festival performances - both in huge venues that were completely sold out. The James Plays – Rona Munro's new history play cycle, directed by Laurie Sansom for the National Theatre of Scotland and the National Theatre of Great Britain, have been the talk of the festival. We saw 'James I' at the Festival Theatre and it did not disappoint – it was ambitious, spectacular, fascinating and surprisingly funny. Munro has created a drama that bears comparison with Shakespeare's history plays, but uses modern language to give the action a contemporary feel. Having recently seen 'Richard II', 'Henry IV Parts 1 & 2' and 'Henry V', 'James I' felt like a natural next step as it starts with Henry V of England releasing James after 18 years in captivity to take his place on the throne of Scotland. We also saw a fantastic concert at the Usher Hall where Scottish violinist Nicola Benedetti got a deservedly rapturous reception for her performance of Erich Korngold's 'Violin Concerto' with the Czech Philharmonic Orchestra, conducted by Jiří Bělohlávek. The concert concluded with Martinu's lovely 'Symphony No 4' with the Czech Philharmonic on top form.
We visited the Edinburgh International Book Festival in Charlotte Square to see our new favourite novelist Ned Beauman promoting his latest book 'Glow' (reviewed here in June 2014). He shared the platform with the young Austrian novelist Clemens J Setz and I am looking forward to reading the first of his novels to be translated into English, 'Indigo'.
It was great to rediscover the zany musical world of New York's Kenny Young and The Eggplants who we first saw on the Fringe about 18 years ago. They played at the Acoustic Music Centre at St Bride's in front of an enthusiastic audience who seemed to know all their lyrics - 'aubergenius!' as one review said. We saw a few comedians including the ramblingly brilliant 'Simon Munnery sings Soren Kierkegaard' and an old Fringe favourite of ours, Owen O'Neill, this year performing in the 'spoken word' section of the Fringe with a mixture of storytelling and poetry.
But most of our week was spent watching some wonderful fringe theatre, the highlights being 'Last Christmas' – a monologue by Matthew Bulgo about a man returning home to Swansea a year after his father died of a heart attack, performed by Sion Pritchard at the Assembly George Square Studios, which was warm, funny and very moving – and 'The Initiate' by Alexandra Wood, performed by Paines Plough at Summerhall, which told the story of the reaction of a Somali-born taxi driver in London to the kidnap of a British couple by Somali pirates. It was a very clever play, excellently acted by three actors (Andrew French, Sian Reese-Williams and Abdul Salis) without the need for any set, props or costumes, in which the unseen events between the scenes created an intriguing ambiguity and really made you think about the morality and motivation of the characters.
We had an exhaustingly wonderful week in Edinburgh.
Thursday, August 28, 2014
Thursday, August 14, 2014
'The Last Dragonslayer' by Jasper Fforde
14 August 2014
Regular readers will be aware of my enthusiasm for the work of the comic-novelist Jasper Fforde. Having exhausted his books for adults (all ten novels reviewed here between April 2007 and April 2012) I thought I would try his 'Dragonslayer' young-adult fantasy novels. I've just finished the first book in the series, 'The Last Dragonslayer' (which I read as an unabridged audio book, narrated by Jane Collingwood). It was a very enjoyable read – with much more in common with his other novels than I was expecting. This tale of dragons, wizards and magic is set in an alternative-reality version of Hereford (a similar model to the Reading of the Nursery Crimes novels and the Swindon of the Thursday Next series). We follow the perilous journey of teenager Jennifer Strange as she is drawn by her destiny into a struggle with royalty, the media, big business and big magic. There are some familiar Jasper Fforde themes and some recognisable villains, though this feels like a very stripped down version of Thursday Next and I was sorry there wasn't more of Fforde's trademark silliness. Nevertheless 'The Last Dragonslayer' is great fun, with some great characters. I loved the trivia-expert William of Anorak and the apprentice dragonslayer Gordon van Gordon, and who couldn't love the Quarkbeast with his one-word vocabulary. “Quark!”
Regular readers will be aware of my enthusiasm for the work of the comic-novelist Jasper Fforde. Having exhausted his books for adults (all ten novels reviewed here between April 2007 and April 2012) I thought I would try his 'Dragonslayer' young-adult fantasy novels. I've just finished the first book in the series, 'The Last Dragonslayer' (which I read as an unabridged audio book, narrated by Jane Collingwood). It was a very enjoyable read – with much more in common with his other novels than I was expecting. This tale of dragons, wizards and magic is set in an alternative-reality version of Hereford (a similar model to the Reading of the Nursery Crimes novels and the Swindon of the Thursday Next series). We follow the perilous journey of teenager Jennifer Strange as she is drawn by her destiny into a struggle with royalty, the media, big business and big magic. There are some familiar Jasper Fforde themes and some recognisable villains, though this feels like a very stripped down version of Thursday Next and I was sorry there wasn't more of Fforde's trademark silliness. Nevertheless 'The Last Dragonslayer' is great fun, with some great characters. I loved the trivia-expert William of Anorak and the apprentice dragonslayer Gordon van Gordon, and who couldn't love the Quarkbeast with his one-word vocabulary. “Quark!”
Tuesday, August 05, 2014
'Skylight' by David Hare
5 August 2014
On Sunday we made a first visit to the wonderful Errol Flynn Filmhouse in Northampton – a delightful little cinema with some of the most comfy seats I've encountered – to see the recent NT Live recording of David Hare's play 'Skylight' at the Wyndham's Theatre in London. I had heard a radio version of the play during its first run in 1995, but this was the first time I had seen it. It's a clever, subtle piece of writing, with three actors in a single room set, teasing out political themes through a very personal story. Stephen Daldry's production created a very realistic setting (with a wonderfully squalid set by Bob Crowley) and the acting by Bill Nighy (reprising his role from the original 1995 production), Carey Mulligan (making her London stage debut) and Matthew Beard was excellent. The NT Live cameras revealed some very delicate touches in close-up that added to the painful reality of the situation. Carey Mulligan's incredibly expressive face managed to say much more than appears in the script and she generated an impressive volume of real tears. The play was much funnier than I had remembered and Bill Nighy delivered some brilliant set-piece lines in the uncomprehending deadpan manner than has become his trademark.
On Sunday we made a first visit to the wonderful Errol Flynn Filmhouse in Northampton – a delightful little cinema with some of the most comfy seats I've encountered – to see the recent NT Live recording of David Hare's play 'Skylight' at the Wyndham's Theatre in London. I had heard a radio version of the play during its first run in 1995, but this was the first time I had seen it. It's a clever, subtle piece of writing, with three actors in a single room set, teasing out political themes through a very personal story. Stephen Daldry's production created a very realistic setting (with a wonderfully squalid set by Bob Crowley) and the acting by Bill Nighy (reprising his role from the original 1995 production), Carey Mulligan (making her London stage debut) and Matthew Beard was excellent. The NT Live cameras revealed some very delicate touches in close-up that added to the painful reality of the situation. Carey Mulligan's incredibly expressive face managed to say much more than appears in the script and she generated an impressive volume of real tears. The play was much funnier than I had remembered and Bill Nighy delivered some brilliant set-piece lines in the uncomprehending deadpan manner than has become his trademark.
