I may have seen 32 shows at his year's Edinburgh festival but there are still plenty of good shows I missed. Since last August I have caught Linda Marlowe's " The World's Wife" and Simon Callow in "The Man From Stratford" and when I found out ( thank you Buzz Magazine") Kevin Eldon was touring " Titting About" I leapt into action.
In all five of us booked to see his first performance at the Chapter Arts Centre, Cardiff. However, the arrival of a lot of snow ensured I was the only one of my group to turn up. I rather hoped the show would be cancelled, but boy was I wrong.
I duly took my customary position in the front row ( why do peple avoid this great seat when watching a non-threatening comedian) to watch this sell-out, although the weather resulted in a few gaps in the audience.
The moment he arrived on stage we could relax as we were in the hands of a supreme performer. Kevin Eldon is mainly known as an actor and tonight predominantly appeared in character. From the poet Paul Hamilton to George Martin's voice being used by Hitler, interspersed with dramatic selections from his latest play ( allowing him to use to use his most famous attributes, his eyes, to hysterical effect), it was a master class in comic timing and subtlety. Not a moment was wasted, every gesture was there was a purpose and we all loved him for it. Considering this was his first stand-up and he is not known for his writing the quality of the material was breath-taking. Fortunately, for those who missed this event the two shows in Cardiff were recorded for future DVD release. If you see a grey, bearded gentleman, wearing wellies and laughing hysterically, it was me.
Thank you Mr Eldon. Any inconvenience suffered this evening was worth it!
Friday 31 December 2010
Sunday 5 December 2010
Silent Night - 2nd December 2010
Hijinx Theatre was created in 1981 to create theatre which is accessible, and entertaining for small communities. Odyssey Theatre was set up in 1999 for all adults including those with learning disabilities.
While people were preparing to head towards the main auditorium of the Millenium Centre to see " Mamma Mia" and know exactly what they would get, they missed a treat. Next door in the more intimate and nicely full Weston Studio Odyssey Theatre performed their latest offering "Silent Night."
Loosely based on how Austrian priest Father Joseph Mohr came to write this famous carol. The story centred on how a flood trapped the local villagers, the Finkels in a church. There arch enemies were the Amsels who later were forced to seek shelter in the church. Initially the old grudges ensured they remained at opposite ends of the hall but the discovery of a heavily pregnant woman and a love story between a woman and man from the rival factions ultimately ( as we always knew it would) helped to heal the rift.
Despite the above the story doesn't really matter. This was an hour spent in the company of performers and members of Meadowbank School and the Odyssey Theatre. In the real world some of the acting was basic but fortunately, once you entered the theatre you were in an old-fashioned nativity play. You were immediately greeted by impressive music from students of the Welsh College of Music and Drama playing and singing carols and Christmas songs.
The thrill of the evening was watching everyone involved thoroughly enjoying themselves and proving that theatre can and is available for all. Some of the set-pieces, villagers precariously staggering through treacherous conditions ( which ironically is what many of the audience would have endured on their journey tonight) the singing ( dramatic and both funny) taunts of the rival villagers, the near drowning scenes and the music were extremely well done.
The pantomime element wasn't ignored either with the audience involvement encouraged and I will never forget singing and signing " Ding Dong Merrily On High". A perfect pre-Christmas outing hitting the perfect balance between seasonal fun and making the always relevant message about communities getting on together.
While people were preparing to head towards the main auditorium of the Millenium Centre to see " Mamma Mia" and know exactly what they would get, they missed a treat. Next door in the more intimate and nicely full Weston Studio Odyssey Theatre performed their latest offering "Silent Night."
Loosely based on how Austrian priest Father Joseph Mohr came to write this famous carol. The story centred on how a flood trapped the local villagers, the Finkels in a church. There arch enemies were the Amsels who later were forced to seek shelter in the church. Initially the old grudges ensured they remained at opposite ends of the hall but the discovery of a heavily pregnant woman and a love story between a woman and man from the rival factions ultimately ( as we always knew it would) helped to heal the rift.
Despite the above the story doesn't really matter. This was an hour spent in the company of performers and members of Meadowbank School and the Odyssey Theatre. In the real world some of the acting was basic but fortunately, once you entered the theatre you were in an old-fashioned nativity play. You were immediately greeted by impressive music from students of the Welsh College of Music and Drama playing and singing carols and Christmas songs.
The thrill of the evening was watching everyone involved thoroughly enjoying themselves and proving that theatre can and is available for all. Some of the set-pieces, villagers precariously staggering through treacherous conditions ( which ironically is what many of the audience would have endured on their journey tonight) the singing ( dramatic and both funny) taunts of the rival villagers, the near drowning scenes and the music were extremely well done.
The pantomime element wasn't ignored either with the audience involvement encouraged and I will never forget singing and signing " Ding Dong Merrily On High". A perfect pre-Christmas outing hitting the perfect balance between seasonal fun and making the always relevant message about communities getting on together.
Sunday 31 October 2010
Paul McCartney - 26th June 2010
Where does one begin to describe the first Cardiff concert for 35 years from the world's most famous living musician? For someone born in the 50's his music has always been part of my life and as the great day approached my expectations increased accordingly.
It started positively with glorious sunshine ( and an open roof) welcoming North Walian group "The Joy Formidable". Being the opening act of a large stadium show is always a difficult task but they impressively won over those audience members who had eagerly taken their seats early. The loud guitar based sound filled the large arena with lead singer Ritzy Ryan obviously enjoying being part of such a prestigious gig.
Shortly afterwards local heroes The Manic Street Preachers helped to fill the stadium with both bodies and their style of rock and roll. A lot of headline acts fail to deal with their relegation from top of the bill (Morrisey to David Bowie springs to mind) but Wales's finest avoided falling into this trap. From the opening guitar riff of "Motorcycle Emptiness" they blew away a rapturous audience with their enthusiasm, professionalism and great songs. It was virtually a greatest hits package with rare outings for " Suicide Is Painless" and the old Beatles classic " Rock & Roll Music" in tribute to the recently departed Stuart Cable.
Soon it was time for the main event with impressive video screen presentations of Paul McCartney in his early years helping to electrify the audience. A brief burst of " Venus and Mars" brought the great man on stage before this turned into " Jet" and we were away.
Quickly the realisation that you were watching a legend disappeared and you could enjoy the concert on its own merits. Firstly I was impressed with his unexpectedly strong, singing voice, then his immaculate guitar and piano playing and his natural exuberance. This wasn't an old man basking in old glories he was just enjoying showing that his music is still relevant today to an audience of all ages. Obviously most people wanted to hear the Beatles but he started mainly going through his Wings back catalogue which surprisingly had stood the test of time.
One of the reasons for the Liverpudlian's longevity is his ability to adapt to changing times .His use of technology was impressive especially showing unseen video footage of the famous photographic session for the cover of "Band On The Run" while singing the title song of the still great album.
The highlight of the show ( and one of the best live versions I have ever seen) was his performance of the 1973 James Bond theme " Live & Let Die". This was a perfect combination of sound and vision as the driving guitar and drum rhythym was batched by the backscreen images and the sychronised bursts of flame and fireworks. This was even more astonishing when you realise that the roof was closed by now.
It must be emphasized that not all the music was old. He played from songs from his most recent " Fireman" project and showed off his newly acquired eukelele skills was a fun version of " Everybody's gonna dance tonight".
Proving this was a concert of contrasts he moved into emotional territory singing " Something" in tribute to George Harrison, " Here Today" for John Lennon and " My Love" for his late wife Linda.
But it was when he sat at the piano that you knew you were in classics territory and he duly delivered beautiful versions of " Eleanor Rigby", " The Long & Winding Road", " Let It Be" and " Hey Jude" amongst others. Nothing was predictable though and versions of " Oh Bla Di" and " Got To Get You Out Of My Life" etc made you realise just how many famous songs he has written.
Soon though we were into encore territory starting with an armageddon style performance of " Helter Skelter" before returning one last time with just a guitar for company. What could he possibly have left to sing I thought & just as the penny dropped he played the opening chord of "Yesterday" and for no real reason I burst into tears. It was that kind of night.
And so 33 years after seeing Jean Michel Jarre at the Place De La Concorde the accolade of my Best Concert ever now passes to Sir Paul McCartney.After all the other accolades I have already mentioned I must also add stamina. This show lasted over 3 hours ( leading into Bruce Springsteen territory) and the guy is 68!!
Astonishing.
It started positively with glorious sunshine ( and an open roof) welcoming North Walian group "The Joy Formidable". Being the opening act of a large stadium show is always a difficult task but they impressively won over those audience members who had eagerly taken their seats early. The loud guitar based sound filled the large arena with lead singer Ritzy Ryan obviously enjoying being part of such a prestigious gig.
Shortly afterwards local heroes The Manic Street Preachers helped to fill the stadium with both bodies and their style of rock and roll. A lot of headline acts fail to deal with their relegation from top of the bill (Morrisey to David Bowie springs to mind) but Wales's finest avoided falling into this trap. From the opening guitar riff of "Motorcycle Emptiness" they blew away a rapturous audience with their enthusiasm, professionalism and great songs. It was virtually a greatest hits package with rare outings for " Suicide Is Painless" and the old Beatles classic " Rock & Roll Music" in tribute to the recently departed Stuart Cable.
Soon it was time for the main event with impressive video screen presentations of Paul McCartney in his early years helping to electrify the audience. A brief burst of " Venus and Mars" brought the great man on stage before this turned into " Jet" and we were away.
Quickly the realisation that you were watching a legend disappeared and you could enjoy the concert on its own merits. Firstly I was impressed with his unexpectedly strong, singing voice, then his immaculate guitar and piano playing and his natural exuberance. This wasn't an old man basking in old glories he was just enjoying showing that his music is still relevant today to an audience of all ages. Obviously most people wanted to hear the Beatles but he started mainly going through his Wings back catalogue which surprisingly had stood the test of time.
One of the reasons for the Liverpudlian's longevity is his ability to adapt to changing times .His use of technology was impressive especially showing unseen video footage of the famous photographic session for the cover of "Band On The Run" while singing the title song of the still great album.
The highlight of the show ( and one of the best live versions I have ever seen) was his performance of the 1973 James Bond theme " Live & Let Die". This was a perfect combination of sound and vision as the driving guitar and drum rhythym was batched by the backscreen images and the sychronised bursts of flame and fireworks. This was even more astonishing when you realise that the roof was closed by now.
It must be emphasized that not all the music was old. He played from songs from his most recent " Fireman" project and showed off his newly acquired eukelele skills was a fun version of " Everybody's gonna dance tonight".
Proving this was a concert of contrasts he moved into emotional territory singing " Something" in tribute to George Harrison, " Here Today" for John Lennon and " My Love" for his late wife Linda.
But it was when he sat at the piano that you knew you were in classics territory and he duly delivered beautiful versions of " Eleanor Rigby", " The Long & Winding Road", " Let It Be" and " Hey Jude" amongst others. Nothing was predictable though and versions of " Oh Bla Di" and " Got To Get You Out Of My Life" etc made you realise just how many famous songs he has written.
Soon though we were into encore territory starting with an armageddon style performance of " Helter Skelter" before returning one last time with just a guitar for company. What could he possibly have left to sing I thought & just as the penny dropped he played the opening chord of "Yesterday" and for no real reason I burst into tears. It was that kind of night.
And so 33 years after seeing Jean Michel Jarre at the Place De La Concorde the accolade of my Best Concert ever now passes to Sir Paul McCartney.After all the other accolades I have already mentioned I must also add stamina. This show lasted over 3 hours ( leading into Bruce Springsteen territory) and the guy is 68!!
Astonishing.
Idiots of Ants - 23rd October 2010
In another on-line guise I am a reviewer for DARKCHAT an Edinburgh festival review site. Two years ago we were first entranced by the " Idiots of Ants" a sketch-based four man group.Last year's show " This Is War" was a big DARKCHAT favourite and earned them a deserved if.com nomination. Unfortunately, I was not so keen on this year's Edinburgh offering "The Red Button", which although it contained good sketches I felt the idea of a member of the audience in charge of a remote control was rather contrived.
However, they are always worth watching so I couldn't resist seeing them in the Weston studio in the Millenium Centre. They are known for constantly re-writing their material and so it proved. Rather than just merely touring their Edinburgh show they dropped their " Red Button" concept and concentrated on entertaining their audience with finely honed sketches
and a great one from a previous show ( trainee Dads).
Sadly, there was only a small audience but it just encouraged them to perform at the top of their game and enjoy the intimacy of the gig. You would think that having just 4 men of similar age ( if not size) would limit their range but fortunately they are good enough actors to play youths, adults and women!
For a group set up to get a coveted television slot they are completely at ease on stage and you can clearly see how much they relish live performance. Even though they have done this material countless times ( over 40 as they mentioned) they impressively make it seem it is new to them. And if they are enjoying themselves the audience can relax they are in safe hands.
The success of any show ultimately rests on the quality of the sketches. Again, their diversity is impressive ranging from the laddish anti-woman " they can't throw" to the more sophisticated subtitling of a German spy film. They are brillant in engaging with the audience through eye contact, references to the less than perfect lighting and music cues and inviting 2 members to appear on stage as well as their climactic song where an unsuspecting lady ( nisa tonight) became
theirs ( and the audiences) previous lover.
Too many touring shows ( Frisky & Mannish and Pappys's to name two) fall into the trap of adding half an hour onto their Edinburgh show which usually means padding with lesser material. This didn't happen tonight as the " Idiots" realised that as long as they provide sixty minutes of top-quality entertainment the audience are more than happy. Which is what happened tonight when they also proved that good shows do not need a theme.
