14 December 2015
The Northampton Symphony Orchestra's annual Christmas Cracker Concert always feels like the start of the festive season. It's a lovely family-friendly Sunday afternoon celebration of Christmas music, which each year seems to feature the orchestra wearing ever more ridiculous attire. The prize this year must go to my fellow horn player Ian Frankland who played the entire second half of the concert dressed as a giant Christmas cracker! Sunday's concert was the first Christmas Cracker for our new regular conductor John Gibbons, who also took on the role of compère. Our theme was 'Christmas in the Toy Box' – a programme including Leon Jessel's 'Parade of the Tin Soldiers' and music by Randy Newman from the film 'Toy Story'. We also played Malcolm Arnold's 'Fantasy on Christmas Carols' and the 'Sleigh Rides' by Frederick Delius and Leroy Anderson (finishing with a pair of braying trumpets to surprise our regular audience). But the main attraction was 'Paddington Bear's First Concert' – one of the best works for orchestra and narrator – in which Herbert Chappell creates an extensive theme and variations from his signature tune for the old BBC TV 'Paddington'. Michael Bond's story is quintessential 'Paddington' and our performance on Sunday was brilliantly brought to life by former NSO conductor Graham Tear whose Paddington, Mrs Bird and Mr Gruber were spot on!
Monday, December 14, 2015
Friday, December 11, 2015
'Robin Hood: The Arrow in the Oak' by Sue Sachon
11 December 2015
On Saturday we were back at the TADS Theatre in Toddington for the amateur theatre group's annual pantomime. Each year they present a wholly original pantomime, written by a member of the company. This year the show was Sue Sachon's 'Robin Hood: The Arrow in the Oak'. All the usual pantomime elements were incorporated into a story that drew on some lesser known legends of Robin Hood as well as turning the famous archery contest into an X-factor-style talent contest. The cast were great. I particularly enjoyed the performances by Elizabeth Hall and Emily Venn as the Sheriff of Nottingham's henchmen – they looked like they were having a ball! The whole thing was great fun but the best moment was in the kitchen scene where the chef sneezed and a small child in the audience automatically, quietly and very politely said “bless you”.
On Saturday we were back at the TADS Theatre in Toddington for the amateur theatre group's annual pantomime. Each year they present a wholly original pantomime, written by a member of the company. This year the show was Sue Sachon's 'Robin Hood: The Arrow in the Oak'. All the usual pantomime elements were incorporated into a story that drew on some lesser known legends of Robin Hood as well as turning the famous archery contest into an X-factor-style talent contest. The cast were great. I particularly enjoyed the performances by Elizabeth Hall and Emily Venn as the Sheriff of Nottingham's henchmen – they looked like they were having a ball! The whole thing was great fun but the best moment was in the kitchen scene where the chef sneezed and a small child in the audience automatically, quietly and very politely said “bless you”.
'A God in Ruins' by Kate Atkinson
11 December 2015
Kate Atkinson's novel 'Life After Life' (reviewed here in June 2013) was a family saga with a twist, following Ursula Todd through a series of interrupted versions of her life with a Groundhog Day structure. Though Ursula's life, spanning most of the twentieth century, is the focus of the book, it is the love story of her younger brother Teddy and his childhood sweetheart Nancy that forms the emotional heart of the novel. Kate Atkinson has now returned to the Todd family with 'A God in Ruins' – a sequel or companion piece to 'Life After Life' (which I have just finished reading as an unabridged audio book, narrated by Alex Jennings) which tells Teddy's story. Kate Atkinson is an ambitious novelist whose beautifully written prose creates very easily accessible books that play mischievously with the form of the novel. In 'A God in Ruins' she abandons the tricksy stop-start format of 'Life After Life' in favour of painting a picture of Teddy's life which jumps forwards and backwards in time, only gradually filling in the gaps. This jigsaw plot wrong-foots the reader as many of our assumptions and theories are disproved. Atkinson also pulls the rug from under fans of the previous novel by showing Teddy to have had a fairly dull life, his romance with Nancy proving not to have been quite so perfect as Ursula thought it. 'A God in Ruins' is dominated by Teddy's wartime service as a bomber pilot: the descriptions of bombing missions over Germany are detailed and harrowing and this experience colours all of Teddy's later life and relationships. 'A God in Ruins' is a uniformly melancholy book and often feels quite slow (and maybe over long) but I can forgive it much for its ending – do read right to the end for a satisfyingly clever twist. 'A God in Ruins' is sad, slow, frustrating but also rather brilliant.
Kate Atkinson's novel 'Life After Life' (reviewed here in June 2013) was a family saga with a twist, following Ursula Todd through a series of interrupted versions of her life with a Groundhog Day structure. Though Ursula's life, spanning most of the twentieth century, is the focus of the book, it is the love story of her younger brother Teddy and his childhood sweetheart Nancy that forms the emotional heart of the novel. Kate Atkinson has now returned to the Todd family with 'A God in Ruins' – a sequel or companion piece to 'Life After Life' (which I have just finished reading as an unabridged audio book, narrated by Alex Jennings) which tells Teddy's story. Kate Atkinson is an ambitious novelist whose beautifully written prose creates very easily accessible books that play mischievously with the form of the novel. In 'A God in Ruins' she abandons the tricksy stop-start format of 'Life After Life' in favour of painting a picture of Teddy's life which jumps forwards and backwards in time, only gradually filling in the gaps. This jigsaw plot wrong-foots the reader as many of our assumptions and theories are disproved. Atkinson also pulls the rug from under fans of the previous novel by showing Teddy to have had a fairly dull life, his romance with Nancy proving not to have been quite so perfect as Ursula thought it. 'A God in Ruins' is dominated by Teddy's wartime service as a bomber pilot: the descriptions of bombing missions over Germany are detailed and harrowing and this experience colours all of Teddy's later life and relationships. 'A God in Ruins' is a uniformly melancholy book and often feels quite slow (and maybe over long) but I can forgive it much for its ending – do read right to the end for a satisfyingly clever twist. 'A God in Ruins' is sad, slow, frustrating but also rather brilliant.
