How old do you have to live before your life becomes historical? This was a question that kept recurring to me as I wandered around this impressive free exhibition celebrating the 40th anniversary of Queen.
Uncovering some fascinating memorablia from Brian May and Roger Taylor's involvement with Smile, an incredible poster when Freddie Mercury invited people to the market stall etc all takes you back to when it all started.
I was at school in Kingston in 1970 so a poster showing Queen supporting Yes at Kingston Poly in 1971 ( with tickets on sale in pre-decimal money) brought memories of my youth flooding back.
Naturally at the age of 12 my tender ears had yet to be attuned to the joys of Prog Rock so I did not get to see Queen live for another 9 years.
Fans of the band will be aware of their history so there are no great surprises but it is still fascinating to see all the old singles, costumes. early photographs, fan magazines etc.
Considering that they seem more popular now then ever it is not surprising it was very well attended ( especially with foreign visitors). Huge credit must therefore go to the organisers for resisting the temptation to make a charge and try and make a profit.
I have just one small criticism. For an exhibition based upon the albums of Queen it was disappointing that the background musis was not the albums in their entirety but the obvious Greatest Hits Cds. However, if you have any interest in seeing how a band prepare for a long career rather than the current trend of immediate pop stardom this is worthy of a trip to Liverpool Street. Recommended.
Thursday 3 March 2011
Tuesday 1 March 2011
The Chidren's Hour - 26th February 2011
One of the disadvantages of growing old is that most revived plays have been produced within my theatre-going life-time. I do not remember the original 1934 version but I can vividly recall the stunning Howard Davies production at the National Theatre in 1995. Despite then featuring 3 female luminaries in Harriet Walter, Clare Higgins and Emily Watson the current incarnation at the Comedy Theatre is even more star-studded.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
While most people flocked to see Keira Knightley I was keener to see the Hollywood legend Ellen Burstyn as the matriarchal Amelia Tilford. This classic Lillian Hellman play involves 2 young female teachers struggling to make their dream of running their own school a reality.
Unfortunately, a malicious rumour from a spiteful spoilt child brings their world crashing around them as her grand-mother takes the side of her offspring and allows the lie to be circulated. In small-minded America society in the 1930's a lesbian affair was not to be tolerated in polite society.
The only problem I had with this play was the staging of the denouement. When the " reveal" comes it should be a thunderbolt ( as in the version I had seen before) but here director Ian Rickson and Elizabeth Moss sign-posted it right from the start. This is Miss Knightley's big moment but she was angled away from the audience so we couldn't see the full impact of this news on her face.
Despite these reservations this is still an excellent evening's entertainment and certainly better than some reviews would have you believe. The acting is of a very high standard with film and television performers showing impressive diction and clarity with the English members of the cast providing impeccable American accents. Apart from the opening children's scene you could hear every word.
For me star of the evening was Keira Knightley as Karen Wright, who I found totally convincing ( and mesmerising), bringing a depth of emotion I had found lacking in her screen performances.
Elizabeth Moss was in rampant form in the seciond act with fine support from Miss Burstyn, the sublime Carol Kane and Tobias Menzies.
The most tender and heart-breaking scene was when Karen's fiancee tried desperately to move this strange threesome to a new town but despite his best efforts couldn't prevent destroying the relationship by asking the unaskable question.
The best role of the piece is undoubtedly the instigator of the lie, Mary Tilford. Bryony Hannah relishes every moment of this manipulative character but I think it is to the credit of the other actors that she didn't steal the stage which would have unbalanced the play.
Highly recommended.
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