However, they are always worth watching so I couldn't resist seeing them in the Weston studio in the Millenium Centre. They are known for constantly re-writing their material and so it proved. Rather than just merely touring their Edinburgh show they dropped their " Red Button" concept and concentrated on entertaining their audience with finely honed sketches
and a great one from a previous show ( trainee Dads).
Sadly, there was only a small audience but it just encouraged them to perform at the top of their game and enjoy the intimacy of the gig. You would think that having just 4 men of similar age ( if not size) would limit their range but fortunately they are good enough actors to play youths, adults and women!
For a group set up to get a coveted television slot they are completely at ease on stage and you can clearly see how much they relish live performance. Even though they have done this material countless times ( over 40 as they mentioned) they impressively make it seem it is new to them. And if they are enjoying themselves the audience can relax they are in safe hands.
The success of any show ultimately rests on the quality of the sketches. Again, their diversity is impressive ranging from the laddish anti-woman " they can't throw" to the more sophisticated subtitling of a German spy film. They are brillant in engaging with the audience through eye contact, references to the less than perfect lighting and music cues and inviting 2 members to appear on stage as well as their climactic song where an unsuspecting lady ( nisa tonight) became
theirs ( and the audiences) previous lover.
Too many touring shows ( Frisky & Mannish and Pappys's to name two) fall into the trap of adding half an hour onto their Edinburgh show which usually means padding with lesser material. This didn't happen tonight as the " Idiots" realised that as long as they provide sixty minutes of top-quality entertainment the audience are more than happy. Which is what happened tonight when they also proved that good shows do not need a theme.
Tuesday 26 October 2010
Toy Story 3 - 7th September 2010
That's all the world needs another review for Toy Story 3. But thanks to Tesco's 2 for 1 offer the Coxes return to the cinema for the 1st time since " I Love You, Philip Morris". We had not seen either of the two previous Toy Story films at the pictures instead waiting for them to appear on television.
When the first film appeared in 1995, it revolutioned film-making being the original movie to be made entirely in CGI. Fifteen years later 3D is the current rage so the final Toy Story is naturally produced in this genre.
The characters of Woody and Buzz Lightyear are now household names but it is time that they are literally placed back in their toy box. This is in fact the plot of the film with writer Michael Arndt realising that the child Andy would now be of an age to attend college. Whilst he has been chosen to travel with him Woody is trying to save his toy colleagues from accidental refuse destruction and ensure that they are re-housed and therefore played with at Sunnyside Daycare.
Naturally all does not go well and after quite be a terrifying inferno scene Woody heads us towards a truly emotional but not manipulative ending. Yes, dear reader I can confirm that I can
add my name to the adults who have blubbed uncontrollably at its conclusion. A truly excellent way for the trilogy to finish and a strong candidate for my film of the year even if it failed to take full advantage of the new 3D technology.
When the first film appeared in 1995, it revolutioned film-making being the original movie to be made entirely in CGI. Fifteen years later 3D is the current rage so the final Toy Story is naturally produced in this genre.
The characters of Woody and Buzz Lightyear are now household names but it is time that they are literally placed back in their toy box. This is in fact the plot of the film with writer Michael Arndt realising that the child Andy would now be of an age to attend college. Whilst he has been chosen to travel with him Woody is trying to save his toy colleagues from accidental refuse destruction and ensure that they are re-housed and therefore played with at Sunnyside Daycare.
Naturally all does not go well and after quite be a terrifying inferno scene Woody heads us towards a truly emotional but not manipulative ending. Yes, dear reader I can confirm that I can
add my name to the adults who have blubbed uncontrollably at its conclusion. A truly excellent way for the trilogy to finish and a strong candidate for my film of the year even if it failed to take full advantage of the new 3D technology.
Monday 25 October 2010
The Man From Stratford - 15th September 2010
This was another show touring shortly after a highly successful run at this year's Edinburgh festival. Simon Callow, star of stage, screen, film and literature is no stranger to the world of the one-man show. A few year's ago he delighted audiences ( including here in Cardiff) with his Charles Dickens evening ( a role he re-created in a Christopher Eccleston Dr Who episode).
Tonight's recipient of his sublime talent was William Shakespeare. Director Jonathan Bate chose to go with a predictable format of using his words to follow the course of the Bard's life. This, of course, gave the star of " Four Weddings And A Funeral" the opportunity to display his great vocal technique but seemed to lack any great depth or emotion. It doesn't help that little is really known about Stratford's greatest son and there are big gaps in his middle years leading to a lot of conjecture.
However, the evening had two great plusses. Firstly the chance to see a great actor in full flow and secondly to hear some of the greatest speeches ever written. An impressive combination.
Tonight's recipient of his sublime talent was William Shakespeare. Director Jonathan Bate chose to go with a predictable format of using his words to follow the course of the Bard's life. This, of course, gave the star of " Four Weddings And A Funeral" the opportunity to display his great vocal technique but seemed to lack any great depth or emotion. It doesn't help that little is really known about Stratford's greatest son and there are big gaps in his middle years leading to a lot of conjecture.
However, the evening had two great plusses. Firstly the chance to see a great actor in full flow and secondly to hear some of the greatest speeches ever written. An impressive combination.
Tuesday 19 October 2010
Ray Davies - 16th May 2010
There are some musicians you see because you like their current songs, some because you like their previous recordings and some you watch because they are true legends. Two days after returning from Madrid I attended his concert at St Davids Hall due to the latter and ended up raving about both his earlier and new material.
The tone of the evening was set by the impressive support act, Samuel Brookes. His guitar based songs with catchy tunes and interesting lyrics were the perfect appetiser for the man who virtually invented the style ovr forty-five years ago.
Soon the great man appeared with one lone guitarist for a gentle low-key acoustic style opening. Like the whole show this was a mixture of newer songs from " Working Man's Cafe" through to more familiar classics eg " Sunny Afternoon", " Waterloo Sunset" etc.
I had grown up thinking he was a mainly grouchy individual but from the moment he came on stage he was relaxed, funny and very chatty. Even though he started off saying he would fine himself 10 pounds everything he mentioned "The Kinks" by the end he was openly acknowledging their inportance in his life and even requesting a round of applause for his brother Dave.
The second part of the set consisted of him singing songs from TV and film eg "The Sopranos" . Then the gig shifted another level when he was joined by the rest of the band including an Australian drummer who naturally took a lot of stick as they hda just lost to England in the 20/20 World Cup final. Suddenly this excellent concert turned into a full blown rock affair allowing him to concentrate upon his more uptempo early Kinks numbers " All of the Day & All of The Night" , " Tired of waiting for you", "Autumn Almanac" etc.
The crowd were up and dancing, Ray Davies was doing scissor kicks and for those old enough to remember were back watching " Ready, Steady, Go". All too soon though we were into encore time and after a rousing version of " Lola" and a standing ovation saw the great man leave the stage.
This was a concert I had been eagerly anticipating as there are not many musicians around with such an impressive back catalogue. Despite high expectations he still amazed us with his relaxed demeanour, surprisingly powerful singing voice and impressive guitar playing. (When we later discovered he was 65 we had to add astonising energy levels to that list).
I cannot remember having sung so much at a concert as we were all actively encouraged to join in with such classics as " Dedicated Follower of Fashion" and a strangely emotional version of " Days". A truly perfect way yo end a great holiday.
The tone of the evening was set by the impressive support act, Samuel Brookes. His guitar based songs with catchy tunes and interesting lyrics were the perfect appetiser for the man who virtually invented the style ovr forty-five years ago.
Soon the great man appeared with one lone guitarist for a gentle low-key acoustic style opening. Like the whole show this was a mixture of newer songs from " Working Man's Cafe" through to more familiar classics eg " Sunny Afternoon", " Waterloo Sunset" etc.
I had grown up thinking he was a mainly grouchy individual but from the moment he came on stage he was relaxed, funny and very chatty. Even though he started off saying he would fine himself 10 pounds everything he mentioned "The Kinks" by the end he was openly acknowledging their inportance in his life and even requesting a round of applause for his brother Dave.
The second part of the set consisted of him singing songs from TV and film eg "The Sopranos" . Then the gig shifted another level when he was joined by the rest of the band including an Australian drummer who naturally took a lot of stick as they hda just lost to England in the 20/20 World Cup final. Suddenly this excellent concert turned into a full blown rock affair allowing him to concentrate upon his more uptempo early Kinks numbers " All of the Day & All of The Night" , " Tired of waiting for you", "Autumn Almanac" etc.
The crowd were up and dancing, Ray Davies was doing scissor kicks and for those old enough to remember were back watching " Ready, Steady, Go". All too soon though we were into encore time and after a rousing version of " Lola" and a standing ovation saw the great man leave the stage.
This was a concert I had been eagerly anticipating as there are not many musicians around with such an impressive back catalogue. Despite high expectations he still amazed us with his relaxed demeanour, surprisingly powerful singing voice and impressive guitar playing. (When we later discovered he was 65 we had to add astonising energy levels to that list).
I cannot remember having sung so much at a concert as we were all actively encouraged to join in with such classics as " Dedicated Follower of Fashion" and a strangely emotional version of " Days". A truly perfect way yo end a great holiday.
Monday 18 October 2010
Hay Fever - 16th October 2010
For a theatre lover brought up in the Kingston area but left in the 1980's, I was pleased to hear that there was finally to be a proper theatre, although a little late for me to attend regularly. However, a free Saturday gave me the perfect opportunity to see what all the fuss (positive and negative) was about.
Similar in style to Shakespeare's Globe ( except with a roof to allow all year performances) it possesses a proscenium stage and a space in front of the stalls for cushion seating to provide a slightly more comfortable way for groundlings to watch a show.
The choice of Noel Coward's "Hay Fever" may not have been adventurous but it is popular and does provide a chance to see a classic English play. It is traditional Coward territory set in a country house ( in Surrey) in the twenties run by an ageing theatrical ( in all senses of the word) actress including her writer husband and their two lively, loud and dramatic children.
Into this melee came four unsuspecting " lambs to the slaughter" all invited down for the week-end without the knowledge of the rest of the family. Too classy to choose the farce route the playwright uses his knowledge of these people to poke gentle fun at the Bliss family but he stops short of criticising their selfish, blinkered existence. By choosing to end the play with the hysterical, silent escape of their visitors the author seems well aware this kind of behaviour can't last forever.
The matriarchal figure, Judith Bliss, is a great role for any actress. Nichola McAullife (replacing Celia Imrie called away to make a film) gleefully grabs it with both hands and enjoys grinding out every syllable in her high-pitched mannered delivery. ( A good performance even if it did remind me of Penelope Keith).
Relative newcomers Georgia Maguire and Joshua McGuire relished their roles as the uncontrollable siblings with Stephen Boxer's David seeming to be a more subdued character until he revealed in the second half that his children were just " chips off the old block" after all. In fact all the acting was high quality although Adrian Lukis stole the evening with an unhurried beautiful performance of a man clearly out of his depth but trying to remain dignified at all times.
Overall this was a fun production of a famous play although when I return I hope to see a newer more challenging piece of work.
Similar in style to Shakespeare's Globe ( except with a roof to allow all year performances) it possesses a proscenium stage and a space in front of the stalls for cushion seating to provide a slightly more comfortable way for groundlings to watch a show.
The choice of Noel Coward's "Hay Fever" may not have been adventurous but it is popular and does provide a chance to see a classic English play. It is traditional Coward territory set in a country house ( in Surrey) in the twenties run by an ageing theatrical ( in all senses of the word) actress including her writer husband and their two lively, loud and dramatic children.
Into this melee came four unsuspecting " lambs to the slaughter" all invited down for the week-end without the knowledge of the rest of the family. Too classy to choose the farce route the playwright uses his knowledge of these people to poke gentle fun at the Bliss family but he stops short of criticising their selfish, blinkered existence. By choosing to end the play with the hysterical, silent escape of their visitors the author seems well aware this kind of behaviour can't last forever.
The matriarchal figure, Judith Bliss, is a great role for any actress. Nichola McAullife (replacing Celia Imrie called away to make a film) gleefully grabs it with both hands and enjoys grinding out every syllable in her high-pitched mannered delivery. ( A good performance even if it did remind me of Penelope Keith).
Relative newcomers Georgia Maguire and Joshua McGuire relished their roles as the uncontrollable siblings with Stephen Boxer's David seeming to be a more subdued character until he revealed in the second half that his children were just " chips off the old block" after all. In fact all the acting was high quality although Adrian Lukis stole the evening with an unhurried beautiful performance of a man clearly out of his depth but trying to remain dignified at all times.
Overall this was a fun production of a famous play although when I return I hope to see a newer more challenging piece of work.
Sunday 17 October 2010
The Irish Curse - 15th October 2010
Somewhat unexpectedly Victoria is currently a good place to watch theatre with " Billy Elliott" and " Wicked" packing them in at the Victoria Palace and Apollo Victoria respectively. However, literally just around the corner is a hidden treasure, just above the Stag pub a 60 seater theatre can be found having been established just two years ago.
Their current production " The Irish Curse" tells the tale of men attending a group session where they can openly discuss their lack of size in the trouser department. It is set in Father Shaughnessey's church in Brooklyn Heights where we meet him and and his three regular attendees who immediately embark upon their usual repartee.
The dramatic impetus is provided by the arrival of a new member, Keiran. This allows the playwright the opportunity for the other characters to reveal their stories thus giving the actors their moment in the spotlight providing both humour and pathos.
So far so cosy but Kieran, the only truly born Irishman amongst them is a question asker. Suddenly, the others are forced to open up further than before revealing new secrets ( including the Father himself) and altering the way they see each other. This many sound a little episodic ( which it is) but is all highly watchable. All 5 characters were well-drawn and different with their own takes on what having a small dick means to them. The dialogue is believable and struck the right balance between comedy and drama and most importantly avoiding falling into the pit of melodrama.