Friday, December 04, 2015
The Polka Dots
4 December 2015
On Saturday we were at the Abbey Theatre in St Albans to see The Polka Dots – a female vocal trio who sing close harmony swing in the style of the Andrews Sisters. Their material includes songs from the 1920s, 30s, 40s and 50s as well as more contemporary repertoire (including Sade, Amy Winehouse, George Michael and Caro Emerald songs) but all sung (to backing tracks) in big-band arrangements. The Polka Dots are very impressive singers and their between-songs patter and banter are charming – with three strong personalities shining through. With the addition of some slickly co-ordinated dancing this added up to a very entertaining evening. And it seemed like most of the enthusiastic, packed audience were Polka Dots regulars.
On Saturday we were at the Abbey Theatre in St Albans to see The Polka Dots – a female vocal trio who sing close harmony swing in the style of the Andrews Sisters. Their material includes songs from the 1920s, 30s, 40s and 50s as well as more contemporary repertoire (including Sade, Amy Winehouse, George Michael and Caro Emerald songs) but all sung (to backing tracks) in big-band arrangements. The Polka Dots are very impressive singers and their between-songs patter and banter are charming – with three strong personalities shining through. With the addition of some slickly co-ordinated dancing this added up to a very entertaining evening. And it seemed like most of the enthusiastic, packed audience were Polka Dots regulars.
Friday, November 27, 2015
'The Winter's Tale' by William Shakespeare
27 November 2015
On Thursday I was at Leighton Buzzard Theatre to see the live screening of the Kenneth Branagh Theatre Company production of 'The Winter's Tale' from the Garrick Theatre in London. It was great to see Branagh on stage again: his performance as Leontes reminded me of seeing him in Chekhov’s ‘Ivanov’ (reviewed here in September 2008). He is a very physical performer, his whole body crumpling as he discovers the devastating news of his son's death. It was also wonderful to see Judi Dench as Paulina, exuding a moral authority but also a mischievous humour. Kenneth Branagh and Rob Ashford previously co-directed the 2013 Manchester International Festival production of Macbeth (reviewed here in July 2013). Their 'Winter's Tale' felt like a fairly old-fashioned production, without many bells and whistles, with the focus on the acting – which was of a universally high standard. And the 'exit pursued by a bear' – so often a risible moment – used video projection to make it savagely frightening.
On Thursday I was at Leighton Buzzard Theatre to see the live screening of the Kenneth Branagh Theatre Company production of 'The Winter's Tale' from the Garrick Theatre in London. It was great to see Branagh on stage again: his performance as Leontes reminded me of seeing him in Chekhov’s ‘Ivanov’ (reviewed here in September 2008). He is a very physical performer, his whole body crumpling as he discovers the devastating news of his son's death. It was also wonderful to see Judi Dench as Paulina, exuding a moral authority but also a mischievous humour. Kenneth Branagh and Rob Ashford previously co-directed the 2013 Manchester International Festival production of Macbeth (reviewed here in July 2013). Their 'Winter's Tale' felt like a fairly old-fashioned production, without many bells and whistles, with the focus on the acting – which was of a universally high standard. And the 'exit pursued by a bear' – so often a risible moment – used video projection to make it savagely frightening.
Bellowhead
27 November 2015
As a result of the recent attacks at the Bataclan in Paris, we arrived at the Riverside Theatre in Aylesbury on Sunday to discover a massive queue down the street, waiting to go through newly introduced security checks to get into the Bellowhead concert. This was my last chance to see Bellowhead, now well into their farewell tour before disbanding after 12 years together. I have written often here about English folk music's unique 'big band' and it was wonderful to see them one last time on Sunday. Support was provided by Keston Cobblers Club – a great young band who sound a lot like Beirut (reviewed here in November 2006 and October 2007). Bellowhead were on top form, playing for more than an hour and half, with the audience eating out of their hands. They sounded magnificent and all eleven musicians looked like they were having a ball. The recent English folk music revival has been strongly influenced by many musicians whose parents were part of the last great folk revival in the 1960s, and who have grown up in folk music families whilst assimilating a wide range of pop and rock music. When the duo Spiers and Boden, themselves already established folk music stars, invented a folk big band which brought together musicians from folk, classical and jazz backgrounds they created a unique sound. They may not always have pleased folk purists but when we look back on this golden period in English folk music I suspect Bellowhead will be remembered as its iconic band and I will be proud to be able to say I saw them.
As a result of the recent attacks at the Bataclan in Paris, we arrived at the Riverside Theatre in Aylesbury on Sunday to discover a massive queue down the street, waiting to go through newly introduced security checks to get into the Bellowhead concert. This was my last chance to see Bellowhead, now well into their farewell tour before disbanding after 12 years together. I have written often here about English folk music's unique 'big band' and it was wonderful to see them one last time on Sunday. Support was provided by Keston Cobblers Club – a great young band who sound a lot like Beirut (reviewed here in November 2006 and October 2007). Bellowhead were on top form, playing for more than an hour and half, with the audience eating out of their hands. They sounded magnificent and all eleven musicians looked like they were having a ball. The recent English folk music revival has been strongly influenced by many musicians whose parents were part of the last great folk revival in the 1960s, and who have grown up in folk music families whilst assimilating a wide range of pop and rock music. When the duo Spiers and Boden, themselves already established folk music stars, invented a folk big band which brought together musicians from folk, classical and jazz backgrounds they created a unique sound. They may not always have pleased folk purists but when we look back on this golden period in English folk music I suspect Bellowhead will be remembered as its iconic band and I will be proud to be able to say I saw them.
Bedford Choral Society concert
27 November 2015
On Saturday I was at Bedford Corn Exchange for my first concert with the Bedford Sinfonia, accompanying Bedford Choral Society in a programme of music by Mendelssohn. Mendelssohn's 'Symphony No 2, Hymn of Praise (Lobgesang)' is a mammoth work in eleven movements – a hybrid symphony-cantata. The movements vary in style and musical forces, featuring three vocal soloists and passages of recitative. We also played 'Die erste Walpurgisnacht' – a later Mendelssohn cantata with a similar structure. Conductor Ian Smith very effectively corralled the orchestra, chorus and soloists and the tenor Ben Thapa stood out with a particularly expressive performance.