Tom Robinson
5 August 2014
I'm a little too young to remember Tom Robinson's first 15 minutes of fame - in 1978 when the BBC banned his song 'Glad to be Gay' - and, although I do recall his second moment in the sun (the 1982 hit 'War Baby'), I didn't really discover Tom Robinson until much later. I think it was around 1994 when we went to see him performing at the South Holland Centre in Spalding. By then there was no Tom Robinson Band, just Tom himself handing out promotional postcards before the show, acting as the support group and providing his own backing vocals. But we were impressed - by his musicality, his storytelling, his songwriting and his political passion - and we joined his fan club (The Castaway Club) and saw him perform many times across the country over the next few years. In 1996 he was joined by the brilliant young guitarist Adam Philips (then a painfully shy twenty-something) and we saw them try out material for the 'Having it Both Ways' album. I think the last time we saw Tom Robinson live was at The Stables in Wavendon in about 2001, where he was supported by a young Mancunian singer/songwriter Lee Griffiths. Then Tom Robinson was recruited as a regular presenter on the new BBC digital radio station 6 Music and he decided to stop touring. So it was wonderful to have the chance to see him perform a rare one-off gig at the Jazz Cafe in Camden last Friday. After getting "the six songs of mine you've probably heard of" out of the way at the start (including songs he wrote with Peter Gabriel and the inevitable "medley of my greatest hit" - '2-4-6-8 Motorway') this was a performance that focussed on more obscure songs from his extensive back-catalogue requested by fans on his Facebook page. It felt great to step back in time, rediscovering what we had always liked about Tom and being reunited with some long-forgotten songs. We had been prepared for the fact that he would be looking older than we remembered him (which he was) but it was more of a shock recognising the older versions of Adam Philips and Lee Griffiths in his backing band. Tom Robinson has always generously supported emerging young artists - through his live concerts and latterly through his 6 Music show - and we enjoyed hearing the young support band, from Derry/Londonderry, 'Best Boy Grip' (in London to record a set for Tom's radio show). But this was a celebration of the career of Tom Robinson - a great performer and an intelligent and accomplished songwriter.
I'm a little too young to remember Tom Robinson's first 15 minutes of fame - in 1978 when the BBC banned his song 'Glad to be Gay' - and, although I do recall his second moment in the sun (the 1982 hit 'War Baby'), I didn't really discover Tom Robinson until much later. I think it was around 1994 when we went to see him performing at the South Holland Centre in Spalding. By then there was no Tom Robinson Band, just Tom himself handing out promotional postcards before the show, acting as the support group and providing his own backing vocals. But we were impressed - by his musicality, his storytelling, his songwriting and his political passion - and we joined his fan club (The Castaway Club) and saw him perform many times across the country over the next few years. In 1996 he was joined by the brilliant young guitarist Adam Philips (then a painfully shy twenty-something) and we saw them try out material for the 'Having it Both Ways' album. I think the last time we saw Tom Robinson live was at The Stables in Wavendon in about 2001, where he was supported by a young Mancunian singer/songwriter Lee Griffiths. Then Tom Robinson was recruited as a regular presenter on the new BBC digital radio station 6 Music and he decided to stop touring. So it was wonderful to have the chance to see him perform a rare one-off gig at the Jazz Cafe in Camden last Friday. After getting "the six songs of mine you've probably heard of" out of the way at the start (including songs he wrote with Peter Gabriel and the inevitable "medley of my greatest hit" - '2-4-6-8 Motorway') this was a performance that focussed on more obscure songs from his extensive back-catalogue requested by fans on his Facebook page. It felt great to step back in time, rediscovering what we had always liked about Tom and being reunited with some long-forgotten songs. We had been prepared for the fact that he would be looking older than we remembered him (which he was) but it was more of a shock recognising the older versions of Adam Philips and Lee Griffiths in his backing band. Tom Robinson has always generously supported emerging young artists - through his live concerts and latterly through his 6 Music show - and we enjoyed hearing the young support band, from Derry/Londonderry, 'Best Boy Grip' (in London to record a set for Tom's radio show). But this was a celebration of the career of Tom Robinson - a great performer and an intelligent and accomplished songwriter.
Friday, August 01, 2014
'The Silkworm' by Robert Galbraith
1 August 2014
I enjoyed 'The Cuckoo's Calling' by Robert Galbraith – J K Rowling's first detective novel (reviewed here in May 2014) – and I was looking forward to the sequel. I've just finished reading 'The Silkworm' (as an unabridged audio book, narrated by Robert Glenister) and I wasn't disappointed. 'The Silkworm' is more of the same, but it's well done, gripping, puzzling and satisfying. The private detective, Cormoran Strike, and his assistant, Robin, are likeable, sympathetic characters. My only gripe is that, amongst the clearly carefully researched, realistic London setting, there are a few small anomalies that I would have expected an editor to spot – Cormoran Strike must be the only person able to watch live football on his television at 3 pm on a Saturday afternoon! But this is a minor quibble – 'The Silkworm' is a good read and I will be eagerly awaiting the next novel in the series.
I enjoyed 'The Cuckoo's Calling' by Robert Galbraith – J K Rowling's first detective novel (reviewed here in May 2014) – and I was looking forward to the sequel. I've just finished reading 'The Silkworm' (as an unabridged audio book, narrated by Robert Glenister) and I wasn't disappointed. 'The Silkworm' is more of the same, but it's well done, gripping, puzzling and satisfying. The private detective, Cormoran Strike, and his assistant, Robin, are likeable, sympathetic characters. My only gripe is that, amongst the clearly carefully researched, realistic London setting, there are a few small anomalies that I would have expected an editor to spot – Cormoran Strike must be the only person able to watch live football on his television at 3 pm on a Saturday afternoon! But this is a minor quibble – 'The Silkworm' is a good read and I will be eagerly awaiting the next novel in the series.