Some performances and material were better handled than others but for me the highpoint of the evening was the ensemble playing between the cast. The inter-action between the existing group was so natural that you truly believed they had been meeting regularly. As their previously hidden layers were peeled away there seemed real concern and caring from their colleagues, in particular from Kiel O'Shea as the brash Rick. The decision to end the play with " Here Comes The Sun" by the Beatles was inspired and I will happily admit that I wiped away an emotional tear.
Oddly enough for such an intimate subject this was an unexpectedly tasteful production. One was character was gay (as was most of the audience) but apart from some understandedly ripe and choice language there were no unsavoury scenes. A play and venue to be applauded as a timely reminder that there are plenty of gems to be found outside the big theatres.
Their current production " The Irish Curse" tells the tale of men attending a group session where they can openly discuss their lack of size in the trouser department. It is set in Father Shaughnessey's church in Brooklyn Heights where we meet him and and his three regular attendees who immediately embark upon their usual repartee.
The dramatic impetus is provided by the arrival of a new member, Keiran. This allows the playwright the opportunity for the other characters to reveal their stories thus giving the actors their moment in the spotlight providing both humour and pathos.
So far so cosy but Kieran, the only truly born Irishman amongst them is a question asker. Suddenly, the others are forced to open up further than before revealing new secrets ( including the Father himself) and altering the way they see each other. This many sound a little episodic ( which it is) but is all highly watchable. All 5 characters were well-drawn and different with their own takes on what having a small dick means to them. The dialogue is believable and struck the right balance between comedy and drama and most importantly avoiding falling into the pit of melodrama.
Some performances and material were better handled than others but for me the highpoint of the evening was the ensemble playing between the cast. The inter-action between the existing group was so natural that you truly believed they had been meeting regularly. As their previously hidden layers were peeled away there seemed real concern and caring from their colleagues, in particular from Kiel O'Shea as the brash Rick. The decision to end the play with " Here Comes The Sun" by the Beatles was inspired and I will happily admit that I wiped away an emotional tear.
Oddly enough for such an intimate subject this was an unexpectedly tasteful production. One was character was gay (as was most of the audience) but apart from some understandedly ripe and choice language there were no unsavoury scenes. A play and venue to be applauded as a timely reminder that there are plenty of gems to be found outside the big theatres.
Thursday 14 October 2010
Speechless - 18th September 2010
Fresh from a triumphant Fringe First at the coveted Traverse Theatre at this year's Edinburgh festival Shared Experience and Sherman Cymru's production of " Speechless" returned for a run at the Welsh College of Music and Drama in Cardiff.
Linda Brogan and Polly Teale's play based on Marjorie Williams book " The Silent Twins" explores the strange, true story of June and Jennifer Gibbons. These identical black twins were perfectly capable of speaking but after going to school they jointly elected never to talk to adults.
This ninety minute piece split into two distinct segments. We witnessed the story of two adolescent sisters going through puberty together and then how they silently dealt with their mother, teachers and a loud Canadian male youth.
It is never less than intruguing with good performances, especially from Demi Oyediran and Natasha Gordon as the sisters and Emma Handy as their caring and sympathetic teacher. Director Polly Teale wisely elects not to weaken the growing intensity of the play with an interval but surprises us all with an abrupt ending. This was made even more frustrating with the realisation that there was no real attempt to explain the reasons for the sister's dramatic action. A previous brief mention of racial bullying at school didn't seem sufficient for such an extreme reaction.
However, good drama should encourage debate and "Speechless" certainly scored in this area as I enjoyed a lively discussion regarding what had happened and more importantly what happens next, an area which oddly was never tackled.
Overall, an interesting and unusual subject but it left us cold. A gallant attempt but not I thought worthy of the critical acclaim it received in Scotland.
Linda Brogan and Polly Teale's play based on Marjorie Williams book " The Silent Twins" explores the strange, true story of June and Jennifer Gibbons. These identical black twins were perfectly capable of speaking but after going to school they jointly elected never to talk to adults.
This ninety minute piece split into two distinct segments. We witnessed the story of two adolescent sisters going through puberty together and then how they silently dealt with their mother, teachers and a loud Canadian male youth.
It is never less than intruguing with good performances, especially from Demi Oyediran and Natasha Gordon as the sisters and Emma Handy as their caring and sympathetic teacher. Director Polly Teale wisely elects not to weaken the growing intensity of the play with an interval but surprises us all with an abrupt ending. This was made even more frustrating with the realisation that there was no real attempt to explain the reasons for the sister's dramatic action. A previous brief mention of racial bullying at school didn't seem sufficient for such an extreme reaction.
However, good drama should encourage debate and "Speechless" certainly scored in this area as I enjoyed a lively discussion regarding what had happened and more importantly what happens next, an area which oddly was never tackled.
Overall, an interesting and unusual subject but it left us cold. A gallant attempt but not I thought worthy of the critical acclaim it received in Scotland.
Wednesday 13 October 2010
Fern Hill - 21st September 2010
Level 3 at St David's Hall is one of the hidden gems of Cardiff venues. Offering a cheap, intimate setting it is the perfect way to enjoy comedy acts or musical performers not popular enough (yet) to fill the larger auditorium.
Today is the turn for Welsh Folk group Fern Hill to start the latest folk season here. In front of a large and enthusiastic audience lead singer Julie Murphy showed that even with a cold her voice is amongst the best on the UK. Ably supported by Ceri Matthews on guitar and flute who as well as being an accomplished musician also provided amusing and interesting information about the songs ( which were predominantly sung in Welsh).
The group was completed by Christine Cooper on Violin and occasional vocals with Tomos Williams on trumpet helping to create an totally unique and mesmerising sound.
"Llatai" is one of my favourite albums but I was more than happy to spend a couple of hours listening to unfamiliar material delivered so beautiful.Credit must also go to the sound crew who that despite the intimate surroundings it wasn't over-amplified and every element could be heard distinctly.
A part of me wishes they were better known but selfishly I would like them to remain at this level ( apologies for the unintended pun) so we can enjoy further quality nights at such a small venue.
Today is the turn for Welsh Folk group Fern Hill to start the latest folk season here. In front of a large and enthusiastic audience lead singer Julie Murphy showed that even with a cold her voice is amongst the best on the UK. Ably supported by Ceri Matthews on guitar and flute who as well as being an accomplished musician also provided amusing and interesting information about the songs ( which were predominantly sung in Welsh).
The group was completed by Christine Cooper on Violin and occasional vocals with Tomos Williams on trumpet helping to create an totally unique and mesmerising sound.
"Llatai" is one of my favourite albums but I was more than happy to spend a couple of hours listening to unfamiliar material delivered so beautiful.Credit must also go to the sound crew who that despite the intimate surroundings it wasn't over-amplified and every element could be heard distinctly.
A part of me wishes they were better known but selfishly I would like them to remain at this level ( apologies for the unintended pun) so we can enjoy further quality nights at such a small venue.
Tuesday 12 October 2010
Frisky & Mannish - 14th September 2010
Thanks to a guest spot on BBC's Radio "Curiosity Killed The Cabaret" at this year's Edinburgh festival we have been drawn into the quirky musical world of " Frisky & Mannish".
Keen to see them in their entirety we headed to Level 3 at St David's Hall to see the uncut musical duo re-visiting their previous successful shows, " School of Pop" and " College Years". A variety of humorous songs took us through " Questions", references to bad grammar ( hang your head in shame Alicia Keys) amd unexpected couplings, most noticeably between Lily Allen & Noel Coward. This led to Mannish delivering " Sun Is In The Sky" in the beautifully clipped style of the 1930's wit. In return Frisky stunningly sung " I went to a marvellous party" to the tune of " The Fear".
The danger of touring Edinburgh shows is the desire to extend the show beyond it's natural hour life. Tonight proved you could have too much of a good thing as there really are only so many ways of poking fun at current current singers & I found the " Florence and the Machine" sections too long and forced.
However, my favourite moment occurred in the second half when they re-worked the "Dexy's Midnight Runners" classic " Come On Eileen" as a song from " Bloodbrothers". Clever and very, very funny which sums up the whole evening. Despite my misgivings about length they are worth a visit if you like music and comedy.
Keen to see them in their entirety we headed to Level 3 at St David's Hall to see the uncut musical duo re-visiting their previous successful shows, " School of Pop" and " College Years". A variety of humorous songs took us through " Questions", references to bad grammar ( hang your head in shame Alicia Keys) amd unexpected couplings, most noticeably between Lily Allen & Noel Coward. This led to Mannish delivering " Sun Is In The Sky" in the beautifully clipped style of the 1930's wit. In return Frisky stunningly sung " I went to a marvellous party" to the tune of " The Fear".
The danger of touring Edinburgh shows is the desire to extend the show beyond it's natural hour life. Tonight proved you could have too much of a good thing as there really are only so many ways of poking fun at current current singers & I found the " Florence and the Machine" sections too long and forced.
However, my favourite moment occurred in the second half when they re-worked the "Dexy's Midnight Runners" classic " Come On Eileen" as a song from " Bloodbrothers". Clever and very, very funny which sums up the whole evening. Despite my misgivings about length they are worth a visit if you like music and comedy.
Monday 11 October 2010
The World's Wife - 6th 0ctober 2010
Following a successful run at last year's ( and this year's) Edinburgh festival Linda Marlowe is now embarking on a tour of " The World's Wife". Adapted from Carol Ann Duffy's 1999 book of poems the reknowned actress brings to life a wide-range of women, some known in their own right but all having famous husbands.
One person shows are an art form in themselves as the solo artiste is in complete control of the production and the audience. It must be like performing on a tightrope as you have nowhere to turn if things fail to go according to plan. The structure of the piece must be right with serious, sad, funny, short and long poems selected to capture the interest of the audience and allow an actress to display all her qualities.
With the music of Madaleine Peyroux creating a gentle feminine feel Linda Marlowe started with the humorous, yet macabre tale of Little Red Riding Hood before plunging straight into the tragic arms of Mrs Herod. Much needed fun came from Mrs Freud, Queen Kong and Mrs Darwin providing unexpected twists on their better known other halves.
The second part had a general nod to classical heroines, Eurydice, Penelope, Salome and Medusa. This serious segment prepared us and the actress for the extraordinary sequence of " The Devil's Wife" where she portrayed Myra Hindley. This was so commanding and intense that the whole audience and performer were entirely connected. The end of the show shortly afterwards was a merciful release so we could concentrate on breathing again.
This was my 1st trip to the famous Theatre Clywd, Mold, and felt that the atmosphere created by the intimate Emlyn Williams theatre perfectly re-created the Edinburgh fringe. Credit must obviously go the current Poet Laureate for the words but it was the versatile performance of Linda Marlowe who truly brought these diverse creatures to life. An evening to long linger in the memory.
One person shows are an art form in themselves as the solo artiste is in complete control of the production and the audience. It must be like performing on a tightrope as you have nowhere to turn if things fail to go according to plan. The structure of the piece must be right with serious, sad, funny, short and long poems selected to capture the interest of the audience and allow an actress to display all her qualities.
With the music of Madaleine Peyroux creating a gentle feminine feel Linda Marlowe started with the humorous, yet macabre tale of Little Red Riding Hood before plunging straight into the tragic arms of Mrs Herod. Much needed fun came from Mrs Freud, Queen Kong and Mrs Darwin providing unexpected twists on their better known other halves.
The second part had a general nod to classical heroines, Eurydice, Penelope, Salome and Medusa. This serious segment prepared us and the actress for the extraordinary sequence of " The Devil's Wife" where she portrayed Myra Hindley. This was so commanding and intense that the whole audience and performer were entirely connected. The end of the show shortly afterwards was a merciful release so we could concentrate on breathing again.
This was my 1st trip to the famous Theatre Clywd, Mold, and felt that the atmosphere created by the intimate Emlyn Williams theatre perfectly re-created the Edinburgh fringe. Credit must obviously go the current Poet Laureate for the words but it was the versatile performance of Linda Marlowe who truly brought these diverse creatures to life. An evening to long linger in the memory.
Sunday 10 October 2010
Richard Parker - 30th September
Fate or coincidence. That is the premise for Owen Thomas's play briefly re-appearing at the Gate Theatre. Two seemingly unconnected strangers meet on a ferry crossing, exchange pleasantries then uncover the fact that they share the same name.
The livelier Richard Parker, an unhesitantly mesmorising performance by Gareth John Bale, reveals his extraordinary theories about coincidences leading to the revelation that he KNOWS the ferry will capsize and chooses to take his namesake prisoner for reasons that would ruin the interesting and unexpected plot.
Naturally his predictions come to pass and we are sent hurtling towards a dramatic climax. The fact that the Greek tragic-style twist is guessable, does not detract from the quality of the writing and the high level of acting. Alistair Sill's Richard Parker is a more hesitant, less certain man constantly re-acting to the surprising utterances from his captor. His increasing frustration and desperation was perfectly portrayed and contrasts well with the assured,calm, everything is pre-destined manner of his namesake.
I am not a great fan of the Gate theatre but Gareth Bale ( this time with his director's hat on ) judged it perfectly by reducing the props to two benches and placing all the action at the front of the stage. This ensured that most of the dialogue could be heard clearly in contrast to most of the productions I have previously seen there.
The key to the success of any show is how it is received by the paying customers. I sat in front of a man who drowned out some of the dialogue by laughing constantly ( did I mention it was very funny) and members of the audience audibly gasped when a ( strangely large) gun dramatically appeared. It is also refreshing to see a play that doesn't overstay its welcome. " Richard Parker" lasts just over and hour and actually left me wanting more, always a good sign.
Having just survived my 12th Edinburgh festival I am pleased that Cwmni Theatre 3D are planning to take this show to next year's fringe as it deserves a wider audience and would stand out as one of the stronger pieces of theatre. A must-see.