On Saturday I was at Bedford Corn Exchange for my first concert with the Bedford Sinfonia, accompanying Bedford Choral Society in a programme of music by Mendelssohn. Mendelssohn's 'Symphony No 2, Hymn of Praise (Lobgesang)' is a mammoth work in eleven movements – a hybrid symphony-cantata. The movements vary in style and musical forces, featuring three vocal soloists and passages of recitative. We also played 'Die erste Walpurgisnacht' – a later Mendelssohn cantata with a similar structure. Conductor Ian Smith very effectively corralled the orchestra, chorus and soloists and the tenor Ben Thapa stood out with a particularly expressive performance.
Wednesday, November 18, 2015
Northampton Symphony Orchestra concert
18 November 2015
When the programme was originally chosen, no-one could have anticipated the poignancy our Northampton Symphony Orchestra French-themed concert was going to have last Saturday – less than 24 hours after the Paris attacks. Our new regular conductor, John Gibbons, introduced the concert by asking for a minute's silence to reflect on the devastating events in France. Emerging from the silence, the pianissimo side drum rhythm at the start of Ravel's 'Bolero' can never have sounded so eerie and Andrea Patis's opening flute solo was particularly moving. The concert showcased some magnificent flute playing, with former NSO member Jenny Dyson appearing as the soloist in the 'Flute Concerto' by Jacques Ibert. Jenny gave a stunning performance of this fiendishly difficult piece in which she always appeared totally in command. Sadly the orchestra's leader, Stephen Hague, was unable to play in the concert as the result of an accident but this meant that the duet between the solo flute and violin in the slow movement of the concerto featured our former leader, Trevor Dyson, beautifully accompanying his own daughter. Ravel was the main focus of the concert with 'La Valse' closing the first half, followed after the interval by Ravel's orchestration of Mussorgsky's 'Pictures at an Exhibition'. 'La Valse' is an amazing piece which uses the Viennese waltz as the basis for a complex, playful and dizzying whirl towards an abrupt conclusion. 'Pictures at an Exhibition' included excellent solos by players throughout the orchestra, led by Nick Bunker's opening trumpet 'Promenade'. The finale, 'The Great Gate of Kiev', was a brilliant, powerful ending to an emotional concert.
When the programme was originally chosen, no-one could have anticipated the poignancy our Northampton Symphony Orchestra French-themed concert was going to have last Saturday – less than 24 hours after the Paris attacks. Our new regular conductor, John Gibbons, introduced the concert by asking for a minute's silence to reflect on the devastating events in France. Emerging from the silence, the pianissimo side drum rhythm at the start of Ravel's 'Bolero' can never have sounded so eerie and Andrea Patis's opening flute solo was particularly moving. The concert showcased some magnificent flute playing, with former NSO member Jenny Dyson appearing as the soloist in the 'Flute Concerto' by Jacques Ibert. Jenny gave a stunning performance of this fiendishly difficult piece in which she always appeared totally in command. Sadly the orchestra's leader, Stephen Hague, was unable to play in the concert as the result of an accident but this meant that the duet between the solo flute and violin in the slow movement of the concerto featured our former leader, Trevor Dyson, beautifully accompanying his own daughter. Ravel was the main focus of the concert with 'La Valse' closing the first half, followed after the interval by Ravel's orchestration of Mussorgsky's 'Pictures at an Exhibition'. 'La Valse' is an amazing piece which uses the Viennese waltz as the basis for a complex, playful and dizzying whirl towards an abrupt conclusion. 'Pictures at an Exhibition' included excellent solos by players throughout the orchestra, led by Nick Bunker's opening trumpet 'Promenade'. The finale, 'The Great Gate of Kiev', was a brilliant, powerful ending to an emotional concert.
Monday, November 09, 2015
'The Phantom of the Opera'
9 November 2015
On Sunday we were at The Stables in Wavendon to the 1925 silent film of 'The Phantom of the Opera' accompanied with live music from the group Minima. This event was part of the national BFI initiative 'LOVE: Films to Fall in Love With… Films to Break Your Heart'. Minima is a four-piece rock band that specialises in writing and performing new scores for silent films. It was fascinating to see this classic horror film, featuring an iconic performance by Lon Chaney, on a big screen with live music. The film has an odd feel for a modern audience: the changes in our attitudes to mental illness and facial disfigurement since 1925 make the plot more uncomfortable than intended but also the exaggerated acting style of silent movies appears unintentionally comic now. The incredibly abrupt ending of the film left the audience more amused than shocked. But there were some truly scary moments: the scene where a giant chandelier falls from the theatre ceiling to crush members of the opera audience felt shockingly real. And the artistic use of shadows in the cellars of the opera house was very effective. Visually the film is stunning, with some amazing crowd scenes. And the Paris Opera itself is the star of the show – a beautiful building, lovingly presented on screen. The black and white film had later been 'colourised' with successive scenes tinted in different colours to emphasise the change of location and mood. But apparently, when the film was originally released in 1925, it contained 17 minutes of colour footage – an early example of Process 2 Technicolor (a two-colour system). The surviving two-colour scene (the Bal Masqué) has a peculiarly psychedelic look that fits the growing panic and hysteria of the plot.