Glasgow 2014 Commonwealth Games
1 August 2014
We had a brilliant time at the Commonwealth Games in Glasgow at the beginning of this week. It was very well organised and there was a fantastic atmosphere throughout the city. It was great to see the Clydesider volunteers making such an important contribution – and being properly recognised for it. On Monday we attended an extended morning session of athletics at Hampden Park and were lucky to see our local hero, Greg Rutherford (from Woburn Sands), in the long jump, Kenyan world-record holder David Rudisha in the 800m, the amazing David Weir in the T54 1500m, and Scotland's Eilidh Child in the 400m hurdles. The stadium was packed and, even though we were mostly watching heats rather than finals, it was a thrilling experience which finished with a fascinating decathlon pole vault competition won by Ben Gregory from Wales. Watching events like the pole vault or high jump you find yourself genuinely delighted when any competitor manages to clear the bar – regardless of which country they are representing. In the latter stages of the competition, when there are more failures than clearances, any success is truly exciting. On Monday afternoon and evening we were at a long session of badminton at the Emirates Arena. I have never watched badminton before and I really enjoyed it. We could see matches going on simultaneously across four courts and there was plenty to hold your attention, even in some fairly one-sided first round matches. The rallies in badminton tend to be lengthy and dramatic and there is a balletic athleticism to many of the shots. It was great to see some of the smallest competing nations and territories taking part in the mixed doubles – including teams from the Norfolk Islands and St Helena. On Wednesday morning we were back at Hampden Park for a second session of athletics which included the women's high jump and long jump qualifying and the heats of the men's 200m. It was great to be in Glasgow and to see the excitement generated by the games. Waiting in Glasgow Airport for our flight home we saw two young members of the Australian swimming team, being persuaded to pose for photos with their medals by fellow passengers who were thrilled to meet them. You can see a selection of my photos from Glasgow 2014 at: http://culturaloutlook.blogspot.co.uk/search/label/Glasgow2014
We had a brilliant time at the Commonwealth Games in Glasgow at the beginning of this week. It was very well organised and there was a fantastic atmosphere throughout the city. It was great to see the Clydesider volunteers making such an important contribution – and being properly recognised for it. On Monday we attended an extended morning session of athletics at Hampden Park and were lucky to see our local hero, Greg Rutherford (from Woburn Sands), in the long jump, Kenyan world-record holder David Rudisha in the 800m, the amazing David Weir in the T54 1500m, and Scotland's Eilidh Child in the 400m hurdles. The stadium was packed and, even though we were mostly watching heats rather than finals, it was a thrilling experience which finished with a fascinating decathlon pole vault competition won by Ben Gregory from Wales. Watching events like the pole vault or high jump you find yourself genuinely delighted when any competitor manages to clear the bar – regardless of which country they are representing. In the latter stages of the competition, when there are more failures than clearances, any success is truly exciting. On Monday afternoon and evening we were at a long session of badminton at the Emirates Arena. I have never watched badminton before and I really enjoyed it. We could see matches going on simultaneously across four courts and there was plenty to hold your attention, even in some fairly one-sided first round matches. The rallies in badminton tend to be lengthy and dramatic and there is a balletic athleticism to many of the shots. It was great to see some of the smallest competing nations and territories taking part in the mixed doubles – including teams from the Norfolk Islands and St Helena. On Wednesday morning we were back at Hampden Park for a second session of athletics which included the women's high jump and long jump qualifying and the heats of the men's 200m. It was great to be in Glasgow and to see the excitement generated by the games. Waiting in Glasgow Airport for our flight home we saw two young members of the Australian swimming team, being persuaded to pose for photos with their medals by fellow passengers who were thrilled to meet them. You can see a selection of my photos from Glasgow 2014 at: http://culturaloutlook.blogspot.co.uk/search/label/Glasgow2014
WOMAD 2014
1 August 2014
2014 was the hottest WOMAD I can remember. It was also the busiest - the first time the Festival has sold out since it moved to the enormous Charlton Park, near Malmesbury in Wiltshire, in 2007. The weekend was full of musical superlatives too. Every year WOMAD is a showcase for the best music you had never previously heard of. I don't bother looking at the line-up until I arrive because it's invariably the unknowns that provide my personal highlights. This year my favourites included four female singer/songwriters – the Swedish 'cellist Linnea Olsson, the lively swing of harpist Lucinda Belle (this year's 'Caravan Palace' moment), Cumbrian folkie Maz O'Connor (the recent beneficiary of an English Folk Dance and Song Society Fellowship) and the former Mercury Prize nominee Kathryn Williams (whose latest album 'Crown Electric' is wonderful – highly recommended). It was a privilege to see the veteran Indian Sarod maestro Amjad Ali Khan performing with his sons Ayaan and Amaan Ali Khan. The warmest applause of the weekend was for two sisters from Iran, Masha and Marjan Vahdat, who break Iranian law every time they perform in front of an audience that includes men. They got a deservedly rapturous reception. But my pick of WOMAD 2014 was a performance by Justin Vali and the Ny Malagasy Orkestra from Madagascar. Justin Vali is famous for championing the valiha – a bamboo zither from which he can conjure both beautifully delicate and rousingly percussive music. His set with the Ny Malagasy Orkestra included a wide variety of styles and was moving, charming, lively and very danceable. You can see a selection of my photos from WOMAD 2014 at: http://www.culturaloutlook.blogspot.co.uk/search/label/WOMAD2014
2014 was the hottest WOMAD I can remember. It was also the busiest - the first time the Festival has sold out since it moved to the enormous Charlton Park, near Malmesbury in Wiltshire, in 2007. The weekend was full of musical superlatives too. Every year WOMAD is a showcase for the best music you had never previously heard of. I don't bother looking at the line-up until I arrive because it's invariably the unknowns that provide my personal highlights. This year my favourites included four female singer/songwriters – the Swedish 'cellist Linnea Olsson, the lively swing of harpist Lucinda Belle (this year's 'Caravan Palace' moment), Cumbrian folkie Maz O'Connor (the recent beneficiary of an English Folk Dance and Song Society Fellowship) and the former Mercury Prize nominee Kathryn Williams (whose latest album 'Crown Electric' is wonderful – highly recommended). It was a privilege to see the veteran Indian Sarod maestro Amjad Ali Khan performing with his sons Ayaan and Amaan Ali Khan. The warmest applause of the weekend was for two sisters from Iran, Masha and Marjan Vahdat, who break Iranian law every time they perform in front of an audience that includes men. They got a deservedly rapturous reception. But my pick of WOMAD 2014 was a performance by Justin Vali and the Ny Malagasy Orkestra from Madagascar. Justin Vali is famous for championing the valiha – a bamboo zither from which he can conjure both beautifully delicate and rousingly percussive music. His set with the Ny Malagasy Orkestra included a wide variety of styles and was moving, charming, lively and very danceable. You can see a selection of my photos from WOMAD 2014 at: http://www.culturaloutlook.blogspot.co.uk/search/label/WOMAD2014
Thursday, July 24, 2014
'Two Gentlemen of Verona' by William Shakespeare
24 July 2014
On Tuesday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see 'Two Gentlemen of Verona' – one of Shakespeare's earliest plays, and possibly his first comedy. It's not often performed (the last RSC performance on the main Stratford stage was 45 years ago) and you can see Shakespeare developing the technique that he would use to create later greater works. But Simon Godwin's Royal Shakespeare Company production is great fun and well worth seeing. It's fascinating to spot the prototypes for scenes in 'As You Like It', 'Twelfth Night', 'A Midsummer Night's Dream', 'The Winter's Tale' and other plays. And I enjoyed watching a Shakespeare play without knowing exactly where the plot was heading. 'Two Gentlemen of Verona' is a fairly bonkers romp and the RSC's swashbuckling production reminded me of the marvellous Not Man Apart production of 'Pericles Redux' we saw in Edinburgh some years ago (reviewed here in August 2008). The RSC cast were all impressive – with Roger Morlidge giving a great comic turn as the servant Launce. The RSC is very good at introducing wave after wave of stunning young actors. Michael Marcus, Mark Arends, Peal Chanda and Sarah Macrae, who played the four young lovers, were all excellent – and all four are in their RSC debut season. But the star of the show was undoubtedly the lurcher Mossup who played Launce's dog Crab. Mossup was clearly an experienced actor and it was good to see that she had her own biography in the programme (she has previously appeared in 'Legally Blond' (in Glasgow), 'Casualty' and 'The Tudors' on TV, and the film 'The Invisible Woman'!). I also enjoyed Nicholas Gerard-Martin channelling Morrisey in his desperate singing of 'Who is Silvia?'. 'Two Gentlemen of Verona' is a hoot.