The livelier Richard Parker, an unhesitantly mesmorising performance by Gareth John Bale, reveals his extraordinary theories about coincidences leading to the revelation that he KNOWS the ferry will capsize and chooses to take his namesake prisoner for reasons that would ruin the interesting and unexpected plot.
Naturally his predictions come to pass and we are sent hurtling towards a dramatic climax. The fact that the Greek tragic-style twist is guessable, does not detract from the quality of the writing and the high level of acting. Alistair Sill's Richard Parker is a more hesitant, less certain man constantly re-acting to the surprising utterances from his captor. His increasing frustration and desperation was perfectly portrayed and contrasts well with the assured,calm, everything is pre-destined manner of his namesake.
I am not a great fan of the Gate theatre but Gareth Bale ( this time with his director's hat on ) judged it perfectly by reducing the props to two benches and placing all the action at the front of the stage. This ensured that most of the dialogue could be heard clearly in contrast to most of the productions I have previously seen there.
The key to the success of any show is how it is received by the paying customers. I sat in front of a man who drowned out some of the dialogue by laughing constantly ( did I mention it was very funny) and members of the audience audibly gasped when a ( strangely large) gun dramatically appeared. It is also refreshing to see a play that doesn't overstay its welcome. " Richard Parker" lasts just over and hour and actually left me wanting more, always a good sign.
Having just survived my 12th Edinburgh festival I am pleased that Cwmni Theatre 3D are planning to take this show to next year's fringe as it deserves a wider audience and would stand out as one of the stronger pieces of theatre. A must-see.
Friday 17 September 2010
Paloma Faith - Cheltenham Jazz Festival - 3rd May 2010
Fortunately, the Polar Bear concert ended in time for us to rush next door to be seated in readiness for the closing concert of this year's Cheltenham Jazz festival. It was a coup for them to acquire the services of 2009's hit-maker , Paloma Faith and a master-stroke to match her up with Guy Barker and his orchestra.
As he elonquently explained before the concert, their collaboration created a concept entailed " Down On Lonely Street" allowing her the backdrop of a story to sing a variety of torch type songs. After a suitably strong orchestral opening to set the film noir theme and appreciative ( and surprisingly older than I expected) audience were thrilled to see the star of tonight's evening run through the auditorium before breathlessly arriving on stage.
For a radio concert we were treated to a nice set of a settee, light and phone re-creating a flat where this unfortunate young lady re-lives her lost lovers. Having set-up this interesting scenario the onus was now on messrs Faith and Barker to produce something remarkable. and boy did they succeed! The stage was set for them to select to select the most suitable songs from the standards repertoire and from her hit album " Do You Want The Truth Or Something Beautiful?" Amazingly, they blended together with " Black Coffee" ." Heartbreak Hotel" , " Cry Me A River" seemlessly fitting in with the title track and " New York, New York".
Of course, none of this would have worked without the sublime talent of Paloma Faith. Her album showed she is a fine singer with a distinctive voice but tonight proved she was equally at home with classics, torch songs, blues and up-tempo numbers like " Upside Down". The latter may not have fitted into the style of the evening but it certainly brought the house down and was deservedly reprised as her encore. Her only sign of nerves came from her constant referral to her song sheet in front of her although throughout the ninety minute set she was constantly supported by the wonderfuly Guy Barker who showed his trumpeting roots by busrsting into an impromptu solo.
I thought last night's Jamie Cullum gig was impresssive but tonight Miss Faith stole the festival deservedly gaining a standing and tumultous reception.
Roll on the 2011 festival.
As he elonquently explained before the concert, their collaboration created a concept entailed " Down On Lonely Street" allowing her the backdrop of a story to sing a variety of torch type songs. After a suitably strong orchestral opening to set the film noir theme and appreciative ( and surprisingly older than I expected) audience were thrilled to see the star of tonight's evening run through the auditorium before breathlessly arriving on stage.
For a radio concert we were treated to a nice set of a settee, light and phone re-creating a flat where this unfortunate young lady re-lives her lost lovers. Having set-up this interesting scenario the onus was now on messrs Faith and Barker to produce something remarkable. and boy did they succeed! The stage was set for them to select to select the most suitable songs from the standards repertoire and from her hit album " Do You Want The Truth Or Something Beautiful?" Amazingly, they blended together with " Black Coffee" ." Heartbreak Hotel" , " Cry Me A River" seemlessly fitting in with the title track and " New York, New York".
Of course, none of this would have worked without the sublime talent of Paloma Faith. Her album showed she is a fine singer with a distinctive voice but tonight proved she was equally at home with classics, torch songs, blues and up-tempo numbers like " Upside Down". The latter may not have fitted into the style of the evening but it certainly brought the house down and was deservedly reprised as her encore. Her only sign of nerves came from her constant referral to her song sheet in front of her although throughout the ninety minute set she was constantly supported by the wonderfuly Guy Barker who showed his trumpeting roots by busrsting into an impromptu solo.
I thought last night's Jamie Cullum gig was impresssive but tonight Miss Faith stole the festival deservedly gaining a standing and tumultous reception.
Roll on the 2011 festival.
Thursday 16 September 2010
Polar Bear - 3rd May 2010 - Cheltenham Jazz festival
Having stumbled upon their great album " Held On The Tips of Fingers" by accident I was a little disappointed by their live performance at Cardiff University a few years ago. However any opportunity to see Sebastian Rochford live should not be wasted and so we were in the front row of the Jazz arena to witness our second sighting of this great drummer this week-end.
Any fears that our ears would be deafened by our proximity to the four musicians were quickly dispelled when the sound system proved capable of perfectly balancing clarity with volume.
Normally at concerts it is the familiar pieces that have the most impact but today was a rare exception. Although I love the tracks from their Mercury nominated CD I was particularly impressed by their newer songs. Driven by the rhythmic of Mr Rochford's idiosyncratic style
but never dominating with the two saxophonists, Mark Lockheart and Shabake Hutchings
and double-bassist Tom Herbert allowed to show their individual talents, the group were completed by the virtuosity of Leafcutter John.
Showing exceptional electric guitar skills he coupled this technical wizadry of extracting extra-ordinary noises from a lap-tap, not to mention his mastery of that much overlooked instrument, the balloon. On paper this shouldn't work yet somhow all the elements produced a sound unique at this present time.
The other advantage of sitting so close to the front was watching their eye contact, essential in true jazz groups. Although sitting behind the two saxophonists it was great to see how they all inter-reacted intuitively.
Obviously the Cheltenham Jazz festival can be hard work as the man to our right somehow managed to fall asleep and missed a great night. Can't wait to rush out and buy " Jeepers".
Any fears that our ears would be deafened by our proximity to the four musicians were quickly dispelled when the sound system proved capable of perfectly balancing clarity with volume.
Normally at concerts it is the familiar pieces that have the most impact but today was a rare exception. Although I love the tracks from their Mercury nominated CD I was particularly impressed by their newer songs. Driven by the rhythmic of Mr Rochford's idiosyncratic style
but never dominating with the two saxophonists, Mark Lockheart and Shabake Hutchings
and double-bassist Tom Herbert allowed to show their individual talents, the group were completed by the virtuosity of Leafcutter John.
Showing exceptional electric guitar skills he coupled this technical wizadry of extracting extra-ordinary noises from a lap-tap, not to mention his mastery of that much overlooked instrument, the balloon. On paper this shouldn't work yet somhow all the elements produced a sound unique at this present time.
The other advantage of sitting so close to the front was watching their eye contact, essential in true jazz groups. Although sitting behind the two saxophonists it was great to see how they all inter-reacted intuitively.
Obviously the Cheltenham Jazz festival can be hard work as the man to our right somehow managed to fall asleep and missed a great night. Can't wait to rush out and buy " Jeepers".
Monday 13 September 2010
Jamie Cullum 2nd May 2010 - Cheltenham Jazz Festival
There is no doubt that the star of UK Jazz this century has been Jamie Cullum. His rise has been so meteoric that at the age of just 30 he has already been accorded the honour of Guest Director at this year's festival.
Not surprisingly he sold out the Town Hall quickly and an excited audience eagerly anticipated his appearance. Accompanied by 5 excellent musicians he started with a storming version of Cole Porter's " Just One Of Those Things" before proceeding with a combination of newer songs, from his latest album " The Pursuit". This included an impromptu duet with the composer of " These Are The Days" , his own song " Twenty Something" and more standards " Not While I'm Around" , "What A Difference A Day Makes" etc.
These were of course performed in that true Cullum style, bouncy piano playing with equally lively support from his band. Showing complete confidence in his ability to entertain an audience both musically and just by chatting to them he showed a great sense of humour. I was particularly impressed by his versatility and producing a beautifully simple but emotional version of " I Get Along Without You Very Well" before changing tempo and suddenly standing on ( and jumping from ) his piano.
Just when it seemed as if the audience couldn't get anymore involved he then moved his entire
group to the centre of the auditorium so "people in the cheap seats" could have a closer look and bop along to his take on " Cry Me A River".
Soon, though it was encore time and a wonderful show was brought to an end by a sublime solo rendition of " Gran Torino" , his theme song for Clint Eastwood's recent great film.
Tonight showed that the current king of British Jazz truly deserves his crown.
Not surprisingly he sold out the Town Hall quickly and an excited audience eagerly anticipated his appearance. Accompanied by 5 excellent musicians he started with a storming version of Cole Porter's " Just One Of Those Things" before proceeding with a combination of newer songs, from his latest album " The Pursuit". This included an impromptu duet with the composer of " These Are The Days" , his own song " Twenty Something" and more standards " Not While I'm Around" , "What A Difference A Day Makes" etc.
These were of course performed in that true Cullum style, bouncy piano playing with equally lively support from his band. Showing complete confidence in his ability to entertain an audience both musically and just by chatting to them he showed a great sense of humour. I was particularly impressed by his versatility and producing a beautifully simple but emotional version of " I Get Along Without You Very Well" before changing tempo and suddenly standing on ( and jumping from ) his piano.
Just when it seemed as if the audience couldn't get anymore involved he then moved his entire
group to the centre of the auditorium so "people in the cheap seats" could have a closer look and bop along to his take on " Cry Me A River".
Soon, though it was encore time and a wonderful show was brought to an end by a sublime solo rendition of " Gran Torino" , his theme song for Clint Eastwood's recent great film.
Tonight showed that the current king of British Jazz truly deserves his crown.
Sunday 12 September 2010
Battle of The Beats - Cheltenham Jazz Festival - 1st May 2010
The very first concert we saw at the Cheltenham Jazz festival was Sebastian Rochford's " Fullborn Teversham" incarnation. Four years later it was his name that linked us to the late night " Battle of the Beats" at the Town Hall.
Having patiently waited for a loud club set to end ( drinking an ice-cold glass of red wine after asking for white and being told they only sold "normal wine") we were eventually lured into the venue by Schlomo. I had not previously been impressed by the little beat-boxing I had seen but he competely changed my mind on this modern phenomenon.
Any thoughts I had this was a dull one dimensional skill were dispelled by the range of his talents. He quickly won over the crowd with the control of his instrument ( his mouth) and then we hung upon his every utttering. As well as obvious club tunes he added that vital element of humour and threw in unexpected references to " Cars", " Can You Kick It" , " Walk On The Wild Side" and " I Want You Back" etc. He also provided a thorough demonstration of how to layer a variety of self-made sounds before getting the audience involved in a massive Beat-box inter-action ( sadly not qualifying for the Guinness Book of Records).
Soon, though it was the main event of the night, a battle between voice, machine, DJ Food mixing and scratching for al he was worth, and drums from the great Polar Bear leader. There may not have been a definitive winner but it gave an opportuntity for all performer to show their particular skills. Sadly, it was all over and an official set from DJ Fod sent us to our hotel, tired but happy.
Having patiently waited for a loud club set to end ( drinking an ice-cold glass of red wine after asking for white and being told they only sold "normal wine") we were eventually lured into the venue by Schlomo. I had not previously been impressed by the little beat-boxing I had seen but he competely changed my mind on this modern phenomenon.
Any thoughts I had this was a dull one dimensional skill were dispelled by the range of his talents. He quickly won over the crowd with the control of his instrument ( his mouth) and then we hung upon his every utttering. As well as obvious club tunes he added that vital element of humour and threw in unexpected references to " Cars", " Can You Kick It" , " Walk On The Wild Side" and " I Want You Back" etc. He also provided a thorough demonstration of how to layer a variety of self-made sounds before getting the audience involved in a massive Beat-box inter-action ( sadly not qualifying for the Guinness Book of Records).
Soon, though it was the main event of the night, a battle between voice, machine, DJ Food mixing and scratching for al he was worth, and drums from the great Polar Bear leader. There may not have been a definitive winner but it gave an opportuntity for all performer to show their particular skills. Sadly, it was all over and an official set from DJ Fod sent us to our hotel, tired but happy.
Saturday 11 September 2010
Stewart Lee's Freehouse - Evan Parker & Friends - Cheltenham Jazz Festival - Saturday 1st May
Unfortunately, from my point of view the 2nd part of my brave Saturday picks at the Cheltenham Jazz festival was not as easy to digest as " Food" earlier.
When selecting this gig I allowed my admiration of Stewart Lee to overcome any fears I had of that most musical challenging word " improvised". I am always willing to try most things once and certainly couldn't fault the virtuosity provided by Evan Parker and his 7 musicians. But,
the product of these talented musicians wasn't to my liking. It started reasonably promisingly with trumpeter Peter Evans/ bass player Percy Pusglove and drummer Andrew Bain combining well and producing music both beautiful and horrible within a few beats of each other.
The balance between music and and strenuous effort was confirmed with Evan Parker and drummer Mark Sanders but I did find the final first half piece with a pianist , cellist Okkyung Lee and bass player John Edwards too frenetic and chaotic for my liking. On the plus side it did finally drive out 2 moaning gits in the front row who did nothing but loudly complain about each piece.