On Sunday we were at The Stables in Wavendon to the 1925 silent film of 'The Phantom of the Opera' accompanied with live music from the group Minima. This event was part of the national BFI initiative 'LOVE: Films to Fall in Love With… Films to Break Your Heart'. Minima is a four-piece rock band that specialises in writing and performing new scores for silent films. It was fascinating to see this classic horror film, featuring an iconic performance by Lon Chaney, on a big screen with live music. The film has an odd feel for a modern audience: the changes in our attitudes to mental illness and facial disfigurement since 1925 make the plot more uncomfortable than intended but also the exaggerated acting style of silent movies appears unintentionally comic now. The incredibly abrupt ending of the film left the audience more amused than shocked. But there were some truly scary moments: the scene where a giant chandelier falls from the theatre ceiling to crush members of the opera audience felt shockingly real. And the artistic use of shadows in the cellars of the opera house was very effective. Visually the film is stunning, with some amazing crowd scenes. And the Paris Opera itself is the star of the show – a beautiful building, lovingly presented on screen. The black and white film had later been 'colourised' with successive scenes tinted in different colours to emphasise the change of location and mood. But apparently, when the film was originally released in 1925, it contained 17 minutes of colour footage – an early example of Process 2 Technicolor (a two-colour system). The surviving two-colour scene (the Bal Masqué) has a peculiarly psychedelic look that fits the growing panic and hysteria of the plot.
'Slade House' by David Mitchell
9 November 2015
David Mitchell's crazy, brilliant, ridiculous and wonderful book, 'The Bone Clocks' (reviewed here in October 2014) was my Pick of the Year 2014. It was a wonderful surprise therefore to discover, a couple of weeks ago, that David Mitchell was about to publish another new novel so soon after 'The Bone Clocks' – and a delight to learn that 'Slade House' returns to the same (parallel) universe of that previous novel. 'Slade House' (which I read as an unabridged audio book, narrated by Tania Rodrigues and Thomas Judd) is a short ghost story for Halloween 2015 that acts as a bonus DVD extra for fans of 'The Bone Clocks' or a taster for those who haven't read the earlier book. It recounts five episodes, each nine years apart, beginning in 1979 and finishing on 27 October 2015. It was a pleasure to be immersed in David Mitchell's rich prose again. He paints a host of characters, through first person narration, that are each quickly distinct and believable. And he renders each historical period with deft touches and avoidance of cliché. 'Slade House' is a macabre tale that still manages to be engaging and funny. Mitchell is a playful writer, disguising a range of cultural references within the text and reintroducing characters from his previous novels. 'Slade House' contains elements of 'Alice in Wonderland' and Kazuo Ishiguro's evocation of dreaming, 'The Unconsoled'. It's a slight novel and the plot structure is fairly predictable but there was one great twist that I really didn't see coming. It was very enjoyable to return to the world of 'The Bone Clocks' but I hope David Mitchell's next novel will take us into new territory.
David Mitchell's crazy, brilliant, ridiculous and wonderful book, 'The Bone Clocks' (reviewed here in October 2014) was my Pick of the Year 2014. It was a wonderful surprise therefore to discover, a couple of weeks ago, that David Mitchell was about to publish another new novel so soon after 'The Bone Clocks' – and a delight to learn that 'Slade House' returns to the same (parallel) universe of that previous novel. 'Slade House' (which I read as an unabridged audio book, narrated by Tania Rodrigues and Thomas Judd) is a short ghost story for Halloween 2015 that acts as a bonus DVD extra for fans of 'The Bone Clocks' or a taster for those who haven't read the earlier book. It recounts five episodes, each nine years apart, beginning in 1979 and finishing on 27 October 2015. It was a pleasure to be immersed in David Mitchell's rich prose again. He paints a host of characters, through first person narration, that are each quickly distinct and believable. And he renders each historical period with deft touches and avoidance of cliché. 'Slade House' is a macabre tale that still manages to be engaging and funny. Mitchell is a playful writer, disguising a range of cultural references within the text and reintroducing characters from his previous novels. 'Slade House' contains elements of 'Alice in Wonderland' and Kazuo Ishiguro's evocation of dreaming, 'The Unconsoled'. It's a slight novel and the plot structure is fairly predictable but there was one great twist that I really didn't see coming. It was very enjoyable to return to the world of 'The Bone Clocks' but I hope David Mitchell's next novel will take us into new territory.
Thursday, November 05, 2015
'Gaslight' by Patrick Hamilton
5 November
For those of obsessed by 'The Archers' on BBC Radio 4, the excruciating Rob Titchener's ever-increasing control over his new wife, Helen, is one of those storylines that feels both unbearable and completely compelling drama. So it was intriguing, this week, to see a famous precursor of Rob's psychological marital manipulation in Patrick Hamilton's 1938 play 'Gaslight' – which gave its name to a scientific phenomenon. 'Gaslighting' is defined as “manipulating a person by psychological means into questioning his or her own sanity”. The play is set in 1880 and paints a harrowing picture of the power of the Victorian husband. Lucy Bailey's new production, which we saw at the Royal Theatre in Northampton on Tuesday, uses an exaggerated perspective set by William Dudley to frame a modern take on a very old-fashioned play (owing something, perhaps, to Stephen Daldry's famous production of 'An Inspector Calls'). The inventive use of projection to create an apparently never-ending staircase spiralling high above the stage echoed the sense of panic and entrapment that Bella Manningham feels in her house and in her marriage. An excellent cast (Jonathan Firth, Tara Fitzgerald, Alexandra Guelff and Paul Hunter) was augmented by members of local amateur theatre companies (now, wonderfully, a standard practice at the Royal & Derngate). 'Gaslight' is a disturbing play but avoids descending into melodrama and The Royal & Derngate production is very impressive.
For those of obsessed by 'The Archers' on BBC Radio 4, the excruciating Rob Titchener's ever-increasing control over his new wife, Helen, is one of those storylines that feels both unbearable and completely compelling drama. So it was intriguing, this week, to see a famous precursor of Rob's psychological marital manipulation in Patrick Hamilton's 1938 play 'Gaslight' – which gave its name to a scientific phenomenon. 'Gaslighting' is defined as “manipulating a person by psychological means into questioning his or her own sanity”. The play is set in 1880 and paints a harrowing picture of the power of the Victorian husband. Lucy Bailey's new production, which we saw at the Royal Theatre in Northampton on Tuesday, uses an exaggerated perspective set by William Dudley to frame a modern take on a very old-fashioned play (owing something, perhaps, to Stephen Daldry's famous production of 'An Inspector Calls'). The inventive use of projection to create an apparently never-ending staircase spiralling high above the stage echoed the sense of panic and entrapment that Bella Manningham feels in her house and in her marriage. An excellent cast (Jonathan Firth, Tara Fitzgerald, Alexandra Guelff and Paul Hunter) was augmented by members of local amateur theatre companies (now, wonderfully, a standard practice at the Royal & Derngate). 'Gaslight' is a disturbing play but avoids descending into melodrama and The Royal & Derngate production is very impressive.
