29 January 2016
I've never been to the Donmar Warehouse in London but the live broadcast of the Donmar production of 'Les Liaisons Dangereuses' (which I watched at Cineworld in Milton Keynes yesterday) made it look like the perfect intimate venue for this most intimate of plays. The small Donmar stage was arranged as a candlelit drawing room with the 251 audience seats inches away from the actors on three sides, making you feel you were in the room with Valmont and Merteuil – even from the vantage point of the cinema screen. Christopher Hampton's play, based on the 18th century epistolary novel by Pierre Choderlos de Laclos, starts as farce and ends as tragedy. I had not seen the play before and I think I have only seen the famous Stephen Frears film once on television (though I would strongly recommend Milos Forman's 1989 film 'Valmont' – an alternative adaptation of the original novel starring Colin Firth and Annette Benning) but the characters, plot and even the dialogue felt incredibly familiar. It's dark and witty and both Janet McTeer (as La Marquise de Merteuil) and Dominic West (as Le Vicomte de Valmont) were excellent. Janet McTeer has a wonderful way of dropping her voice for each bitingly bitchy aside and manages to be simultaneously charming and deeply sinister. The cinema screening featured a live interval interview with Christopher Hampton and the director Josie Rourke in which Rourke entertainingly got a fit of giggles. Her production has a fin de siècle feel, anticipating the coming French revolution by starting in grandeur and heading towards decay as more and more paintings are removed from the walls and the furniture is covered by dust sheets. But it was the acting that shone and you can sample the delicious vocal performances with a free download of members of the Donmar cast reading some of the letters from the original novel at http://www.audible.co.uk/donmar.
Friday, January 29, 2016
Friday, January 22, 2016
'Junun' by Shye Ben Tzur, Jonny Greenwood and the Rajasthan Express
22 January 2016
'Junun' is a wonderfully hard-to-categorise album of music by the Israeli composer Shye Ben Tzur, recorded with a troupe of Sufi qawwali musicians and Radiohead's Jonny Greenwood in a 600-year-old Mehrangarh Fort in Jodhpur, Rajasthan. I liked it already from that description but the experience of listening to the music didn't disappoint. Harmonium, the vocal qawwali chorus and Indian percussion are joined by a six-piece brass section, guitar, bass, electronics, solo vocalists, the bowed sarangi and kamayacha (lutes). The result is surprisingly gentle, cheerful music with a haunting, mystical quality. Hard to categorise, hard to describe but easy to listen to and very rewarding.
'Junun' is a wonderfully hard-to-categorise album of music by the Israeli composer Shye Ben Tzur, recorded with a troupe of Sufi qawwali musicians and Radiohead's Jonny Greenwood in a 600-year-old Mehrangarh Fort in Jodhpur, Rajasthan. I liked it already from that description but the experience of listening to the music didn't disappoint. Harmonium, the vocal qawwali chorus and Indian percussion are joined by a six-piece brass section, guitar, bass, electronics, solo vocalists, the bowed sarangi and kamayacha (lutes). The result is surprisingly gentle, cheerful music with a haunting, mystical quality. Hard to categorise, hard to describe but easy to listen to and very rewarding.
Thursday, January 14, 2016
'Her Story' by Sam Barlow
14 January 2016
It's taken more than 10 years for me to get round to reviewing a computer game here but this week I have become hooked on 'Her Story' – a narrative game for PC, Mac and iOS, written and directed by Sam Barlow and starring the actor Viva Seifert. Although it is packaged and sold as a game, 'Her Story' feels more like a TV detective serial, albeit with a high level of interactivity as you can watch the story unfolding in an almost infinite number of permutations. You use a 1990s Windows desktop to access a database of short video clips which show a woman answering questions in a police interview room. She has come to the police station to her report her husband as missing but there seems to be much more to her story. The video clips are mostly less than a minute long and rather than watching them in straightforward chronological order you select individual clips by typing terms into a search box. This allows you to piece together what has happened by picking up on particular names or words from a previous answer and investigating them further. You never hear the police questions – just the interviewee's answers. And a timecode indicates that the database seems to contain several different interviews with the same woman over a period of weeks in the summer of 1994. The story is very cleverly constructed: even if you stumble across a vital clue very early on you won't appreciate its significance until much later. It's very satisfying as you begin to make sense of the mystery and test your theories by further word searches. But there is a strong element of ambiguity which I suspect means that you may never clarify every detail of the plot. And just as you think you've got it all worked out you begin to realise that you are playing a specific role in this story yourself. 'Her Story' is a rather brilliant exercise in non-linear narrative – intriguingly addictive.
It's taken more than 10 years for me to get round to reviewing a computer game here but this week I have become hooked on 'Her Story' – a narrative game for PC, Mac and iOS, written and directed by Sam Barlow and starring the actor Viva Seifert. Although it is packaged and sold as a game, 'Her Story' feels more like a TV detective serial, albeit with a high level of interactivity as you can watch the story unfolding in an almost infinite number of permutations. You use a 1990s Windows desktop to access a database of short video clips which show a woman answering questions in a police interview room. She has come to the police station to her report her husband as missing but there seems to be much more to her story. The video clips are mostly less than a minute long and rather than watching them in straightforward chronological order you select individual clips by typing terms into a search box. This allows you to piece together what has happened by picking up on particular names or words from a previous answer and investigating them further. You never hear the police questions – just the interviewee's answers. And a timecode indicates that the database seems to contain several different interviews with the same woman over a period of weeks in the summer of 1994. The story is very cleverly constructed: even if you stumble across a vital clue very early on you won't appreciate its significance until much later. It's very satisfying as you begin to make sense of the mystery and test your theories by further word searches. But there is a strong element of ambiguity which I suspect means that you may never clarify every detail of the plot. And just as you think you've got it all worked out you begin to realise that you are playing a specific role in this story yourself. 'Her Story' is a rather brilliant exercise in non-linear narrative – intriguingly addictive.