On Tuesday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see 'Two Gentlemen of Verona' – one of Shakespeare's earliest plays, and possibly his first comedy. It's not often performed (the last RSC performance on the main Stratford stage was 45 years ago) and you can see Shakespeare developing the technique that he would use to create later greater works. But Simon Godwin's Royal Shakespeare Company production is great fun and well worth seeing. It's fascinating to spot the prototypes for scenes in 'As You Like It', 'Twelfth Night', 'A Midsummer Night's Dream', 'The Winter's Tale' and other plays. And I enjoyed watching a Shakespeare play without knowing exactly where the plot was heading. 'Two Gentlemen of Verona' is a fairly bonkers romp and the RSC's swashbuckling production reminded me of the marvellous Not Man Apart production of 'Pericles Redux' we saw in Edinburgh some years ago (reviewed here in August 2008). The RSC cast were all impressive – with Roger Morlidge giving a great comic turn as the servant Launce. The RSC is very good at introducing wave after wave of stunning young actors. Michael Marcus, Mark Arends, Peal Chanda and Sarah Macrae, who played the four young lovers, were all excellent – and all four are in their RSC debut season. But the star of the show was undoubtedly the lurcher Mossup who played Launce's dog Crab. Mossup was clearly an experienced actor and it was good to see that she had her own biography in the programme (she has previously appeared in 'Legally Blond' (in Glasgow), 'Casualty' and 'The Tudors' on TV, and the film 'The Invisible Woman'!). I also enjoyed Nicholas Gerard-Martin channelling Morrisey in his desperate singing of 'Who is Silvia?'. 'Two Gentlemen of Verona' is a hoot.
Northampton Symphony Orchestra concert
24 July 2014
The Northampton Symphony Orchestra Friends' Concert, each July, always feels like an 'end of term' party. This year it was also our final concert with conductor Alexander Walker. Alex has been conducting NSO since 2009 and, looking back over the past five years, he has been presided over some stunning concerts and I think he has helped to create a marked improvement in our playing. Alex has been a reassuring presence during concerts, often steering us calmly to safety when a wrong entry threatened to derail our performance. And I think we have learned a lot from his particular knowledge of, and passion for, Russian music. My personal highlights from Alex's tenure as our regular conductor include the incredible experience of playing Mahler's 'Symphony No. 6' (reviewed here in November 2011), a stunning performance of Richard Strauss’ ‘Four Last Songs’ with Katherine Crompton (featuring an exquisite horn solo in ‘September’ by David Lack) (reviewed here in November 2010), Shostakovich's immense ‘Leningrad Symphony’ (reviewed here in November 2013) and our 'Love and Death' concert earlier this year (reviewed here in February 2014) which included the Richard Strauss tone poem 'Tod und Verklärung' ('Death and Transfiguration'). Alex's final NSO programme, last Sunday, included Dvorak's tone poem 'The Water Goblin' (a lovely piece), the 'Danse Macabre' by Saint-Saens and Rimsky Korsakov's rousing 'Capriccio Espagnole'. But I most enjoyed playing Wagner's 'Siegfried Idyll' – an achingly beautiful expression of love.
The Northampton Symphony Orchestra Friends' Concert, each July, always feels like an 'end of term' party. This year it was also our final concert with conductor Alexander Walker. Alex has been conducting NSO since 2009 and, looking back over the past five years, he has been presided over some stunning concerts and I think he has helped to create a marked improvement in our playing. Alex has been a reassuring presence during concerts, often steering us calmly to safety when a wrong entry threatened to derail our performance. And I think we have learned a lot from his particular knowledge of, and passion for, Russian music. My personal highlights from Alex's tenure as our regular conductor include the incredible experience of playing Mahler's 'Symphony No. 6' (reviewed here in November 2011), a stunning performance of Richard Strauss’ ‘Four Last Songs’ with Katherine Crompton (featuring an exquisite horn solo in ‘September’ by David Lack) (reviewed here in November 2010), Shostakovich's immense ‘Leningrad Symphony’ (reviewed here in November 2013) and our 'Love and Death' concert earlier this year (reviewed here in February 2014) which included the Richard Strauss tone poem 'Tod und Verklärung' ('Death and Transfiguration'). Alex's final NSO programme, last Sunday, included Dvorak's tone poem 'The Water Goblin' (a lovely piece), the 'Danse Macabre' by Saint-Saens and Rimsky Korsakov's rousing 'Capriccio Espagnole'. But I most enjoyed playing Wagner's 'Siegfried Idyll' – an achingly beautiful expression of love.
Friday, July 18, 2014
'Piano Concerto No. 3' by Peter Lieberson
18 July 2014
The American composer, Peter Lieberson, died in 2011, leaving an extensive legacy of orchestral, chamber and vocal music. I've been listening to his 'Piano Concerto No. 3' in a new recording by by Steven Beck and the Odense orchestra, conducted by Scott Yoo. The three movements are based on poems by Pablo Neruda, St Francis of Assisi and Charles Wright. This is clearly modern classical music, but with the grandeur of a 19th century romantic concerto. Serious, thoughtful and intriguing. I look forward to exploring other music by Peter Lieberson.
The American composer, Peter Lieberson, died in 2011, leaving an extensive legacy of orchestral, chamber and vocal music. I've been listening to his 'Piano Concerto No. 3' in a new recording by by Steven Beck and the Odense orchestra, conducted by Scott Yoo. The three movements are based on poems by Pablo Neruda, St Francis of Assisi and Charles Wright. This is clearly modern classical music, but with the grandeur of a 19th century romantic concerto. Serious, thoughtful and intriguing. I look forward to exploring other music by Peter Lieberson.