The Unthanks
5 November 2015
On Saturday we were at The Stables in Wavendon to see The Unthanks. Now celebrating their tenth anniversary, the folk group built around sisters Rachel and Becky Unthank, draws on traditional Northumbrian folk tunes and styles to create beautiful, delicate hybrid music which often feels more like contemporary classical chamber music than folk. Originally known as Rachel Unthank and the Winterset, the band are serial collaborators and have been involved in an impressive list of innovative projects. These include: 'Songs from the Shipyards' – a soundtrack to accompany a documentary film by Richard Fenwick about the history of shipbuilding on the Tyne, Wear and Tees; an album of songs by Robert Wyatt and Antony & The Johnsons; and a UK tour with the Brighouse and Rastrick Brass Band. It was fascinating to see them performing live last weekend: their quiet, gentle music definitely benefits from the concentration you more naturally give to a live concert. There was a very high quality of singing and playing and Adrian McNally's arrangements are clever and effective. While their songs demonstrate a wide variety of styles, I did find myself yearning for a few faster tunes amongst the predominantly slow, sad numbers. So it was wonderful to both sisters putting on their clogs for a more upbeat finale. I look forward to seeing watching The Unthanks' second decade.
On Saturday we were at The Stables in Wavendon to see The Unthanks. Now celebrating their tenth anniversary, the folk group built around sisters Rachel and Becky Unthank, draws on traditional Northumbrian folk tunes and styles to create beautiful, delicate hybrid music which often feels more like contemporary classical chamber music than folk. Originally known as Rachel Unthank and the Winterset, the band are serial collaborators and have been involved in an impressive list of innovative projects. These include: 'Songs from the Shipyards' – a soundtrack to accompany a documentary film by Richard Fenwick about the history of shipbuilding on the Tyne, Wear and Tees; an album of songs by Robert Wyatt and Antony & The Johnsons; and a UK tour with the Brighouse and Rastrick Brass Band. It was fascinating to see them performing live last weekend: their quiet, gentle music definitely benefits from the concentration you more naturally give to a live concert. There was a very high quality of singing and playing and Adrian McNally's arrangements are clever and effective. While their songs demonstrate a wide variety of styles, I did find myself yearning for a few faster tunes amongst the predominantly slow, sad numbers. So it was wonderful to both sisters putting on their clogs for a more upbeat finale. I look forward to seeing watching The Unthanks' second decade.
Tom Robinson
5 November 2015
Last summer's one-off gig by Tom Robinson (reviewed here in August 2014) reminded me how much I like his music. It also reminded him how much he likes performing. After a break of more than ten years Tom Robinson is now touring again, to promote his first new album in twenty years – 'Only The Now'. The 'Mighty Sword Of Justice' tour is also supporting mental health charities including the Campaign Against Living Miserably (CALM – see: https://www.thecalmzone.net/) and the Samaritans, who were collecting donations at Tom Robinson's concert at the Public Hall in Harpenden which we were at last Friday. It was great to see Tom performing new material again (as well as his greatest hit). 'Only The Now' contains some wonderful new Tom Robinson songs that demonstrate his experience and skill as a songwriter. The tango which opens the album, 'Home in the Morning' feels instantly like classic Tom Robinson and 'Never Get Old' is a poignant anthem for his return to the rock and roll stage at the age of 65 (“Did you think we'd never get old? Take a good look at me now.”). A range of illustrious friends have contributed to the new recordings. Alongside long-time collaborators Adam Philips and Lee Forsyth Griffiths, 'Only The Now' features appearances by Billy Bragg, Martin Carthy, John Grant and Ian McKellen. Friday's gig drew a large, enthusiastic audience that clearly knew Tom Robinson's back catalogue well but also gave a warm welcome to the new songs. As he did at the Jazz Cafe gig last summer, Tom looked like he was having a ball and seemed genuinely moved by the reception his music received and the affection of the audience. Great to see him back.
Last summer's one-off gig by Tom Robinson (reviewed here in August 2014) reminded me how much I like his music. It also reminded him how much he likes performing. After a break of more than ten years Tom Robinson is now touring again, to promote his first new album in twenty years – 'Only The Now'. The 'Mighty Sword Of Justice' tour is also supporting mental health charities including the Campaign Against Living Miserably (CALM – see: https://www.thecalmzone.net/) and the Samaritans, who were collecting donations at Tom Robinson's concert at the Public Hall in Harpenden which we were at last Friday. It was great to see Tom performing new material again (as well as his greatest hit). 'Only The Now' contains some wonderful new Tom Robinson songs that demonstrate his experience and skill as a songwriter. The tango which opens the album, 'Home in the Morning' feels instantly like classic Tom Robinson and 'Never Get Old' is a poignant anthem for his return to the rock and roll stage at the age of 65 (“Did you think we'd never get old? Take a good look at me now.”). A range of illustrious friends have contributed to the new recordings. Alongside long-time collaborators Adam Philips and Lee Forsyth Griffiths, 'Only The Now' features appearances by Billy Bragg, Martin Carthy, John Grant and Ian McKellen. Friday's gig drew a large, enthusiastic audience that clearly knew Tom Robinson's back catalogue well but also gave a warm welcome to the new songs. As he did at the Jazz Cafe gig last summer, Tom looked like he was having a ball and seemed genuinely moved by the reception his music received and the affection of the audience. Great to see him back.