Obviously, this type of show does suit everyone ( although to be fair) it was clearly marked in the brochure what to expect and there were plenty more spare seats in the second half. Stewart Lee bounced back to announce this was the best concert of the festival before providing the 1st laugh of the evening by announcing his plan to change the billing in the future until his Freehouse pushed Jamie Cullum down the listings. He then stated the musicians would change combinations and proceeded to deliver three different sets which I found increasingly difficult to listen to. The repetitive sight of players trying to murder their instruments by blowing, plucking, scrapping and bashing them as hard as possible I ultimately found depressing and annoying.
For me the best part of this half was the persistent rain causing an impromptu appearance from a steward to leave a bucket to catch some unwelcome raindrops leading to the true embodiment of improvised jazz, with Evan Parker producing a series of bleeps in time to the rhythm beat of the rain which was soon followed by Peter Evans.
This was as good as it got for me although I did learn that free or improvised jazz is not for me. On the plus side though the Playhouse Theatre is a lovely old venue which despite a dodgy roof is worth returning to.
When selecting this gig I allowed my admiration of Stewart Lee to overcome any fears I had of that most musical challenging word " improvised". I am always willing to try most things once and certainly couldn't fault the virtuosity provided by Evan Parker and his 7 musicians. But,
the product of these talented musicians wasn't to my liking. It started reasonably promisingly with trumpeter Peter Evans/ bass player Percy Pusglove and drummer Andrew Bain combining well and producing music both beautiful and horrible within a few beats of each other.
The balance between music and and strenuous effort was confirmed with Evan Parker and drummer Mark Sanders but I did find the final first half piece with a pianist , cellist Okkyung Lee and bass player John Edwards too frenetic and chaotic for my liking. On the plus side it did finally drive out 2 moaning gits in the front row who did nothing but loudly complain about each piece.
Obviously, this type of show does suit everyone ( although to be fair) it was clearly marked in the brochure what to expect and there were plenty more spare seats in the second half. Stewart Lee bounced back to announce this was the best concert of the festival before providing the 1st laugh of the evening by announcing his plan to change the billing in the future until his Freehouse pushed Jamie Cullum down the listings. He then stated the musicians would change combinations and proceeded to deliver three different sets which I found increasingly difficult to listen to. The repetitive sight of players trying to murder their instruments by blowing, plucking, scrapping and bashing them as hard as possible I ultimately found depressing and annoying.
For me the best part of this half was the persistent rain causing an impromptu appearance from a steward to leave a bucket to catch some unwelcome raindrops leading to the true embodiment of improvised jazz, with Evan Parker producing a series of bleeps in time to the rhythm beat of the rain which was soon followed by Peter Evans.
This was as good as it got for me although I did learn that free or improvised jazz is not for me. On the plus side though the Playhouse Theatre is a lovely old venue which despite a dodgy roof is worth returning to.
Friday 10 September 2010
Pet Shop Boys - Cardiff International Arena - 21st July 2010
For some reason I have always thought of the Pet Shop Boys like some favourite aunt. You don't particularly want to live with them but you enjoy their company when you meet them. So, when we heard they were making their first visit to Cardiff this century we thought it was time to make an effort to see them. Even though we don't possess any of their music their songs have been ever present in our lives for the last 25 years.
Despite the usual lack of atmosphere at the Cardiff International Arena Sophie Ellis- Bexter did her best to get the audience in the mood with her blend of disco and dance music. I can't say I am a great fan of her music but she certainly filled the stage with her personality and her legs ( boy is she tall).
Soon, though it is time for the dynamic duo to appear and we are quickly into Pet Shop Boys world. As ever Chris Lowe remains quiet (although he did have one brief amusing dancing moment) leaving Neil Tennant to dominate proceedings.
He quietly controls the stage with his voice, presence and commanding stare over the audience, controlled as his disciples. He does allow a variety of lithe dancers to provide a visual narrative to each song ,most strikingly ( literally) in a stunning version of Jealousy.
As always a concert is a balance between new songs (from the new album, in this case Pandemonium )and the more familiar tunes from their successful back catalogue. I must say Ididn't agree with the balance of the show as there was an undoubted sag in the middle due to a lot of new songs.
On the whole though this was a highly enjoyable evening from a group who combined visual and musical excellence to thrill a devoted audience.
Despite the usual lack of atmosphere at the Cardiff International Arena Sophie Ellis- Bexter did her best to get the audience in the mood with her blend of disco and dance music. I can't say I am a great fan of her music but she certainly filled the stage with her personality and her legs ( boy is she tall).
Soon, though it is time for the dynamic duo to appear and we are quickly into Pet Shop Boys world. As ever Chris Lowe remains quiet (although he did have one brief amusing dancing moment) leaving Neil Tennant to dominate proceedings.
He quietly controls the stage with his voice, presence and commanding stare over the audience, controlled as his disciples. He does allow a variety of lithe dancers to provide a visual narrative to each song ,most strikingly ( literally) in a stunning version of Jealousy.
As always a concert is a balance between new songs (from the new album, in this case Pandemonium )and the more familiar tunes from their successful back catalogue. I must say Ididn't agree with the balance of the show as there was an undoubted sag in the middle due to a lot of new songs.
On the whole though this was a highly enjoyable evening from a group who combined visual and musical excellence to thrill a devoted audience.
Monday 6 September 2010
And the Killer Is ..- Chapter Arts Centre - 2nd August 2010
For the last ten years " Big Brother" has become a mainstay of British television and life, whether you think that is a good or bad thing only you can answer). But it will soon depart our screens for good.
This is the starting premise for Dan Mitchell's new play " And the killer is". To avoid copyright and possibly legal issues he changed the show's title to " Spy House" and concentrated upon how the producer/host and stars would cope now their " cash cow" was over.
With the theatre audience doubling up as the pre-show studio audience Dan Mitchell cleverly allowed local Mike Bubbins to warm up the near-capacity crowd with a hysterical set. We were
then all plunged into the drama of the piece with the discovery of the murdered body of the last series winner, Clint. It was now who-dunnit time with Taylor Glenn ( as the Davina McCall type host) becoming chief interrogator of the suspects.
After the interval the audience were now allowed to ask questions of the characters to uncover the culprit. This was the part of the play that I thought might cause the structure and pace to flounder. Instead thanks to the brilliance of the cast to improvise according to the (mainly) unexpected questions I actually enjoyed the second half more.
After the clues and the questions had been completed the audience then completed a slip of paper stating who they thought the killer was. The murderer duly revealed themself , the winning guesser awarded a bottle of champagne while the remaining audience left rewarded in the knowledge that they had witnessed a highly enjoyable play.
More please, Mr Mitchell.
This is the starting premise for Dan Mitchell's new play " And the killer is". To avoid copyright and possibly legal issues he changed the show's title to " Spy House" and concentrated upon how the producer/host and stars would cope now their " cash cow" was over.
With the theatre audience doubling up as the pre-show studio audience Dan Mitchell cleverly allowed local Mike Bubbins to warm up the near-capacity crowd with a hysterical set. We were
then all plunged into the drama of the piece with the discovery of the murdered body of the last series winner, Clint. It was now who-dunnit time with Taylor Glenn ( as the Davina McCall type host) becoming chief interrogator of the suspects.
After the interval the audience were now allowed to ask questions of the characters to uncover the culprit. This was the part of the play that I thought might cause the structure and pace to flounder. Instead thanks to the brilliance of the cast to improvise according to the (mainly) unexpected questions I actually enjoyed the second half more.
After the clues and the questions had been completed the audience then completed a slip of paper stating who they thought the killer was. The murderer duly revealed themself , the winning guesser awarded a bottle of champagne while the remaining audience left rewarded in the knowledge that they had witnessed a highly enjoyable play.
More please, Mr Mitchell.
Sunday 5 September 2010
Scorched - Old Vic Tunnels - 3rd September 2010
Not a good start as I broke the unwritten role of theatre-going, arriving late. To be honest it wasn't my fault as I arrived in plenty of time but found the Old Vic Tunnels almost impossible to locate ( even a local taxi driver was no help). I had actually given up hope of reaching the venue but I hate being beaten and gave the less than entrancing area one last circuit.
Completely by luck I stumbled upon the box office and some helpful young staff helped me to negotiate the dark underground complex to find a seat after missing the opening fifteen minutes.
My first impressions weren' t favourable. Crammed into narrow squeaky seats while trains noisily and regularly hurtled by overhead distracted me from events on stage. Obviously missing the start of a new play on opening night doesn't make the plot easy to follow. I was plunged straight into a foul-mouthed boxer's rant after his mother's will asked him to find his father he thought was dead and a brother he didn't know he had.
Next it was a monologue about polygram mathematics before we were in a flash-back about a doomed love story. Gradually all these disparate details came together and we were drawn into a riveting world of bewildered siblings trying to understand why their distant mother had gone silent for the last five years of her life. This led us into a traumatic war, unnamed but probably in Lebanon in the 1970's.
This harrowing drama worked thanks to the vital inter-action between playwright, actors, director and vitally in this case, the space. The claustrophobic, eerie ,unexpectedly noisy, rumbling, crumbling and drippy surroundings hauntingly created the unsettling Middle-Eastern atmosphere that the main elements of Wajdi Mouawad's piece invoked.
Ultimately, a highly recommended theatrical experience, but make sure you set off with plenty ot time and good instructions of how to find it.
Completely by luck I stumbled upon the box office and some helpful young staff helped me to negotiate the dark underground complex to find a seat after missing the opening fifteen minutes.
My first impressions weren' t favourable. Crammed into narrow squeaky seats while trains noisily and regularly hurtled by overhead distracted me from events on stage. Obviously missing the start of a new play on opening night doesn't make the plot easy to follow. I was plunged straight into a foul-mouthed boxer's rant after his mother's will asked him to find his father he thought was dead and a brother he didn't know he had.
Next it was a monologue about polygram mathematics before we were in a flash-back about a doomed love story. Gradually all these disparate details came together and we were drawn into a riveting world of bewildered siblings trying to understand why their distant mother had gone silent for the last five years of her life. This led us into a traumatic war, unnamed but probably in Lebanon in the 1970's.
This harrowing drama worked thanks to the vital inter-action between playwright, actors, director and vitally in this case, the space. The claustrophobic, eerie ,unexpectedly noisy, rumbling, crumbling and drippy surroundings hauntingly created the unsettling Middle-Eastern atmosphere that the main elements of Wajdi Mouawad's piece invoked.
Ultimately, a highly recommended theatrical experience, but make sure you set off with plenty ot time and good instructions of how to find it.
Medea, - The Foreigner - Bridewell Theatre - 4th September 2010
After the disaster of ariving late at the Old Vic's Tunnels yesterday I was determined to arrive on time at the Bridewell Theatre. In fact I was so early nothing was open & I walked for a while to find some pre-show food and drink.
The pre-show publicity advertised a multi-medi interpretation of Euripides - Media. The opening premise was intriguing with actress and co-creator Nicole Pschetz bemoaning the intolerance of locals to foreigners , certainly a topical subject. Her anger and frustration was vented through the combination of words and dance.
She was then joined on stage by Pete Picton in a purely acting capacity as the father of the bride shortly to marry her ( presumably ex) husband, played by Andre Amalio appearing only on a videoscreen. Although he wants to exile her immediately due to threatening behaviour she appeals to his better nature and he foolishly agrees to allow her to stay for another day. This being a Greek tragedy he later lives to regret this decision.
Unfortunately, this reviewer finds this method of presentation less than riveting and my mind began to wander. I may have missed some plot but suddenly Medea was exclaiming she had murdered her children and frantically ran around the stage dramatically ripping up the paper screens. And that was that.
I can't fault the effort and intensity provided by the two performers, ably supported by Cellist Nina Plapp who provided atmospheric music when required. This may have been a success in Lisbon but, unfortunately, it didn't translate to a Saturday matinee audience with just a handful of paying customers. It only lasted forty-five minutes, seemed longer and failed to hold my attention.
To do justice to this tragic subject I felt it needed more than the performers involved and definitely more reasons for her actions. Similarly, the interesting and relevant story of foreigners being ill-treated was never really explored leaving me to feel this was a production of missed opportunities.
The pre-show publicity advertised a multi-medi interpretation of Euripides - Media. The opening premise was intriguing with actress and co-creator Nicole Pschetz bemoaning the intolerance of locals to foreigners , certainly a topical subject. Her anger and frustration was vented through the combination of words and dance.
She was then joined on stage by Pete Picton in a purely acting capacity as the father of the bride shortly to marry her ( presumably ex) husband, played by Andre Amalio appearing only on a videoscreen. Although he wants to exile her immediately due to threatening behaviour she appeals to his better nature and he foolishly agrees to allow her to stay for another day. This being a Greek tragedy he later lives to regret this decision.
Unfortunately, this reviewer finds this method of presentation less than riveting and my mind began to wander. I may have missed some plot but suddenly Medea was exclaiming she had murdered her children and frantically ran around the stage dramatically ripping up the paper screens. And that was that.
I can't fault the effort and intensity provided by the two performers, ably supported by Cellist Nina Plapp who provided atmospheric music when required. This may have been a success in Lisbon but, unfortunately, it didn't translate to a Saturday matinee audience with just a handful of paying customers. It only lasted forty-five minutes, seemed longer and failed to hold my attention.
To do justice to this tragic subject I felt it needed more than the performers involved and definitely more reasons for her actions. Similarly, the interesting and relevant story of foreigners being ill-treated was never really explored leaving me to feel this was a production of missed opportunities.