Monday, July 07, 2014
'Dinner at the Homesick Restaurant'
7 July 2014
Regular readers will remember I am a big fan of the novels of Anne Tyler (see, for example, 'Noah's Compass' reviewed here in May 2010 and 'The Beginners Goodbye' reviewed here in March 2013). My first experience of Anne Tyler was her 1985 novel 'The Accidental Tourist' (still a favourite) so it was interesting to go back to an earlier work, from 1982, 'Dinner at the Homesick Restaurant', which I have just read as an unabridged audio book, narrated by Suzanne Toren. Like nearly all Anne Tyler's novels, 'Dinner at the Homesick Restaurant' is a family story set in Baltimore. In this case we follow the lives of Pearl and Beck Tull and their three children, from the 1940s to the 1970s. Each chapter is written in the third person, but from the point of view of one member of the family. The narrative is non-linear, with some seminal events revisited from different viewpoints to reveal more than was originally obvious. It's a beautifully constructed and beautifully written novel, full of delicate, heartbreaking moments. Anne Tyler achieves the same trick as Jonathan Franzen did (much later) in 'The Corrections' (and Andrea Levy did in 'Small Island') of making us empathise and sympathise with each member of the family in turn, allowing us to root simultaneously for the opposing sides in each argument. Whereas, in 'The Corrections' the mother is desperate to bring her children together for one final family Christmas, here Ezra is forever trying to get his relations to remain at the same table for the duration of one proper family dinner. Ezra, his brother Cody and sister Jenny, are brilliantly drawn characters – each with distinct voices and characters but sharing enough traits to make them totally believable siblings – clearly three parts of a singe whole, demonstrating both the frustrations that drive families apart and the ties that inexorably bind them together. 'Dinner at the Homesick Restaurant' is a very sad tale – none of the protagonists has a happy life and there is little of the humour that characterises later Anne Tyler novels. Nevertheless it is an excellent executed and painfully moving book.
Regular readers will remember I am a big fan of the novels of Anne Tyler (see, for example, 'Noah's Compass' reviewed here in May 2010 and 'The Beginners Goodbye' reviewed here in March 2013). My first experience of Anne Tyler was her 1985 novel 'The Accidental Tourist' (still a favourite) so it was interesting to go back to an earlier work, from 1982, 'Dinner at the Homesick Restaurant', which I have just read as an unabridged audio book, narrated by Suzanne Toren. Like nearly all Anne Tyler's novels, 'Dinner at the Homesick Restaurant' is a family story set in Baltimore. In this case we follow the lives of Pearl and Beck Tull and their three children, from the 1940s to the 1970s. Each chapter is written in the third person, but from the point of view of one member of the family. The narrative is non-linear, with some seminal events revisited from different viewpoints to reveal more than was originally obvious. It's a beautifully constructed and beautifully written novel, full of delicate, heartbreaking moments. Anne Tyler achieves the same trick as Jonathan Franzen did (much later) in 'The Corrections' (and Andrea Levy did in 'Small Island') of making us empathise and sympathise with each member of the family in turn, allowing us to root simultaneously for the opposing sides in each argument. Whereas, in 'The Corrections' the mother is desperate to bring her children together for one final family Christmas, here Ezra is forever trying to get his relations to remain at the same table for the duration of one proper family dinner. Ezra, his brother Cody and sister Jenny, are brilliantly drawn characters – each with distinct voices and characters but sharing enough traits to make them totally believable siblings – clearly three parts of a singe whole, demonstrating both the frustrations that drive families apart and the ties that inexorably bind them together. 'Dinner at the Homesick Restaurant' is a very sad tale – none of the protagonists has a happy life and there is little of the humour that characterises later Anne Tyler novels. Nevertheless it is an excellent executed and painfully moving book.
Friday, July 04, 2014
Midsummer Mischief: 'The Ant and the Cicada' by Timberlake Wertenbaker and 'Revolt. She Said. Revolt Again.' by Alice Birch
4 July 2014
Last Thursday we were in Stratford-upon-Avon to see two of the RSC's new 'Midsummer Mischief' plays. 'Midsummer Mischief' comprises four short plays commissioned to mark the 30th anniversary of The Other Place and performed in a pop-up theatre on the stage of the Courtyard Theatre (which currently stands on the site originally occupied by The Other Place). We saw 'Programme A' which was directed by RSC Deputy Artistic Director, Erica Whyman. 'The Ant and the Cicada' by Timberlake Wertenbaker is a contemporary Greek tragedy which explores democracy, art and commerce. It is a relatively conventional play but uses some gentle audience participation to make us complicit (“we are all Greeks”). 'Revolt. She Said. Revolt Again.' by Alice Birch is a much more experimental piece, consisting of a series of apparently disconnected scenes in which unnamed characters challenge traditional views of sex, gender and work. The writing is witty, funny and thought-provoking and I liked the way recurring phrases and references emerge to link the scenes. I always used to like The Other Place for the way it got you closer to the actors, stripping away the distraction of the big production values of the old Royal Shakespeare Theatre stage and allowing you fully to appreciate the brilliant acting. The new thrust stage Royal Shakespeare Theatre brings the audience much closer to the action and has managed to recreate some of the excitement of The Other Place on a much bigger scale, but it was still nice to be reminded of the charm of the RSC's smallest stage.
Last Thursday we were in Stratford-upon-Avon to see two of the RSC's new 'Midsummer Mischief' plays. 'Midsummer Mischief' comprises four short plays commissioned to mark the 30th anniversary of The Other Place and performed in a pop-up theatre on the stage of the Courtyard Theatre (which currently stands on the site originally occupied by The Other Place). We saw 'Programme A' which was directed by RSC Deputy Artistic Director, Erica Whyman. 'The Ant and the Cicada' by Timberlake Wertenbaker is a contemporary Greek tragedy which explores democracy, art and commerce. It is a relatively conventional play but uses some gentle audience participation to make us complicit (“we are all Greeks”). 'Revolt. She Said. Revolt Again.' by Alice Birch is a much more experimental piece, consisting of a series of apparently disconnected scenes in which unnamed characters challenge traditional views of sex, gender and work. The writing is witty, funny and thought-provoking and I liked the way recurring phrases and references emerge to link the scenes. I always used to like The Other Place for the way it got you closer to the actors, stripping away the distraction of the big production values of the old Royal Shakespeare Theatre stage and allowing you fully to appreciate the brilliant acting. The new thrust stage Royal Shakespeare Theatre brings the audience much closer to the action and has managed to recreate some of the excitement of The Other Place on a much bigger scale, but it was still nice to be reminded of the charm of the RSC's smallest stage.