Thursday, October 29, 2015
Elvis Costello in conversation with Nick Hornby
29 October 2015
Going to see an author speak about their latest book can often be an underwhelming experience. Some writers turn out to be far less articulate in person than they are in writing. And even though they are speaking to an audience that may have paid a significant amount of money to see them, I've seen authors at book festival events who seem to have done no preparation and given little thought to what they were going to say. There were no such problems at the Royal Festival Hall on Thursday evening where I went to see Elvis Costello in conversation with the novelist Nick Hornby about his memoir 'Unfaithful Music & Disappearing Ink'. Unlike many authors Elvis is obviously an accomplished performer, very used to commanding a stage. I saw him play the Royal Albert Hall last year (reviewed here in October 2014). He's also a compelling raconteur and Hornby, clearly a genuine long-time fan, needed do little more than gentle prodding with random names and song titles (in the manner of Elvis's Spinning Wheel of Songs) to unleash the stories. Elvis was also meticulously prepared, slickly manipulating his iPad to share audio clips, family photos and videos on the giant screen above the stage. It was fascinating to see film of his father, Ross MacManus, singing with the Joe Loss Orchestra in the 1960s and looking the spitting image of his son. Questions from the audience prompted Elvis to share memories of particular gigs and his experiences of collaborating with Roy Orbison, Burt Bacharach and other legendary artists. One woman's question was simply "will you please play 'Indoor Fireworks' (a beautiful but largely forgotten album track from Elvis's 1986 album 'King of America') when you tour to London next year? After a very entertaining discussion, Elvis ended the evening by performing three songs, accompanying himself on acoustic guitar, and rather wonderfully including 'Indoor Fireworks'. I hadn't heard this achingly beautiful song for years: it's a miniature masterpiece which brought a tear to my eye. It was an absolutely brilliant evening and I can't wait to read the book.
Indoor fireworks
Can still burn your fingers
Indoor fireworks
We swore we were safe as houses
They're not so spectacular, they don't burn up in the sky
But they can dazzle or delight
Or bring a tear
When the smoke gets in your eyes.
Elvis Costello.
Going to see an author speak about their latest book can often be an underwhelming experience. Some writers turn out to be far less articulate in person than they are in writing. And even though they are speaking to an audience that may have paid a significant amount of money to see them, I've seen authors at book festival events who seem to have done no preparation and given little thought to what they were going to say. There were no such problems at the Royal Festival Hall on Thursday evening where I went to see Elvis Costello in conversation with the novelist Nick Hornby about his memoir 'Unfaithful Music & Disappearing Ink'. Unlike many authors Elvis is obviously an accomplished performer, very used to commanding a stage. I saw him play the Royal Albert Hall last year (reviewed here in October 2014). He's also a compelling raconteur and Hornby, clearly a genuine long-time fan, needed do little more than gentle prodding with random names and song titles (in the manner of Elvis's Spinning Wheel of Songs) to unleash the stories. Elvis was also meticulously prepared, slickly manipulating his iPad to share audio clips, family photos and videos on the giant screen above the stage. It was fascinating to see film of his father, Ross MacManus, singing with the Joe Loss Orchestra in the 1960s and looking the spitting image of his son. Questions from the audience prompted Elvis to share memories of particular gigs and his experiences of collaborating with Roy Orbison, Burt Bacharach and other legendary artists. One woman's question was simply "will you please play 'Indoor Fireworks' (a beautiful but largely forgotten album track from Elvis's 1986 album 'King of America') when you tour to London next year? After a very entertaining discussion, Elvis ended the evening by performing three songs, accompanying himself on acoustic guitar, and rather wonderfully including 'Indoor Fireworks'. I hadn't heard this achingly beautiful song for years: it's a miniature masterpiece which brought a tear to my eye. It was an absolutely brilliant evening and I can't wait to read the book.
Can still burn your fingers
Indoor fireworks
We swore we were safe as houses
They're not so spectacular, they don't burn up in the sky
But they can dazzle or delight
Or bring a tear
When the smoke gets in your eyes.
Elvis Costello.
Friday, October 23, 2015
'Mothers, Daughters, Fathers, Sons – Memories of Childhood'
23 October 2015
On Friday afternoon I was at the Museum of Edinburgh on the Royal Mile to see 'Mothers, Daughters, Fathers, Sons – Memories of Childhood', an intergenerational oral history exhibition that celebrates the heritage of Chinese and South Asian older people and their UK-born family members. This exhibition, by the Minority Ethnic Carers of Older People Project (MECOPP) as part of the Luminate Festival, consists of pairs of interviews with two people from the same family (Mother/Daughter, Father/Son, Grandmother/Granddaughter etc). Written transcripts of the interviews are presented alongside a selection of family photos. These reflections on childhood explore the difficulties of early life in a variety of countries (including India, Pakistan, Vietnam and China) as well as remembering school, family life and first jobs. It is intriguing to spot the areas of overlap between the reminiscences of the older and younger generations. And it is particularly interesting to read about each family's experience of coming to live in Britain. The exhibition also includes beautiful large photographs of objects that have particular significance to the interviewees (and some of the objects themselves are also on display) – often objects that they have mentioned in their interviews. These photographs are also available as free postcards which visitors to the exhibition can take home. The exhibition involves a lot of reading but the investment of time required is well rewarded: it's a fascinating examination of families, childhood and ageing.
On Friday afternoon I was at the Museum of Edinburgh on the Royal Mile to see 'Mothers, Daughters, Fathers, Sons – Memories of Childhood', an intergenerational oral history exhibition that celebrates the heritage of Chinese and South Asian older people and their UK-born family members. This exhibition, by the Minority Ethnic Carers of Older People Project (MECOPP) as part of the Luminate Festival, consists of pairs of interviews with two people from the same family (Mother/Daughter, Father/Son, Grandmother/Granddaughter etc). Written transcripts of the interviews are presented alongside a selection of family photos. These reflections on childhood explore the difficulties of early life in a variety of countries (including India, Pakistan, Vietnam and China) as well as remembering school, family life and first jobs. It is intriguing to spot the areas of overlap between the reminiscences of the older and younger generations. And it is particularly interesting to read about each family's experience of coming to live in Britain. The exhibition also includes beautiful large photographs of objects that have particular significance to the interviewees (and some of the objects themselves are also on display) – often objects that they have mentioned in their interviews. These photographs are also available as free postcards which visitors to the exhibition can take home. The exhibition involves a lot of reading but the investment of time required is well rewarded: it's a fascinating examination of families, childhood and ageing.
