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.
Sunday 31 October 2010
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.
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