'Henry V' by William Shakespeare
4 July 2014
In 2012 – the year it celebrated its 50th anniversary – Toddington Amateur Dramatic Society attempted its first performance of a Shakespeare play. Sue Sachon's production of 'A Midsummer Night's Dream' (reviewed here in May 2012) was a triumph, and last week we were back at the TADS Theatre in Toddington to see her direct 'Henry V'. Sue had added framing scenes to link Shakespeare's examination of war with more recent conflicts. In 1939, as war is being declared, a village theatre company is about to perform 'Henry V'. One of the cast is suffering from shellshock and experiencing flashbacks to the trenches of the First World War, before taking his place on stage as The Chorus. It was really interesting to see 'Henry V' in context, having recently seen the RSC productions of 'Richard II' (reviewed here in December 2013), 'Henry IV Part 1' (reviewed here in April 2014) and 'Henry IV Part 2' (reviewed here in May 2014). I spotted nuances and references to the previous plays that I had not seen before. 'Henry V' is a very different play to 'A Midsummer Night's Dream' but the TADS production – again presented in the round – was equally excellent. In particular, Peter Carter-Brown's performance as the King would not have been out of place at the RSC. There is little comedy in 'Henry V' but Peter Carter-Brown showed a lightness of touch in the occasional comic moments to suggest it would be fascinating to see him tackle a Shakespeare comedy. And the 'Franglais' scene between Princess Catherine (Lea Pryer) and her maid Alice (Janet Bray) was wonderfully funny.
In 2012 – the year it celebrated its 50th anniversary – Toddington Amateur Dramatic Society attempted its first performance of a Shakespeare play. Sue Sachon's production of 'A Midsummer Night's Dream' (reviewed here in May 2012) was a triumph, and last week we were back at the TADS Theatre in Toddington to see her direct 'Henry V'. Sue had added framing scenes to link Shakespeare's examination of war with more recent conflicts. In 1939, as war is being declared, a village theatre company is about to perform 'Henry V'. One of the cast is suffering from shellshock and experiencing flashbacks to the trenches of the First World War, before taking his place on stage as The Chorus. It was really interesting to see 'Henry V' in context, having recently seen the RSC productions of 'Richard II' (reviewed here in December 2013), 'Henry IV Part 1' (reviewed here in April 2014) and 'Henry IV Part 2' (reviewed here in May 2014). I spotted nuances and references to the previous plays that I had not seen before. 'Henry V' is a very different play to 'A Midsummer Night's Dream' but the TADS production – again presented in the round – was equally excellent. In particular, Peter Carter-Brown's performance as the King would not have been out of place at the RSC. There is little comedy in 'Henry V' but Peter Carter-Brown showed a lightness of touch in the occasional comic moments to suggest it would be fascinating to see him tackle a Shakespeare comedy. And the 'Franglais' scene between Princess Catherine (Lea Pryer) and her maid Alice (Janet Bray) was wonderfully funny.
Sunday, June 15, 2014
Northampton Symphony Orchestra concert
15 June 2014
I don't think I've ever opened an orchestral concert by playing an unaccompanied horn solo, before last Saturday's Northampton Symphony Orchestra performance - and it's not an experience I am particularly keen to repeat! Have a listen to the start of Leonard Bernstein's Symphonic Suite from the film 'On The Waterfront' on Spotify or YouTube and you might appreciate the terror I experienced on first seeing the music. The solo horn passage occurs three times in the piece and I can take some comfort from the fact that I think I played the second (slightly easier) solo perfectly, but my high notes in the other two solos came out strained and warbled. This being the opening piece of the concert, I can't blame any lack of stamina - it was pure nerves. I was slightly embarrassed to be asked to take an individual bow at the end - particularly as there were several other people (including Mara Griffiths, Kathy Roberts, Simon Cooper, Sian Bunker, Stephen Hague, Peter Dunkley, Ben Drouit and Naomi Muller) whose far more impressive solos in Saturday's concert did not receive such recognition.
Fortunately, my trials and tribulations were completely overshadowed by a remarkable performance by the stunning young Latvian pianist, Arta Arnicane, whose playing in two Gershwin pieces, 'Rhapsody in Blue' and the 'I Got Rhythm' Variations for piano and orchestra, brought the house down. Her encore, 'The Serpent's Kiss' - a Rag Fantasy by William Bolcom drew gasps, laughter, rapturous applause and a standing ovation. Do take a look at this recording of Arta Arnicane playing 'The Serpent's Kiss' to get an idea of what we experienced on Saturday: http://www.youtube.com/watch?v=s08a4OeB_YY.
The American composer Ferdy Grofé is best remembered for being the orchestrator of the most commonly played version of Gershwin's 'Rhapsody in Blue' and for his lovely 'Grand Canyon Suite'. I first discovered the 'Grand Canyon Suite' in 2002 when we were driving from Washington State in the North West corner of the United States, through Idaho to Montana, with nothing to listen to in the car. We stopped at a service station and bought a cassette of American orchestral music which we played over and over on this long journey. Although it wasn't the terrain Grofé was writing about, I will always associate the 'Grand Canyon Suite' with the stunning scenery of Montana. We finished Saturday's concert with an impressive performance of the 'Grand Canyon Suite' with the donkey leading us 'On The Trail' recreated by a violin, a bass clarinet and two halves of a coconut.
I don't think I've ever opened an orchestral concert by playing an unaccompanied horn solo, before last Saturday's Northampton Symphony Orchestra performance - and it's not an experience I am particularly keen to repeat! Have a listen to the start of Leonard Bernstein's Symphonic Suite from the film 'On The Waterfront' on Spotify or YouTube and you might appreciate the terror I experienced on first seeing the music. The solo horn passage occurs three times in the piece and I can take some comfort from the fact that I think I played the second (slightly easier) solo perfectly, but my high notes in the other two solos came out strained and warbled. This being the opening piece of the concert, I can't blame any lack of stamina - it was pure nerves. I was slightly embarrassed to be asked to take an individual bow at the end - particularly as there were several other people (including Mara Griffiths, Kathy Roberts, Simon Cooper, Sian Bunker, Stephen Hague, Peter Dunkley, Ben Drouit and Naomi Muller) whose far more impressive solos in Saturday's concert did not receive such recognition.
Fortunately, my trials and tribulations were completely overshadowed by a remarkable performance by the stunning young Latvian pianist, Arta Arnicane, whose playing in two Gershwin pieces, 'Rhapsody in Blue' and the 'I Got Rhythm' Variations for piano and orchestra, brought the house down. Her encore, 'The Serpent's Kiss' - a Rag Fantasy by William Bolcom drew gasps, laughter, rapturous applause and a standing ovation. Do take a look at this recording of Arta Arnicane playing 'The Serpent's Kiss' to get an idea of what we experienced on Saturday: http://www.youtube.com/watch?v=s08a4OeB_YY.
The American composer Ferdy Grofé is best remembered for being the orchestrator of the most commonly played version of Gershwin's 'Rhapsody in Blue' and for his lovely 'Grand Canyon Suite'. I first discovered the 'Grand Canyon Suite' in 2002 when we were driving from Washington State in the North West corner of the United States, through Idaho to Montana, with nothing to listen to in the car. We stopped at a service station and bought a cassette of American orchestral music which we played over and over on this long journey. Although it wasn't the terrain Grofé was writing about, I will always associate the 'Grand Canyon Suite' with the stunning scenery of Montana. We finished Saturday's concert with an impressive performance of the 'Grand Canyon Suite' with the donkey leading us 'On The Trail' recreated by a violin, a bass clarinet and two halves of a coconut.