Gallery Social: 'Arthur Melville: Adventures in Colour'
23 October 2015
On Friday morning I was at the Scottish National Gallery in Edinburgh for the dementia-friendly Gallery Social event, part of the Luminate Festival. This was a relaxed and informal guided tour of the 'Arthur Melville: Adventures in Colour' exhibition for anyone affected by dementia, their friends, relatives and supporters. 16 of us gathered in the Clore Education Centre for tea and cake, followed by a chance to try some of the watercolour techniques that the Scottish artist Arthur Melville (1855 – 1904) pioneered. It was fascinating to see the effects that you can create by wetting the paper with a sponge and then adding drops of watercolour paint which spread beautifully through the water. I was quite pleased with my painting but, while the rest of us were producing pretty, abstract shapes, one member of our group had finished a stunning copy of the Arthur Melville painting being used on the poster for the exhibition. Practical participation is a regular feature of the National Galleries Scotland 'Gallery Social' events, and the understanding of technique and medium that you get, even from a short practical session, makes you appreciate the paintings in the exhibition from a much more informed perspective. Our tour of the Arthur Melville exhibition offered fascinating insights into the artist's life, technical skills and subject matter. You always get so much more from looking a painting when an expert points out key features or context to you. The Gallery Social is aimed at carers as much as at those suffering from dementia and our guides never talked down to their audience, providing an enthusiastic, informed, amusing and intellectual commentary on Arthur Melville and his works. I learned a great deal about watercolours and this fascinating artist.
On Friday morning I was at the Scottish National Gallery in Edinburgh for the dementia-friendly Gallery Social event, part of the Luminate Festival. This was a relaxed and informal guided tour of the 'Arthur Melville: Adventures in Colour' exhibition for anyone affected by dementia, their friends, relatives and supporters. 16 of us gathered in the Clore Education Centre for tea and cake, followed by a chance to try some of the watercolour techniques that the Scottish artist Arthur Melville (1855 – 1904) pioneered. It was fascinating to see the effects that you can create by wetting the paper with a sponge and then adding drops of watercolour paint which spread beautifully through the water. I was quite pleased with my painting but, while the rest of us were producing pretty, abstract shapes, one member of our group had finished a stunning copy of the Arthur Melville painting being used on the poster for the exhibition. Practical participation is a regular feature of the National Galleries Scotland 'Gallery Social' events, and the understanding of technique and medium that you get, even from a short practical session, makes you appreciate the paintings in the exhibition from a much more informed perspective. Our tour of the Arthur Melville exhibition offered fascinating insights into the artist's life, technical skills and subject matter. You always get so much more from looking a painting when an expert points out key features or context to you. The Gallery Social is aimed at carers as much as at those suffering from dementia and our guides never talked down to their audience, providing an enthusiastic, informed, amusing and intellectual commentary on Arthur Melville and his works. I learned a great deal about watercolours and this fascinating artist.
'Broth' by Donna Rutherford
23 October 2015
Oliver Sacks' grandfather, who died at the age of 94, often said that his 80s had been one of the most enjoyable decades of his life. He felt “not a shrinking but an enlargement of life and perspective” (see: http://www.nytimes.com/2013/07/07/opinion/sunday/the-joy-of-old-age-no-kidding.html?_r=0). For Donna Rutherford's show 'Broth', which I saw at the Tron Theatre in Glasgow on Thursday evening as part of the Luminate Festival, Donna video-recorded a series of interviews with men and women in their 80s. She started each interview by simply asking people to tell her how their mothers or fathers used to make soup. Edited excerpts from these interviews provided the main content of the show, interspersed with music by Inge Thomson and Donna's own reflections on ageing, memories and making soup. And throughout the show Donna is making three pans of soup on the stage in front of us – a traditional vegetable broth, lentil soup and fish soup. As the ingredients begin to bubble the smells drift around the theatre evoking our own memories – and hunger! Donna's text has the beauty of a prose poem, but her delivery is so gentle and conversational it disguises the craft that has gone into the words. At the end of the show the audience is invited to taste the soup: we didn't need to be asked twice. Donna said that the audience in Edinburgh had been shy and needed coaxing out of their seats. When she performed the show in Paisley to more than 200 older people they were rather put out that they only got about a thimble-full each. The time we take to consume our soup provides the opportunity for a post-show discussion in which members of the audience comment on the video interviews and share their own reminiscences of family and soup. It's a very clever way to tackle a wide range of aspects of ageing – and the broth was delicious.
Oliver Sacks' grandfather, who died at the age of 94, often said that his 80s had been one of the most enjoyable decades of his life. He felt “not a shrinking but an enlargement of life and perspective” (see: http://www.nytimes.com/2013/07/07/opinion/sunday/the-joy-of-old-age-no-kidding.html?_r=0). For Donna Rutherford's show 'Broth', which I saw at the Tron Theatre in Glasgow on Thursday evening as part of the Luminate Festival, Donna video-recorded a series of interviews with men and women in their 80s. She started each interview by simply asking people to tell her how their mothers or fathers used to make soup. Edited excerpts from these interviews provided the main content of the show, interspersed with music by Inge Thomson and Donna's own reflections on ageing, memories and making soup. And throughout the show Donna is making three pans of soup on the stage in front of us – a traditional vegetable broth, lentil soup and fish soup. As the ingredients begin to bubble the smells drift around the theatre evoking our own memories – and hunger! Donna's text has the beauty of a prose poem, but her delivery is so gentle and conversational it disguises the craft that has gone into the words. At the end of the show the audience is invited to taste the soup: we didn't need to be asked twice. Donna said that the audience in Edinburgh had been shy and needed coaxing out of their seats. When she performed the show in Paisley to more than 200 older people they were rather put out that they only got about a thimble-full each. The time we take to consume our soup provides the opportunity for a post-show discussion in which members of the audience comment on the video interviews and share their own reminiscences of family and soup. It's a very clever way to tackle a wide range of aspects of ageing – and the broth was delicious.