Thursday, January 07, 2016
'Number 11' by Jonathan Coe
7 January 2016
It must have been around 1996 when we discovered Jonathan Coe's novel 'What a Carve Up' in a second-hand bookshop in Cambridge. Never having heard of the author or the book we were attracted simply by the shiny cover (with its juxtaposition of Yuri Gagarin and Shirley Eaton) and by the price (I think it was just 99p!). We quickly realised what a comic gem we had stumbled upon. Jonathan Coe is now one of my favourite contemporary novelists. His 2001 novel 'The Rotters' Club', its TV adaptation and its sequel 'The Closed Circle' (2004) brought Coe greater public attention. I've enjoyed all his novels and have written here about 'The Rain Before It Falls' (in August 2008), 'The Terrible Privacy of Maxwell Sim' (August 2011) and 'Expo 58' (September 2013). But it is his dark satire on the Thatcherite 1980s, published in 1994, that remains my favourite. It was a real thrill, therefore, to discover that Jonathan Coe has now written a sequel (of sorts – perhaps more of a companion piece) to 'What a Carve Up'. 'Number 11' catalogues Cameron's Coalition Government Britain – with its food banks, reality TV, closing libraries and exploitation of migrant workers. The novel (which I have just read as an unabridged audio book, narrated by Jessica Hynes and Rory Kinnear) has an episodic structure – a set of short stories that take some time to reveal the links between them. And, though few members of the infamous Winshaw family survived the denouement of the original novel, their ghosts hang heavy over modern Britain as their protégés and disciples seem to hold the reins of power. It's a bleak but very funny tale and Coe is in playful mood. The number 11 appears in a variety of guises (it seems to be the number of every significant house in the story) and there is more than a hint of “turning it up to 11”. We also return to the 1961 British film, 'What a Carve Up' which provided the driving narrative of the original novel – or rather to its successor 'What a Whopper' (more of a companion piece than a sequel). In fact 'Number 11' ends up as a bumper Quality Street tin of themes, motifs and cultural references – and is all the more fun for it. There is a relatively self-contained detective story sandwiched in the middle of the book that is so beautifully constructed and wittily concluded I felt like applauding when it ended. 'Number 11' is inevitably not quite as stunning as its brilliant precursor but its a bravura encore that had me seething with rage at the modern world while simultaneously unable to stop myself beaming with joy.
It must have been around 1996 when we discovered Jonathan Coe's novel 'What a Carve Up' in a second-hand bookshop in Cambridge. Never having heard of the author or the book we were attracted simply by the shiny cover (with its juxtaposition of Yuri Gagarin and Shirley Eaton) and by the price (I think it was just 99p!). We quickly realised what a comic gem we had stumbled upon. Jonathan Coe is now one of my favourite contemporary novelists. His 2001 novel 'The Rotters' Club', its TV adaptation and its sequel 'The Closed Circle' (2004) brought Coe greater public attention. I've enjoyed all his novels and have written here about 'The Rain Before It Falls' (in August 2008), 'The Terrible Privacy of Maxwell Sim' (August 2011) and 'Expo 58' (September 2013). But it is his dark satire on the Thatcherite 1980s, published in 1994, that remains my favourite. It was a real thrill, therefore, to discover that Jonathan Coe has now written a sequel (of sorts – perhaps more of a companion piece) to 'What a Carve Up'. 'Number 11' catalogues Cameron's Coalition Government Britain – with its food banks, reality TV, closing libraries and exploitation of migrant workers. The novel (which I have just read as an unabridged audio book, narrated by Jessica Hynes and Rory Kinnear) has an episodic structure – a set of short stories that take some time to reveal the links between them. And, though few members of the infamous Winshaw family survived the denouement of the original novel, their ghosts hang heavy over modern Britain as their protégés and disciples seem to hold the reins of power. It's a bleak but very funny tale and Coe is in playful mood. The number 11 appears in a variety of guises (it seems to be the number of every significant house in the story) and there is more than a hint of “turning it up to 11”. We also return to the 1961 British film, 'What a Carve Up' which provided the driving narrative of the original novel – or rather to its successor 'What a Whopper' (more of a companion piece than a sequel). In fact 'Number 11' ends up as a bumper Quality Street tin of themes, motifs and cultural references – and is all the more fun for it. There is a relatively self-contained detective story sandwiched in the middle of the book that is so beautifully constructed and wittily concluded I felt like applauding when it ended. 'Number 11' is inevitably not quite as stunning as its brilliant precursor but its a bravura encore that had me seething with rage at the modern world while simultaneously unable to stop myself beaming with joy.
Monday, December 14, 2015
Northampton Symphony Orchestra concert
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!
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!
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.
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