Friday, June 13, 2014
'A Small Family Business' by Alan Ayckbourn
13 June 2014
On Thursday we were at Cineworld in Milton Keynes to see the NT Live broadcast of Adam Penford's National Theatre production of 'A Small Family Business' by Alan Ayckbourn. This performance, live from the stage of the Olivier Theatre in London, was simultaneously broadcast to 1100 cinemas in 40 countries around the world - the largest audience yet for a NT Live screening. We first saw 'A Small Family Business' about 20 years ago in an amateur production at Uppingham Theatre, produced by our friend Brian Stokes who had himself taught the young Ayckbourn. The National Theatre production faithfully recreated 1987 period details which felt all the more real in the close-ups on the cinema screen. The kettle, phone and other household items were incredibly recognisable and nostalgic. Though surrounded by a large cast, this is Nigel Lindsay's play. Lindsay, who we last saw as Henry Bolingbroke in Greg Doran's RSC production of Richard II (reviewed here in December 2013), demonstrated a very believable descent, in the space of the week in which the action of the play takes place, from honest upright citizen to criminal Godfather. There appears to be a rule that all professional productions of Alan Ayckbourn plays have to involve Matthew Cottle. We have seen him in Ayckbourn’s ‘Just Between Ourselves’ at the Theatre Royal in Bath in 2002, in the same play at the Royal Theatre Northampton (reviewed here in May 2009) and in Ayckbourn’s ‘Neighbourhood Watch’ at the Palace Theatre in Watford (reviewed here in March 2012). In the National Theatre production of 'A Small Family Business' Matthew Cottle played the incredibly creepy private detective Benedict Hough - it was an uncomfortably sleezy performance. The other standout performance was Alice Sykes, perfect as the stroppy teenage daughter. Like many of Alan Ayckbourn's plays 'A Small Family Business' starts with the appearance of a straightforward farce but gradually reveals a much darker, more serious tone. The final poignant image, as the lights fade to black, has stuck in my mind from that Uppingham production 20 years ago and was just as affecting this time.
On Thursday we were at Cineworld in Milton Keynes to see the NT Live broadcast of Adam Penford's National Theatre production of 'A Small Family Business' by Alan Ayckbourn. This performance, live from the stage of the Olivier Theatre in London, was simultaneously broadcast to 1100 cinemas in 40 countries around the world - the largest audience yet for a NT Live screening. We first saw 'A Small Family Business' about 20 years ago in an amateur production at Uppingham Theatre, produced by our friend Brian Stokes who had himself taught the young Ayckbourn. The National Theatre production faithfully recreated 1987 period details which felt all the more real in the close-ups on the cinema screen. The kettle, phone and other household items were incredibly recognisable and nostalgic. Though surrounded by a large cast, this is Nigel Lindsay's play. Lindsay, who we last saw as Henry Bolingbroke in Greg Doran's RSC production of Richard II (reviewed here in December 2013), demonstrated a very believable descent, in the space of the week in which the action of the play takes place, from honest upright citizen to criminal Godfather. There appears to be a rule that all professional productions of Alan Ayckbourn plays have to involve Matthew Cottle. We have seen him in Ayckbourn’s ‘Just Between Ourselves’ at the Theatre Royal in Bath in 2002, in the same play at the Royal Theatre Northampton (reviewed here in May 2009) and in Ayckbourn’s ‘Neighbourhood Watch’ at the Palace Theatre in Watford (reviewed here in March 2012). In the National Theatre production of 'A Small Family Business' Matthew Cottle played the incredibly creepy private detective Benedict Hough - it was an uncomfortably sleezy performance. The other standout performance was Alice Sykes, perfect as the stroppy teenage daughter. Like many of Alan Ayckbourn's plays 'A Small Family Business' starts with the appearance of a straightforward farce but gradually reveals a much darker, more serious tone. The final poignant image, as the lights fade to black, has stuck in my mind from that Uppingham production 20 years ago and was just as affecting this time.
Wednesday, June 11, 2014
Toumani and Sidiki Diabaté
11 June 2014
I wrote here in May 2008 about the Malian kora virtuoso Toumani Diabaté who represents the 71st generation of a line of griots that has passed on songs forming the oral history of the Mandé Empire of West Africa from father to son. Last Thursday I was at The Stables in Wavendon to see this remarkable hereditary process in action, as generations 71 and 72 performed together – Toumani playing kora duets with his son Sidiki Diabaté. Sidiki is already a star in his own right – a hip hop performer who regular plays to crowds of 20,000 or more in football stadia in Mali. But he is also a very accomplished kora player and the interplay between father and son was fascinating. The 21-string kora is a delicate, mesmerising instrument but recordings sometimes feel a bit tame compared to the excitement generated by a live performance. I had been listening to the new 'Toumani & Sidiki' album but seeing them playing the pieces at The Stables was a completely different experience. Toumani is an extraordinary performer – surely one of the greatest musicians in the world today. The concert ended with a standing ovation – it was a stunning performance.
I wrote here in May 2008 about the Malian kora virtuoso Toumani Diabaté who represents the 71st generation of a line of griots that has passed on songs forming the oral history of the Mandé Empire of West Africa from father to son. Last Thursday I was at The Stables in Wavendon to see this remarkable hereditary process in action, as generations 71 and 72 performed together – Toumani playing kora duets with his son Sidiki Diabaté. Sidiki is already a star in his own right – a hip hop performer who regular plays to crowds of 20,000 or more in football stadia in Mali. But he is also a very accomplished kora player and the interplay between father and son was fascinating. The 21-string kora is a delicate, mesmerising instrument but recordings sometimes feel a bit tame compared to the excitement generated by a live performance. I had been listening to the new 'Toumani & Sidiki' album but seeing them playing the pieces at The Stables was a completely different experience. Toumani is an extraordinary performer – surely one of the greatest musicians in the world today. The concert ended with a standing ovation – it was a stunning performance.
Wednesday, June 04, 2014
'Glow' by Ned Beauman
4 June 2014
I'm a big fan of the young novelist Ned Beauman: his second book 'The Teleportation Accident' (reviewed here in July 2013) was my Pick of the Year for 2013 and I also really enjoyed reading his debut 'Boxer, Beetle' (reviewed here in September 2013). So I eagerly pounced on his latest novel 'Glow' as soon as it was published last month and I have just finished reading it (as an unabridged audio book, narrated by Jamie Parker). It felt wonderful to be back in the company of Beauman's idiosyncratic authorial voice and it was great to spot some similar themes and characters from his earlier books. 'Glow' is set mainly in contemporary London and is a complicated tale of recreational drugs, a pirate radio station, appallingly powerful multinational companies, unusual sleep patterns, fakes and replicants – and foxes. The prose is careful, precise, complicated and very funny and there are numerous plot twists and an excessive number of underlying themes. 'Glow' is more of a straightforward thriller than the previous books but is still a complex read. I loved it while I was reading it but, on reflection I don't think it was quite as successful as his earlier novels. If you haven't experienced Ned Beauman yet I would urge you to start with 'The Teleportation Accident' but I'm really looking forward to whatever he writes next.