'Senior Moments'
23 October 2015
Scotland Street School in Glasgow is a magnificent building designed by Charles Rennie Mackintosh. It is now a museum that tells the story of education in Scotland from 1872 to the late 20th century, complete with recreations of classrooms from different periods in the history of the school. I was there on Thursday afternoon to see 'Senior Moments', an exhibition of portraits and memories from members of Castlemilk Senior Centre – which is on display as part of the Luminate Festival. This small exhibition features 21 pairs of photographs – individual portraits of members of the Castlemilk Senior Centre today, each coupled with a photograph from their past. Each person wrote down their personal reflections on their two pictures and these words are displayed between the photographs. The project was developed by Dr John Lynn from Glasgow Caledonian University. It's fascinating to see the connections between past and present and how the people, and their lives, have changed. The stories the pictures tell are funny, revealing and poignant. It's a very interesting reflection on ageing.
Scotland Street School in Glasgow is a magnificent building designed by Charles Rennie Mackintosh. It is now a museum that tells the story of education in Scotland from 1872 to the late 20th century, complete with recreations of classrooms from different periods in the history of the school. I was there on Thursday afternoon to see 'Senior Moments', an exhibition of portraits and memories from members of Castlemilk Senior Centre – which is on display as part of the Luminate Festival. This small exhibition features 21 pairs of photographs – individual portraits of members of the Castlemilk Senior Centre today, each coupled with a photograph from their past. Each person wrote down their personal reflections on their two pictures and these words are displayed between the photographs. The project was developed by Dr John Lynn from Glasgow Caledonian University. It's fascinating to see the connections between past and present and how the people, and their lives, have changed. The stories the pictures tell are funny, revealing and poignant. It's a very interesting reflection on ageing.
'Descent' by Linda Duncan McLaughlin
23 October 2015
On Thursday I was at the Traverse Theatre in Edinburgh for 'A Play, A Pie and A Pint', the Traverse's series of lunchtime performances of new plays. As each £12 ticket includes food and drink, the majority of the audience arrive early to eat before the show, creating a great atmosphere in the theatre bar. This week's production was 'Descent' by Linda Duncan McLaughlin, presented in association with Luminate, Scotland's Creative Ageing Festival, which explored the reality of dealing with dementia. Like the 2014 film, 'Still Alice', 'Descent' dealt with the onset of dementia curtailing a successful professional career (in this case as an architect). The heartbreaking experience of a wife trying to care for her ever-more-difficult husband felt very real in the close confines of the Traverse 2 studio theatre. One of the effects of really good drama is to make you forget you are watching a play, and I caught myself gasping out loud a couple of times at the more traumatic moments. Wonderfully acted by Barrie Hunter, Wendy Seager and Fiona MacNeil, it was a harrowing experience which really made you think about the process of ageing – one of the key objectives of the Luminate Festival.
On Thursday I was at the Traverse Theatre in Edinburgh for 'A Play, A Pie and A Pint', the Traverse's series of lunchtime performances of new plays. As each £12 ticket includes food and drink, the majority of the audience arrive early to eat before the show, creating a great atmosphere in the theatre bar. This week's production was 'Descent' by Linda Duncan McLaughlin, presented in association with Luminate, Scotland's Creative Ageing Festival, which explored the reality of dealing with dementia. Like the 2014 film, 'Still Alice', 'Descent' dealt with the onset of dementia curtailing a successful professional career (in this case as an architect). The heartbreaking experience of a wife trying to care for her ever-more-difficult husband felt very real in the close confines of the Traverse 2 studio theatre. One of the effects of really good drama is to make you forget you are watching a play, and I caught myself gasping out loud a couple of times at the more traumatic moments. Wonderfully acted by Barrie Hunter, Wendy Seager and Fiona MacNeil, it was a harrowing experience which really made you think about the process of ageing – one of the key objectives of the Luminate Festival.
Thursday, October 22, 2015
'The Sisters Brothers' by Patrick deWitt
22 October 2015
The best novels are paradoxically completely original while also drawing on a variety of sources and influences. Canadian author Patrick deWitt's wonderful 2011 novel 'The Sisters Brothers' pulls off this trick brilliantly. 'The Sisters Brothers' is a western, set in the 1850s California Gold Rush. I've just finished reading it as an unabridged audio book, narrated by William Hope. It is a darkly comic, picaresque adventure. Brothers Charlie and Eli Sisters are professional assassins travelling on horseback from Oregon City to San Francisco to take out their latest victim. The book feels like a combination of 'Don Quixote' (reviewed here in January 2012), 'Waiting for Godot (reviewed here in May 2009), 'The Luminaries' (reviewed here in December 2013) and the Coen Brothers film 'O Brother, Where Art Thou' (or pretty much any other Coen Brothers film). Eli narrates the story in a dry, laconic style, perfectly captured by William Hope in the audio version. It's a bleak and brutal tale, containing much violence (to men and to horses) but Eli's weary, matter-of-fact approach to his murderous work is very funny and the writing is excellent.
The best novels are paradoxically completely original while also drawing on a variety of sources and influences. Canadian author Patrick deWitt's wonderful 2011 novel 'The Sisters Brothers' pulls off this trick brilliantly. 'The Sisters Brothers' is a western, set in the 1850s California Gold Rush. I've just finished reading it as an unabridged audio book, narrated by William Hope. It is a darkly comic, picaresque adventure. Brothers Charlie and Eli Sisters are professional assassins travelling on horseback from Oregon City to San Francisco to take out their latest victim. The book feels like a combination of 'Don Quixote' (reviewed here in January 2012), 'Waiting for Godot (reviewed here in May 2009), 'The Luminaries' (reviewed here in December 2013) and the Coen Brothers film 'O Brother, Where Art Thou' (or pretty much any other Coen Brothers film). Eli narrates the story in a dry, laconic style, perfectly captured by William Hope in the audio version. It's a bleak and brutal tale, containing much violence (to men and to horses) but Eli's weary, matter-of-fact approach to his murderous work is very funny and the writing is excellent.
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