Saturday 17 July 2010
A Midsummer Night's Dream - The Gate Theatre Cardiff July 16th 2010
In these days of cut-backs (especially in the arts) any new Welsh theatre company should be welcomed and supported. For their first production " BareKnuckle Theatre" chose the audience friendly " A Midsummer Night's Dream". Founded to " take the performance out if performing" they surfaced at the non-actor friendly Gate Theatre. Being an ex-church the acoustics are notoriously poor which penalizes fast speakers and and any action at the back of the stage.
However, " A Midsummer Night's Dream" is a comedy and the success of a production is measured on it's ability to make any audience laugh. Fortunately, director Simon Riordan (interestingly doubling up as director Peter Quince - not to mention his involvement with props/ fight choreography and poster design) knew how to get maximum humour out of the play.
The pace always quickened with the appearance of the young lovers, who were equally adept at the amusing word-play and broad physical comedy. Praise must also go to the " rude mechanicals " with James Carew continuing the tradition of virtually stealing the show with his " Bottom".
Any comedy wants an audience leaving with happy smiles on their faces. With confusions over and all lovers rightly matched an unexpectedly stylish all-singing, all-dancing version of " All You Need Is Love" was the perfect way to achieve this.
An impressive debut from this new company. Hopefully when they perform " Twelfth Night" next January they willl choose a better venue.
However, " A Midsummer Night's Dream" is a comedy and the success of a production is measured on it's ability to make any audience laugh. Fortunately, director Simon Riordan (interestingly doubling up as director Peter Quince - not to mention his involvement with props/ fight choreography and poster design) knew how to get maximum humour out of the play.
The pace always quickened with the appearance of the young lovers, who were equally adept at the amusing word-play and broad physical comedy. Praise must also go to the " rude mechanicals " with James Carew continuing the tradition of virtually stealing the show with his " Bottom".
Any comedy wants an audience leaving with happy smiles on their faces. With confusions over and all lovers rightly matched an unexpectedly stylish all-singing, all-dancing version of " All You Need Is Love" was the perfect way to achieve this.
An impressive debut from this new company. Hopefully when they perform " Twelfth Night" next January they willl choose a better venue.
Tuesday 6 July 2010
Death and the Monster - Chapter Arts Centre - Cardiff - 25th June 2010
For their eagerly awaited 2nd production "Inky Quill productions" found themselves in the impressive surroundings of the Chapter Arts Centre, Cardiff.
Local comic Dan Mitchell set the tone with a short set which got a packed audience laughing constantly. Making it clear that he wasn't the play he won the crowd over with strong material from his life, " Specileptic" perfectly summing up his eye-sight and medical condition. (Those wishing to see more of this comedian should see his play " Dan Mitchell .. And The Killer Is? at Chapter next month).
Continuing their worthy ideal of bringing unpretentious theatre and comedy to the masses, Rick Allden's latest play did what it said on the tin. " Death and the Monster" followed the exploits of eminent surgeon Tobias Flavian and his faithful assistant Colin as they travelled to Inverness to investigate the supposed capture of the Loch Ness monster.
A talented cast ( including most of Inky Quills & their ever-growing repertory company) took full advantage of a funny script to ensure that one big laugh followed another. For a company at the beginning of its life, the production values were particularly impressive. The macabre yet humorous tone was immediately set by Jon Holcroft's music, with a screen brilliantly used to convey the Scottish setting and horror element of the tale. Basically, an excuse to show plenty of
Susan Boyle photos.
Definitely, a play and a company worthy of a wider audience.
Local comic Dan Mitchell set the tone with a short set which got a packed audience laughing constantly. Making it clear that he wasn't the play he won the crowd over with strong material from his life, " Specileptic" perfectly summing up his eye-sight and medical condition. (Those wishing to see more of this comedian should see his play " Dan Mitchell .. And The Killer Is? at Chapter next month).
Continuing their worthy ideal of bringing unpretentious theatre and comedy to the masses, Rick Allden's latest play did what it said on the tin. " Death and the Monster" followed the exploits of eminent surgeon Tobias Flavian and his faithful assistant Colin as they travelled to Inverness to investigate the supposed capture of the Loch Ness monster.
A talented cast ( including most of Inky Quills & their ever-growing repertory company) took full advantage of a funny script to ensure that one big laugh followed another. For a company at the beginning of its life, the production values were particularly impressive. The macabre yet humorous tone was immediately set by Jon Holcroft's music, with a screen brilliantly used to convey the Scottish setting and horror element of the tale. Basically, an excuse to show plenty of
Susan Boyle photos.
Definitely, a play and a company worthy of a wider audience.
Thursday 20 May 2010
Cheltenham Jazz Festival - Food - Pillar Room 1st May 2010
For our annual trip to the Cheltenham Jazz festival we began as usual in the intimate and warm surroundings of the Pillar Room . Whereas our three booked shows for the remainder of the festival were more well-known, safer perforances our choices on the Saturday were bold by comparison.
I always feel that the opening act of any festival always set the tone for what is to follow. At first glance a group consisting of an Englishman, a Norwegian and an Austrian and sponsored by the Norwegian Embassy may not have sounded too promising. Fortunately though my fears proved unfounded when Food provided a riveting 75 minute performance. Led by Thomas Stronen on drums and a variety of percussive instruments, accompanied by Iain Bellamy's saxophone and guest performer Christian Fennesz on guitar and synthesizer they played a new Festival comission in its entirety.
Starting quickly with a succession of quirky noises and seamlessly building to a crescendo this piece was repetitive but ultimately entrancing and beguiling. One of these compositions you could enjoy with your eyes open or closed but, fortunately, loud enough to ensure you never actually fell asleep.
A great start to the festival.
I always feel that the opening act of any festival always set the tone for what is to follow. At first glance a group consisting of an Englishman, a Norwegian and an Austrian and sponsored by the Norwegian Embassy may not have sounded too promising. Fortunately though my fears proved unfounded when Food provided a riveting 75 minute performance. Led by Thomas Stronen on drums and a variety of percussive instruments, accompanied by Iain Bellamy's saxophone and guest performer Christian Fennesz on guitar and synthesizer they played a new Festival comission in its entirety.
Starting quickly with a succession of quirky noises and seamlessly building to a crescendo this piece was repetitive but ultimately entrancing and beguiling. One of these compositions you could enjoy with your eyes open or closed but, fortunately, loud enough to ensure you never actually fell asleep.
A great start to the festival.
Tuesday 18 May 2010
The Devil Inside Him - New Theatre May 6th 2010
After many false dawns the National Theatre of Wales has finally arrived. Its first major production is a rare revival of a long-forgotten John Osborne play "The Devil Inside Him".
The opening preview night at the New Theatre brought a reasonable sized audience out to see this new company and an early work from the writer who changed the course of British theatre with " Look Back In Anger" in the mid 1950's. It was also good to see a lot of students present although having seen the above mentioned play I hope they weren't expecting a barrel of laughs.
I always enjoy seeing a play I know nothing about, especially from a front row seat. We were immediately plunged into an austure 1950's Welsh guest house run by a stern religious father and his fussy down-trodden wife, trying to look after her guests and a rather disturbed son.
The action starts with a lodger making a hasty departure, later we discover following a mis-judged liasion with a young serving girl. This is all serious fare but the introduction of a nosey housemaid ( played to perfection by Rachel Lumberg) provided welcome light relief.
These three older characters naturally represented the establishment Osborne was vehemently opposed to. The introduction of a young doctor, a guest with modern more enlightened views challenged the stifling attitude of the status quo. The centre-piece of the play and the plot was Huw, seen by his father and the local clergy as possessing a filthy, perverted and dangerous mind but regarded by the doctor ( a mesmerising Jamie Ballard) as having a beautiful and profound mind to be encouraged not quashed.
As I rather expected this wordy, yet gripping play proved too old-fashioned for the students who mostly didn't reappear in the second half. This was their loss as the acting ( particularly Helen Griffin and Iwan Rheon) was outstanding and building to a great climax. Osborne was boldly trying to justify Huw's unacceptable actions ( without giving too much away)by treating him as a victim of an oppressive society. I would like to discuss the end of the play but, unfortunately, just as I was thinking they had uncovered a masterpiece, I fainted.
Apart from ruining the ending for myself and a friend ( Rick) I also spoilt it for a doctor ( I'm sure it is compulsory there must always be one in the audience). Even now I have no idea how it ends. I must also thank one of the ushers ( I think Phil) who helped me during a difficult time, allowing me to be fit enough to travel to Madrid the following day.
So, not the ending I was anticipating but I suppose Osborne would have been pleased that half a century after it was written it still has the ability to cause a disturbance in the audience. And worse of all I when I finally got home I realised I had lost my programme. Disaster!!
The opening preview night at the New Theatre brought a reasonable sized audience out to see this new company and an early work from the writer who changed the course of British theatre with " Look Back In Anger" in the mid 1950's. It was also good to see a lot of students present although having seen the above mentioned play I hope they weren't expecting a barrel of laughs.
I always enjoy seeing a play I know nothing about, especially from a front row seat. We were immediately plunged into an austure 1950's Welsh guest house run by a stern religious father and his fussy down-trodden wife, trying to look after her guests and a rather disturbed son.
The action starts with a lodger making a hasty departure, later we discover following a mis-judged liasion with a young serving girl. This is all serious fare but the introduction of a nosey housemaid ( played to perfection by Rachel Lumberg) provided welcome light relief.
These three older characters naturally represented the establishment Osborne was vehemently opposed to. The introduction of a young doctor, a guest with modern more enlightened views challenged the stifling attitude of the status quo. The centre-piece of the play and the plot was Huw, seen by his father and the local clergy as possessing a filthy, perverted and dangerous mind but regarded by the doctor ( a mesmerising Jamie Ballard) as having a beautiful and profound mind to be encouraged not quashed.
As I rather expected this wordy, yet gripping play proved too old-fashioned for the students who mostly didn't reappear in the second half. This was their loss as the acting ( particularly Helen Griffin and Iwan Rheon) was outstanding and building to a great climax. Osborne was boldly trying to justify Huw's unacceptable actions ( without giving too much away)by treating him as a victim of an oppressive society. I would like to discuss the end of the play but, unfortunately, just as I was thinking they had uncovered a masterpiece, I fainted.
Apart from ruining the ending for myself and a friend ( Rick) I also spoilt it for a doctor ( I'm sure it is compulsory there must always be one in the audience). Even now I have no idea how it ends. I must also thank one of the ushers ( I think Phil) who helped me during a difficult time, allowing me to be fit enough to travel to Madrid the following day.
So, not the ending I was anticipating but I suppose Osborne would have been pleased that half a century after it was written it still has the ability to cause a disturbance in the audience. And worse of all I when I finally got home I realised I had lost my programme. Disaster!!
Sunday 25 April 2010
Oxford Folk Festival - April 17th 2010
Naively, I had always assumed the UK folk scene was very insular and predominantly British. The unexpected arrival of the Icelandic volcanic ash soon proved how old-fashioned that idea was.
An early morning departure from Cardiff ensured we arrived at the Town Hall in time for the Noon set. Our disappointment on discovering that the French based group Torivaki were trapped in Europe was offset by the news that Spiers and Boden were also unable to reach their destination and were able to play an unexpectedly replacement gig. This theme continued throughout the day with Sam Proctor being unable to accompany Luke Daniels and Cara Dillon similarly thwarted. However,as ever the Folk community rallied round and no-one could complain they were short-changed.
Today's proceedings were started by the Gael Academy, one of the Luke Daniels projects involving younger players. Any concerns I may have had regarding embarrassing school concerts were instantly allayed with an impressive range of musicians who played equally well individually and as an ensemble. Definitely some talent worth nurturing and following.
Once they departed the stage Luke Daniels was able to dominate proceedings with his own set albeit with a variety of impromptu musicians to compensate for his absent muscial partner. As ever his Squeezebox skills produced a highly enjoyable if, traditional performance.
With Bellowhead producing another storming headline concert last evening the organisers obviously knew that Spiers and Boden were available to fill the missing lunchtime slot. The two Jon's appear to be at the top of the their game with their set of traditional reels and folk ballads, generally of yesteryear. They are of course both completely in each other's company and half the enjoyment from an audience's point of view is seeing Jon Spier's waiting for signals as when to produce another scintillating accordion solo. It always helps a show when the artistes are clearly having as much fun as those watching with both showing a great sense of humour. This was particularly shown when Spiers failed to provide suitable accompaniment as his partner was plugging future dates he pleaded that the melodion " had only one note but you don't know where I am going next".
Buoyed up with the unexpected high level of musical entertainent provided in the lunchtime session coupled with the equally unexpected glorious sunshine outside we returned to the Town Hall for the afternoon concert with an additional spring in out step. We weren't disappointed.
Roots Union are a collection of young musicians from the South of England. When they started Iwasn't sure they belonged in a Folk festival, producing quite loud pop-type music with some lack-lustre lyrics. However, as they ( and probably our ears) settled down they produced some highly enjoyable and lively songs. Lead singer Tobias Ben Jacob was a suitably impressive front man although he was happy to share the talking with Philip Henry an extremely accomplished player of unusual and exotic looking instruments, especially a variety of guitars played from above. They also boasted a special guest appearance with Judy Dyble appearing to sing one of the songs from her Fairport Convention days. Together they literally upped the tempo from what preceeded them and set the right tone for what was to follow.
To say that the Demon Barbers roadshow stole the day is an understatement. As usual the compere tried to set the scene for their appearence but nothing could prepare us for what the audience were about to witness.
Again, when they started Iwasn't certain I could cope with a sustained session of nasal traditional Norfolk folk. However, they quickly changed style especially when fiddle player Bryony Griffith began to sing. The combination of this extraordinary voice and lively personality took the group to a different level. The arrival of 4 clog dancers ( with the legs miked for full effect) followed by 2 Morris dancers showing their links to the English folk heritage before a beatboxer seamlessly transported it to the 21st century.