I'm a big fan of the young novelist Ned Beauman: his second book 'The Teleportation Accident' (reviewed here in July 2013) was my Pick of the Year for 2013 and I also really enjoyed reading his debut 'Boxer, Beetle' (reviewed here in September 2013). So I eagerly pounced on his latest novel 'Glow' as soon as it was published last month and I have just finished reading it (as an unabridged audio book, narrated by Jamie Parker). It felt wonderful to be back in the company of Beauman's idiosyncratic authorial voice and it was great to spot some similar themes and characters from his earlier books. 'Glow' is set mainly in contemporary London and is a complicated tale of recreational drugs, a pirate radio station, appallingly powerful multinational companies, unusual sleep patterns, fakes and replicants – and foxes. The prose is careful, precise, complicated and very funny and there are numerous plot twists and an excessive number of underlying themes. 'Glow' is more of a straightforward thriller than the previous books but is still a complex read. I loved it while I was reading it but, on reflection I don't think it was quite as successful as his earlier novels. If you haven't experienced Ned Beauman yet I would urge you to start with 'The Teleportation Accident' but I'm really looking forward to whatever he writes next.
Miles Jupp
4 June 2014
I was familiar with the comedian Miles Jupp from his numerous BBC Radio 4 appearances and his role in Tom Hollander and James Wood's excellent BBC Two sitcom 'Rev'. On Sunday I got a chance to see his stand-up show at the Alban Arena in St Albans. He performed a very slick, polished set, playing on his posh accent and public school education. Self deprecating, with constant asides and digressions, he focused mostly on domestic, observational humour and was very impressive, building to a nice set-piece finale.
I was familiar with the comedian Miles Jupp from his numerous BBC Radio 4 appearances and his role in Tom Hollander and James Wood's excellent BBC Two sitcom 'Rev'. On Sunday I got a chance to see his stand-up show at the Alban Arena in St Albans. He performed a very slick, polished set, playing on his posh accent and public school education. Self deprecating, with constant asides and digressions, he focused mostly on domestic, observational humour and was very impressive, building to a nice set-piece finale.
'Dealer's Choice' by Patrick Marber
4 June 2014
I first saw Patrick Marber's debut play 'Dealer's Choice' in an excellent student production at the Edinburgh Fringe in 2000. It's a cleverly constructed drama with the muscular masculinity of Harold Pinter, tempered with humour and poignant sadness that could have come from an Alan Ayckbourn play. It was great to re-encounter 'Dealer's Choice' last weekend in Michael Longhurst's new production at the Royal Theatre, Northampton. The play gathers six men around a poker table to explore dreams, addiction and friendship. This production had a universally strong cast who made you care about a set of characters who, on the face of it, are not the most likeable. In particular Cary Crankson gave the irrepressibly cheerful Mugsy a loveable vulnerability and was very funny.
I first saw Patrick Marber's debut play 'Dealer's Choice' in an excellent student production at the Edinburgh Fringe in 2000. It's a cleverly constructed drama with the muscular masculinity of Harold Pinter, tempered with humour and poignant sadness that could have come from an Alan Ayckbourn play. It was great to re-encounter 'Dealer's Choice' last weekend in Michael Longhurst's new production at the Royal Theatre, Northampton. The play gathers six men around a poker table to explore dreams, addiction and friendship. This production had a universally strong cast who made you care about a set of characters who, on the face of it, are not the most likeable. In particular Cary Crankson gave the irrepressibly cheerful Mugsy a loveable vulnerability and was very funny.
Friday, May 30, 2014
Julie Fowlis
30 May 2014
Regular readers will be aware of my crush on the Scottish Gaelic folk singer Julie Fowlis. I recommended her first album 'Mar A Tha Mo Chridhe (As My Heart Is)' here in February 2006, just a few months after it was released, and I have written about her here several times since. On Thursday I made the short journey to The Stables in Wavendon to see Julie Fowlis and her band who are currently touring to promote her new album 'Gach Sgeul (Every Story)'. It was an excellent concert. Julie Fowlis has an amazing voice – beautiful, delicate and precise – which gives slow ballads a haunting, ethereal quality (enhanced by the sibilant Gaelic consonants). She is also an impressive performer of traditional Gaelic mouth music, creating a bewildering chain of rapid-fire percussive rhythms with her voice. And then she picks up a tin whistle and demonstrates incredible technique that would be worth the price of admission on its own. She also surrounds herself with amazing musicians, including her husband Eamon Doorley and Tony Byrne on guitars. Byrne's playing in particular was exquisite. And it was a fantastic bonus to discover that her band includes the Scottish fiddle player Duncan Chisholm. I wrote here about Duncan Chisholm in December 2010. He creates a velvety melancholy sound from his violin and his excellent albums 'Farrar' and 'Canaich' are two of my favourite folk recordings of recent years. Chisholm has the ability to make the fiddle sound like a human voice while Julie Fowlis can make the voice sound like an instrument: the combination of these two effects was truly magical.
Regular readers will be aware of my crush on the Scottish Gaelic folk singer Julie Fowlis. I recommended her first album 'Mar A Tha Mo Chridhe (As My Heart Is)' here in February 2006, just a few months after it was released, and I have written about her here several times since. On Thursday I made the short journey to The Stables in Wavendon to see Julie Fowlis and her band who are currently touring to promote her new album 'Gach Sgeul (Every Story)'. It was an excellent concert. Julie Fowlis has an amazing voice – beautiful, delicate and precise – which gives slow ballads a haunting, ethereal quality (enhanced by the sibilant Gaelic consonants). She is also an impressive performer of traditional Gaelic mouth music, creating a bewildering chain of rapid-fire percussive rhythms with her voice. And then she picks up a tin whistle and demonstrates incredible technique that would be worth the price of admission on its own. She also surrounds herself with amazing musicians, including her husband Eamon Doorley and Tony Byrne on guitars. Byrne's playing in particular was exquisite. And it was a fantastic bonus to discover that her band includes the Scottish fiddle player Duncan Chisholm. I wrote here about Duncan Chisholm in December 2010. He creates a velvety melancholy sound from his violin and his excellent albums 'Farrar' and 'Canaich' are two of my favourite folk recordings of recent years. Chisholm has the ability to make the fiddle sound like a human voice while Julie Fowlis can make the voice sound like an instrument: the combination of these two effects was truly magical.
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