Just when we thought there were no surprises remaining the majority of the group vanished leaving Bryony onstage. A quick change and the musicians ( lacking drummer Ben Griffith) returned to provide a morris dance so dramatic and innovative with moves were so fast the eye could barely capture them all. Truly one of the most spectacular dances I have ever seen ( & I am old enough to have seen Ginger Rogers, Michael Jackson and Torvill and Dean). For this to have been performed by a group of extremely talented musicians was truly astonishing. We danced out on a cloud of euphoria following a set lasting ninety minutes not a minute too long.
The Demon Barbers Roadshow easily the best act I have witnessed at the Oxford Folk festival.
Whether by design or not the organisers managed to arrange each set by themes. We started with 3 fairly traditional acts followed by 2 strong lively groups and now we ended with 2 gentle female singers.
First was Megan Henwood the winner of the 2009 BBC2 young folk awards with her brother. Tonight, she performed alone and charmed her audience with a variety of self-penned personal songs from her forthcoming first album Making Waves. Although her song-writing and style will undoubtedly develop and mature she already seemed at ease on stage chatting away. Another one to look forward to in the future, especially on her upcoming tour supporting Eric Bibb.
And so to the Saturday night headline act, Cara Dillon. Perhaps 7 acts in one day was too much for me, but she was the one disappointment of an exceptional day. Her voice was beautiful to listen to with the musicianship of her husband Sam Lakeman and a few replacement musicians ( including Luke Daniels third apearance of the day) produced a good sound. However, I found the material rather similar and I began to lose interest halfway through the concert. It didn't help that a performer who relies on the lyrics of a song to convey a story was often drowned out by her band.
Despite my thoughts she was well received by a rapturous crowd and perhaps she suffered purely by the quality of what preceeded her. Still, though a wondrous day.
An early morning departure from Cardiff ensured we arrived at the Town Hall in time for the Noon set. Our disappointment on discovering that the French based group Torivaki were trapped in Europe was offset by the news that Spiers and Boden were also unable to reach their destination and were able to play an unexpectedly replacement gig. This theme continued throughout the day with Sam Proctor being unable to accompany Luke Daniels and Cara Dillon similarly thwarted. However,as ever the Folk community rallied round and no-one could complain they were short-changed.
Today's proceedings were started by the Gael Academy, one of the Luke Daniels projects involving younger players. Any concerns I may have had regarding embarrassing school concerts were instantly allayed with an impressive range of musicians who played equally well individually and as an ensemble. Definitely some talent worth nurturing and following.
Once they departed the stage Luke Daniels was able to dominate proceedings with his own set albeit with a variety of impromptu musicians to compensate for his absent muscial partner. As ever his Squeezebox skills produced a highly enjoyable if, traditional performance.
With Bellowhead producing another storming headline concert last evening the organisers obviously knew that Spiers and Boden were available to fill the missing lunchtime slot. The two Jon's appear to be at the top of the their game with their set of traditional reels and folk ballads, generally of yesteryear. They are of course both completely in each other's company and half the enjoyment from an audience's point of view is seeing Jon Spier's waiting for signals as when to produce another scintillating accordion solo. It always helps a show when the artistes are clearly having as much fun as those watching with both showing a great sense of humour. This was particularly shown when Spiers failed to provide suitable accompaniment as his partner was plugging future dates he pleaded that the melodion " had only one note but you don't know where I am going next".
Buoyed up with the unexpected high level of musical entertainent provided in the lunchtime session coupled with the equally unexpected glorious sunshine outside we returned to the Town Hall for the afternoon concert with an additional spring in out step. We weren't disappointed.
Roots Union are a collection of young musicians from the South of England. When they started Iwasn't sure they belonged in a Folk festival, producing quite loud pop-type music with some lack-lustre lyrics. However, as they ( and probably our ears) settled down they produced some highly enjoyable and lively songs. Lead singer Tobias Ben Jacob was a suitably impressive front man although he was happy to share the talking with Philip Henry an extremely accomplished player of unusual and exotic looking instruments, especially a variety of guitars played from above. They also boasted a special guest appearance with Judy Dyble appearing to sing one of the songs from her Fairport Convention days. Together they literally upped the tempo from what preceeded them and set the right tone for what was to follow.
To say that the Demon Barbers roadshow stole the day is an understatement. As usual the compere tried to set the scene for their appearence but nothing could prepare us for what the audience were about to witness.
Again, when they started Iwasn't certain I could cope with a sustained session of nasal traditional Norfolk folk. However, they quickly changed style especially when fiddle player Bryony Griffith began to sing. The combination of this extraordinary voice and lively personality took the group to a different level. The arrival of 4 clog dancers ( with the legs miked for full effect) followed by 2 Morris dancers showing their links to the English folk heritage before a beatboxer seamlessly transported it to the 21st century.
Just when we thought there were no surprises remaining the majority of the group vanished leaving Bryony onstage. A quick change and the musicians ( lacking drummer Ben Griffith) returned to provide a morris dance so dramatic and innovative with moves were so fast the eye could barely capture them all. Truly one of the most spectacular dances I have ever seen ( & I am old enough to have seen Ginger Rogers, Michael Jackson and Torvill and Dean). For this to have been performed by a group of extremely talented musicians was truly astonishing. We danced out on a cloud of euphoria following a set lasting ninety minutes not a minute too long.
The Demon Barbers Roadshow easily the best act I have witnessed at the Oxford Folk festival.
Whether by design or not the organisers managed to arrange each set by themes. We started with 3 fairly traditional acts followed by 2 strong lively groups and now we ended with 2 gentle female singers.
First was Megan Henwood the winner of the 2009 BBC2 young folk awards with her brother. Tonight, she performed alone and charmed her audience with a variety of self-penned personal songs from her forthcoming first album Making Waves. Although her song-writing and style will undoubtedly develop and mature she already seemed at ease on stage chatting away. Another one to look forward to in the future, especially on her upcoming tour supporting Eric Bibb.
And so to the Saturday night headline act, Cara Dillon. Perhaps 7 acts in one day was too much for me, but she was the one disappointment of an exceptional day. Her voice was beautiful to listen to with the musicianship of her husband Sam Lakeman and a few replacement musicians ( including Luke Daniels third apearance of the day) produced a good sound. However, I found the material rather similar and I began to lose interest halfway through the concert. It didn't help that a performer who relies on the lyrics of a song to convey a story was often drowned out by her band.
Despite my thoughts she was well received by a rapturous crowd and perhaps she suffered purely by the quality of what preceeded her. Still, though a wondrous day.
Saturday 24 April 2010
Real Deal Comedy Jam - Millenium Music Hall - 23rd April 2010
Thanks to those nice people at Remote Goat I was able to attend my first event as a proper review. I would not have attended this show otherwise so I am obliged to them for allowing me to witness this unique and ultimately, enjoyable event.
Originally launched in 2002 the Real Deal Comedy Jam made its first appearance in Cardiff last night. A predominantly London group of comedians were expertly hosted by the experienced Kat. After unexpectedly opening with Bruce Forsythe and Max Boyce catchphrases he quickly won over a rowdy Friday night audience by making a second row heckler officially apologise for calling people in the front row "losers". After sensibly making nice comments about Cardiff he limited his sheep remarks to complimenting the Welsh capital on the freshness of its food - eg a lamb walking off his plate.
The first act, Little Man soon showed why he is an up and coming comedian with a hilarious set around his experiences of trying to be gangster in South East London. A set up about choosing the right music to seduce a girl failed when he a DJ played the wrong tune, an event amusingly referred to throughout the night.
The content of this show then took a surprise turn with the appearance of Twist and Pulse, a two man dance act featured in last year' s Britain's Got Talent. Their energetic routine combined rhythmic dexterity, split second-timing and flashes of comedy. An enjoyable and impressive diversion ( worth catching on Youtube).
Glenda Jackson may not be the slimmest comedian on the bill but she certainly filled up the stage with her talent. Showing complete control of her material and the audience she upped the level of laughter with her tales of sexual conquests. A perfect way to end the first half.
Undoubtedly the main reason for such a big turnout was a rare Cardiff outing for Richard Blackwod. Billed as the most successful UK urban stand-up comedian he was mobbed ( by both
sexes) when spotted in the interval. This rapture continued when he came on stage in the second act, leading him to repeat his entrance claiming that since he was no longer on television he rarely received such attention. Every joke or gesture was duly greeted with the obligatory whoops and cheers ( whether deserved or not) and the applause he received going off would have thrown most comics who had to follow him.
Not top of the bill Tiger though. The New York based comedian took up the challenge and soon won over an increasingly lively crowd. He was the only act to make any kind of topical eference by claiming a round of applause for arriving despite the volcanic ash cloud. He then launched into a forceful rant about New York rats, " they are now so self-confident they wear the same clothes as us" and made it relevant by claiming that Welsh sheep were just fluffy rats. A strong physical presence, including bulging eyes added to his full-on delivery style, including one fantastic story about enjoying listening to sex from adjoining hotel rooms. With a vociferous crowd in the palm of his hand it was closest I have ever come to experience the atmosphere of a New York comedy club.
As the evening came to a close Kat brought all the comedians back on stage ( the Real Deal Comedy Jam family) along with the two promoters responsible for bringing this unique event to Cardiff to receive deserved rapturous applause.
Looking back at the evening as a whole three themes ran through most of the acts. Predictably, sex and colour ( always funny, relevant and never aggressive )and surprisingly, Primark!!
Credit most also go to the resident DJs " Urban Fusions" for providing impressive music, before during and after the set and the Millenium Music Hall itself. Cardiff is crying out for an intimate comedy and music venue and this seems to fit the bill nicely. And the drinks are reasonably priced.
A great and successful night. Good luck for the future to all concerned.
Originally launched in 2002 the Real Deal Comedy Jam made its first appearance in Cardiff last night. A predominantly London group of comedians were expertly hosted by the experienced Kat. After unexpectedly opening with Bruce Forsythe and Max Boyce catchphrases he quickly won over a rowdy Friday night audience by making a second row heckler officially apologise for calling people in the front row "losers". After sensibly making nice comments about Cardiff he limited his sheep remarks to complimenting the Welsh capital on the freshness of its food - eg a lamb walking off his plate.
The first act, Little Man soon showed why he is an up and coming comedian with a hilarious set around his experiences of trying to be gangster in South East London. A set up about choosing the right music to seduce a girl failed when he a DJ played the wrong tune, an event amusingly referred to throughout the night.
The content of this show then took a surprise turn with the appearance of Twist and Pulse, a two man dance act featured in last year' s Britain's Got Talent. Their energetic routine combined rhythmic dexterity, split second-timing and flashes of comedy. An enjoyable and impressive diversion ( worth catching on Youtube).
Glenda Jackson may not be the slimmest comedian on the bill but she certainly filled up the stage with her talent. Showing complete control of her material and the audience she upped the level of laughter with her tales of sexual conquests. A perfect way to end the first half.
Undoubtedly the main reason for such a big turnout was a rare Cardiff outing for Richard Blackwod. Billed as the most successful UK urban stand-up comedian he was mobbed ( by both
sexes) when spotted in the interval. This rapture continued when he came on stage in the second act, leading him to repeat his entrance claiming that since he was no longer on television he rarely received such attention. Every joke or gesture was duly greeted with the obligatory whoops and cheers ( whether deserved or not) and the applause he received going off would have thrown most comics who had to follow him.
Not top of the bill Tiger though. The New York based comedian took up the challenge and soon won over an increasingly lively crowd. He was the only act to make any kind of topical eference by claiming a round of applause for arriving despite the volcanic ash cloud. He then launched into a forceful rant about New York rats, " they are now so self-confident they wear the same clothes as us" and made it relevant by claiming that Welsh sheep were just fluffy rats. A strong physical presence, including bulging eyes added to his full-on delivery style, including one fantastic story about enjoying listening to sex from adjoining hotel rooms. With a vociferous crowd in the palm of his hand it was closest I have ever come to experience the atmosphere of a New York comedy club.
As the evening came to a close Kat brought all the comedians back on stage ( the Real Deal Comedy Jam family) along with the two promoters responsible for bringing this unique event to Cardiff to receive deserved rapturous applause.
Looking back at the evening as a whole three themes ran through most of the acts. Predictably, sex and colour ( always funny, relevant and never aggressive )and surprisingly, Primark!!
Credit most also go to the resident DJs " Urban Fusions" for providing impressive music, before during and after the set and the Millenium Music Hall itself. Cardiff is crying out for an intimate comedy and music venue and this seems to fit the bill nicely. And the drinks are reasonably priced.
A great and successful night. Good luck for the future to all concerned.
Tuesday 20 April 2010
What's the Story? - Reardon Smith Theatre 15th April 2010
A sparce but enthusiastic audience attended the latest recording of the Radio Wales comedy show " What's the story?". Ironically broadcasting this topical quiz the same day as the opening pre-election debate on ITV may have lost them the support of any floating comedy supporters.
A warm up from the director Gareth began this show, basically think of a gentle Welsh version of Radio 4's " The News Quiz" with host Justin Waite trying ( but failing) to fill the shoes of Sandi Toksvig.
The questions naturally included the election debate rules and the volcanic ash invasion but were obviously chosen merely to allow the participants to show their ability to produce scripted one-liners.
Team captain Frank Honeybone showed why he is such a funny writer, especially with his continuous stream of celebrity animals, Leopard Rossiter and Elephants Gerald were my favourites. Fellow comedian Ben Partridge scored with his boyish charm despite not looking old enough to grow his beard but claiming he could legally vote & get a lady in the audience pregnant.
TV weatherman Derek Brockway again stated his claim to be a Welsh national treasure with most of his utterances being cheered by an adoring public. In contrast journalist Hannah Jones most telling contribution occurred when she confused the SNP with Nick Griffin's party and began an irrelevant diatribe.
For a free show it definitely provided value for money and if you fancy a night away from watching TV soaps it is recommended. Also, it was much funnier than the election debate.
A warm up from the director Gareth began this show, basically think of a gentle Welsh version of Radio 4's " The News Quiz" with host Justin Waite trying ( but failing) to fill the shoes of Sandi Toksvig.
The questions naturally included the election debate rules and the volcanic ash invasion but were obviously chosen merely to allow the participants to show their ability to produce scripted one-liners.
Team captain Frank Honeybone showed why he is such a funny writer, especially with his continuous stream of celebrity animals, Leopard Rossiter and Elephants Gerald were my favourites. Fellow comedian Ben Partridge scored with his boyish charm despite not looking old enough to grow his beard but claiming he could legally vote & get a lady in the audience pregnant.
TV weatherman Derek Brockway again stated his claim to be a Welsh national treasure with most of his utterances being cheered by an adoring public. In contrast journalist Hannah Jones most telling contribution occurred when she confused the SNP with Nick Griffin's party and began an irrelevant diatribe.
For a free show it definitely provided value for money and if you fancy a night away from watching TV soaps it is recommended. Also, it was much funnier than the election debate.
Monday 19 April 2010
Cerys Matthews - Glee Club April 12th
Cardiff was entranced by the sight of 2 rays of sunlight at the bay. Firstly, saw the long-awaited appearance of some much-needed sunshine, Secondly, was the equally welcome return of local born Cerys Matthews. Even if she hadn't sung one note the sold-out adoring audience would have been entranced by her humour (well she was in a comedy club and kept pointing out a giant Glee sign) and relaxed, rambling banter,
This,of course, is just a bonus. What people came to hear was that distinctive voice, which sounded better than ever. Performing predominantly from "Cockahoop"/ "Never Said Goodbye"/ and " Don't Look Down" she captivated her audience with songs mainly connected with her new American roots. Mainly seated she was brilliantly accompanied by two musicians, fully intune with her idiosyncratic style.
Proving that she is now comfortable fully with her past she even allowed herself a couple of Catatonia songs, a B-side and then " Mulder and Scully". You can take the girl out of Wales but you can't take Wales out of the girl. This perfectly applied to the former Llanelli girl who showed an unexpected interest in Welsh music root, singing a few entrancing songs from her forthcoming album containing traditional Welsh songs, ending with a rousing version of "Sospan Fach".
Monday is not normally a good night for music but her talent and vitality ensured EVERYONE left with a broad grin on her face. As a friend said " one of the best concerts I have ever seen". Yes, it was that good.
And credit to the Glee Club for providing the intimate music venue the Welsh capital desperately
needs.
This,of course, is just a bonus. What people came to hear was that distinctive voice, which sounded better than ever. Performing predominantly from "Cockahoop"/ "Never Said Goodbye"/ and " Don't Look Down" she captivated her audience with songs mainly connected with her new American roots. Mainly seated she was brilliantly accompanied by two musicians, fully intune with her idiosyncratic style.
Proving that she is now comfortable fully with her past she even allowed herself a couple of Catatonia songs, a B-side and then " Mulder and Scully". You can take the girl out of Wales but you can't take Wales out of the girl. This perfectly applied to the former Llanelli girl who showed an unexpected interest in Welsh music root, singing a few entrancing songs from her forthcoming album containing traditional Welsh songs, ending with a rousing version of "Sospan Fach".
Monday is not normally a good night for music but her talent and vitality ensured EVERYONE left with a broad grin on her face. As a friend said " one of the best concerts I have ever seen". Yes, it was that good.
And credit to the Glee Club for providing the intimate music venue the Welsh capital desperately
needs.
Monday 5 April 2010
Pappy's Fun Club - Weston Studio Millenium Centre - 31st March 2010
Stars of the last couple of Edinburgh festivals Pappy's Fun Club have embarked upon a short tour spreading the word of that rare live event nowadays, sketch comedy. While the Scottish capital delivers shows tailored to last only one hour, regional audiences need a longer performance to lure them out.
This, however, can often lead to material being aired which is little more than "filling". There was plenty of this in the (luckily short first half) including an overlong Bob Dylan sketch which wouldn't have been funny forty years ago.
Fortunately, the second half was a different matter. This was last year's comedy show attempting to achieve a world record of 200 sketches in an hour, never a realistic target but allowing the talented trio preformers to revel in hilarious silliness.
As ever with sketches ( and personal taste) some are funnier than others but what was never at doubt was the level of comic brilliance amongst the performers. If the material sagged, the audience was lifted by a variety of local references ( especially comments about "Hairspray" playing in the bigger venue) or just watching the three performers thoroughly enjoying themselves on stage.
They also struck the perfect balance between the quick throw-aways sketches and the use of returning characters eg the World's tallest man and Dino the Dinosaur who were increasingly loved by the adoring audience each time they appeared.
Not as slick as The Penny Dreadfuls and Idiots of Ants but a comic troupe to follow.
This, however, can often lead to material being aired which is little more than "filling". There was plenty of this in the (luckily short first half) including an overlong Bob Dylan sketch which wouldn't have been funny forty years ago.
Fortunately, the second half was a different matter. This was last year's comedy show attempting to achieve a world record of 200 sketches in an hour, never a realistic target but allowing the talented trio preformers to revel in hilarious silliness.
As ever with sketches ( and personal taste) some are funnier than others but what was never at doubt was the level of comic brilliance amongst the performers. If the material sagged, the audience was lifted by a variety of local references ( especially comments about "Hairspray" playing in the bigger venue) or just watching the three performers thoroughly enjoying themselves on stage.
They also struck the perfect balance between the quick throw-aways sketches and the use of returning characters eg the World's tallest man and Dino the Dinosaur who were increasingly loved by the adoring audience each time they appeared.
Not as slick as The Penny Dreadfuls and Idiots of Ants but a comic troupe to follow.
The Hurt Locker
The film may have been released in 2009 but thanks to successes this year at the BAFTA's and Oscars Kathryn Bigelow's Iraq war film has received a short cinema re-release.
The strength of " The Hurt Locker" is it's unremitting tension from beginning to end as we watch a bomb disposal unit battling against a variety of unexploded bombs in Baghdad. A largely unknown cast ( aside from cameos from Guy Pearce, Ralph Fiennes and Evangelina Lilly) stokes up the tension with strong performances creating likeable characters that you increasingly care about.
It avoids the obvious route of apportioning blame or attempting any kind of politic comment instead purely concentrating upon their efforts of surviving each day and returning home intact at the end of each tour of duty.
In many ways the monotony of each day helped to increase the tension although the undoubted find of the film is Jeremy Renner. It was his ability to convey his character as a man who only came alive through the adrenalin rush his job provided that made the film its focal point.
Not my idea of the best picture of the year but still an interesting and riveting film.
The strength of " The Hurt Locker" is it's unremitting tension from beginning to end as we watch a bomb disposal unit battling against a variety of unexploded bombs in Baghdad. A largely unknown cast ( aside from cameos from Guy Pearce, Ralph Fiennes and Evangelina Lilly) stokes up the tension with strong performances creating likeable characters that you increasingly care about.
It avoids the obvious route of apportioning blame or attempting any kind of politic comment instead purely concentrating upon their efforts of surviving each day and returning home intact at the end of each tour of duty.
In many ways the monotony of each day helped to increase the tension although the undoubted find of the film is Jeremy Renner. It was his ability to convey his character as a man who only came alive through the adrenalin rush his job provided that made the film its focal point.
Not my idea of the best picture of the year but still an interesting and riveting film.
Sunday 4 April 2010
The State of the Art - Artes Mundi 04 - National Museum Cardiff
Arriving at the Museum at 4.00pm I haven't yet had time to enjoy the whole exhibition so far. However, the quality of the 3 pieces I have so far encountered ensures that I will return to complete the collection.
Artes Mundi 4 is the latest of the UK's largest Art exhibition prize featuring 8 emerging artists from around the world who discuss the human condition. Entering the first room you are immediately surrounded by the work of Peruvian Fernando Bryce. His Weltkarte Kopie and Die Welt are a collection of Indian Ink drawings relating to events from the mid to late 19th century
to show how visual and written media records represent these historical occurences. An unusual
and interesting piece.
A further room takes you to Israeli Yael Bartana whose film Mary Koszmary invites the souls of the 3 million Jews who died in the second world war to return to Poland and help the country move forward and become a modern European country. This message is strengthened by two piles of impressive help-yourself posters containing the same theme in manifest form. At nearly eleven minutes long this is a time-consuming exhibition but as I was totally engulfed and moved by the concept I would recommend everyone to make the full commitment of time and emotional energy in such a thought-provoking piece. One tip though to avoid spending that time standing up listening on headphones go around the corner to watch it in comfort from some much-needed seats.
Another room further and a film from Bulgarian Ergin Cavusoglu. At first sight this is a gentle recording of a boatman transporting a tree to a small rock denoting the Israeli flag. However, it is attempting to explore the wider, relevant issues of mobility and migration today. Very watchable but for me not as involving as the previous two pieces.
With the gallery closing around me I shall have to make a further journey to investigate the four remaining exhibitions. If they match the quality, diversity and interest of the opening three pieces I shall be impressed.
Artes Mundi 4 is the latest of the UK's largest Art exhibition prize featuring 8 emerging artists from around the world who discuss the human condition. Entering the first room you are immediately surrounded by the work of Peruvian Fernando Bryce. His Weltkarte Kopie and Die Welt are a collection of Indian Ink drawings relating to events from the mid to late 19th century
to show how visual and written media records represent these historical occurences. An unusual
and interesting piece.
A further room takes you to Israeli Yael Bartana whose film Mary Koszmary invites the souls of the 3 million Jews who died in the second world war to return to Poland and help the country move forward and become a modern European country. This message is strengthened by two piles of impressive help-yourself posters containing the same theme in manifest form. At nearly eleven minutes long this is a time-consuming exhibition but as I was totally engulfed and moved by the concept I would recommend everyone to make the full commitment of time and emotional energy in such a thought-provoking piece. One tip though to avoid spending that time standing up listening on headphones go around the corner to watch it in comfort from some much-needed seats.
Another room further and a film from Bulgarian Ergin Cavusoglu. At first sight this is a gentle recording of a boatman transporting a tree to a small rock denoting the Israeli flag. However, it is attempting to explore the wider, relevant issues of mobility and migration today. Very watchable but for me not as involving as the previous two pieces.
With the gallery closing around me I shall have to make a further journey to investigate the four remaining exhibitions. If they match the quality, diversity and interest of the opening three pieces I shall be impressed.
The Girl With the Dragon Tattoo
Fans of Wallender should seek out this high quality Swedish film. They will recognise the unrushed narrative, bleak scenery and even bleaker scenes.
Michael Nyqvist plays Mikeal Blomkvist an investigative journalist imprisoned after being found guilty of libelling a Swedish multi-millionare. Down on his luck he takes a job investigating a long-missing (presumed dead) girl. This assignment in the wilderness takes him into a world of helpful and unhelpful relatives and a computer hacker with issues of her own.
The strength of this film is that director Niels Arden Opley allows time for the plot and the two leads to develop naturally without the usual time restraints and need for constant chases found in Hollywood. This produces a more leisurely story than you often find in the cinema but the director (rightly) has confidence that it will draw the audience into its ever tightening spider's web of a plot.
One cautious word. Although I was advised by the ticket seller that the film had subtitles it was not felt necessary to mention a variety of rape, torture and violent scenes some viewers may find disturbing.
Despite that , this is still a film worth searching for!
Michael Nyqvist plays Mikeal Blomkvist an investigative journalist imprisoned after being found guilty of libelling a Swedish multi-millionare. Down on his luck he takes a job investigating a long-missing (presumed dead) girl. This assignment in the wilderness takes him into a world of helpful and unhelpful relatives and a computer hacker with issues of her own.
The strength of this film is that director Niels Arden Opley allows time for the plot and the two leads to develop naturally without the usual time restraints and need for constant chases found in Hollywood. This produces a more leisurely story than you often find in the cinema but the director (rightly) has confidence that it will draw the audience into its ever tightening spider's web of a plot.
One cautious word. Although I was advised by the ticket seller that the film had subtitles it was not felt necessary to mention a variety of rape, torture and violent scenes some viewers may find disturbing.
Despite that , this is still a film worth searching for!
Saturday 20 March 2010
I Love You, Philip Morris
What a strange film. It's not often you get to see 3 films for the price of one.
The opening twenty minutes is a typical Jim Carrey zany vehicle, fast-paced film , lots of plot but few jokes. Then unexpectedly it turns into a moving gay love story with Mr Carrey and Ewan McGregor proving to be one of cinema's most unlikely yet believable couple. Then, when you feel surprisingly touched by the story and strong acting from the leads suddenly you are knocked off-balance by a dark ending all under the heading of a true story.
Overall, a film hard to categorise and therefore difficult to find a mainstream audience. But, all credit to a major studio for producing such an unusual film and allowing some near the knuckle gay scenes which I have never previously seen in such a major release. Worth seeing if only for the novelty value.
The opening twenty minutes is a typical Jim Carrey zany vehicle, fast-paced film , lots of plot but few jokes. Then unexpectedly it turns into a moving gay love story with Mr Carrey and Ewan McGregor proving to be one of cinema's most unlikely yet believable couple. Then, when you feel surprisingly touched by the story and strong acting from the leads suddenly you are knocked off-balance by a dark ending all under the heading of a true story.
Overall, a film hard to categorise and therefore difficult to find a mainstream audience. But, all credit to a major studio for producing such an unusual film and allowing some near the knuckle gay scenes which I have never previously seen in such a major release. Worth seeing if only for the novelty value.
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