If you ask about theatre in Stratford Upon Avon most people will mention the Royal Shakespeare Company. Right, but also wrong. If you want a large scale production of a Shakespeare play you should head to the recently refurbished Shakespeare theatre but, if, you prefer your entertainment more intimate, yet of a similarly high quality you should check out the "Tread The Boards" company, based in the Attic Theatre. They have been producing impressive versions of classic stories for many years, the latest being Mary Shelley's 'Frankenstein'.
Perfectly timed to coincide with Halloween you enter a small space and see a figure draped in a sheet on a slab. Immediately director John-Robert Partridge leads you to assume this is the monster then surprises you by unveiling Victor Frankenstein recovering on a ship having been rescued from the icy wastes of the Pole. We are now in flashback mode as he reveals the tale of how he appears in this wretched condition.
This adaptation is more truthful to the novel than most recent productions yet it seems obvious that you would want to use such great material. It is truly one of the great stories showing the possible consequences of science meddling with nature. Two hundred years later and nothing has changed.
A good plot is a start and a director's vision can only take you so far as the success of a play ultimately revolves around the actors. Here, the "Tread The Boards" company are very fortunate indeed. All the cast are exemplary ( amongst the supporting roles Jennifer Hodges breaks your heart as the doomed Justine) but Mr Partridge is blessed with two outstanding performances in the lead roles.
Rich Bunn makes you understand the tricky title character, from inquisitive student, lover,obsessed scientist to horrified widower seeking refenge. Most horror films concentrate upon the monster as a pure figure of fear but he is actually one of literature's great tragic figures which Adrian Daniel Varney portrays beautifully.
The pacing of the piece is captured perfectly with the tale unfolding before us without any dull moments and just as impressively the director avoids any aspects of melodrama with all events seeming natural and realistic.
Last year I saw the Danny Boyle version at the National Theatre and I can honestly say I preferred this more intimate version. Obviously, they do not possess the resources of the subsidised London theatre but tonight proved that imagination is just as important as finances. The simple premise of plunging the venue into pitch darkness and allowing the actors to roam amongst the audience was truly terrifying.
Cox's Yard is in the process of being taken over and the future of The Attic theatre is uncertain. This is therefore the prefect time to discover Stratford's hidden gem and support this impressive company ( starting with Dick Whittington next month).You won't be disappointed!
Tuesday, 6 November 2012
Sunday, 26 August 2012
NVA Speed of Light - 17th August 2012
In recent years the International Festivals brochure has included little to interest me. However, the moment I read about this concept I was tempted but I didn't book up until we arrived in Edinburgh and realised this was arguably the event of this year's festival.
Despite coming to 14 festivals over 26 years I have never yet climbed Arthur's Seat and so we chose to end this week's madness up this peak over-looking Scotland's capital. Naturally we took a chance on the weather and despite torrential rain the night before we picked a gloroius night to start our ascent.
We were warned that some parts would be strenuous and although I thought this was over-cautious Health and Safety speak, they were right. But armed with our light-sticks we headed ever upwards leaving the noisy chaos of a Friday festival night far beneath us.
This piece is several shows for the price of one. Firstly, it is an impressive work-out and after a week of indulgence ( including eating our weight in Indian food and downing a couple of bottles of wine just beforehand ) we felt we needed to. Secondly, with dusk falling the landscape was glorious and as we rose further the views of Edinburgh and beyond were spectacular.
Then there was the artisitic element of this show. The light stick was kept alight by the energy provided by previous walkers and runners and the flickering element at the top was generated by your own movements. Similarly, each stick was primed to release its own noise relating to your particular walking style and the resonances you created.
All this still isn't enough. As you walk along trying not to slip or slide off the path your eyes are constantly distracted by runners moving along the countryside wearing their own body lights. Whether you think they are ghostly figures, occasionally noisy as they cheer along, mad joggers or magical representations of the outdoor life etc you can make up your own mind.
Ulitmately, though this is a totally unique event especially as it was designed purely for Arthur's Seat as part of the 2012 Olympiad. I gather there are discussions with Rio De Janiero to adapt this spectacular for the 2016 Olympics. Let's hope they succeed.
For us, this was the perfect end to another astonishing festival.
Thanks to all concerned especially the group leader who always appeared just when I was about to experience problems and ensured I returned safely. Always a bonus at the end of a hectic week.
Despite coming to 14 festivals over 26 years I have never yet climbed Arthur's Seat and so we chose to end this week's madness up this peak over-looking Scotland's capital. Naturally we took a chance on the weather and despite torrential rain the night before we picked a gloroius night to start our ascent.
We were warned that some parts would be strenuous and although I thought this was over-cautious Health and Safety speak, they were right. But armed with our light-sticks we headed ever upwards leaving the noisy chaos of a Friday festival night far beneath us.
This piece is several shows for the price of one. Firstly, it is an impressive work-out and after a week of indulgence ( including eating our weight in Indian food and downing a couple of bottles of wine just beforehand ) we felt we needed to. Secondly, with dusk falling the landscape was glorious and as we rose further the views of Edinburgh and beyond were spectacular.
Then there was the artisitic element of this show. The light stick was kept alight by the energy provided by previous walkers and runners and the flickering element at the top was generated by your own movements. Similarly, each stick was primed to release its own noise relating to your particular walking style and the resonances you created.
All this still isn't enough. As you walk along trying not to slip or slide off the path your eyes are constantly distracted by runners moving along the countryside wearing their own body lights. Whether you think they are ghostly figures, occasionally noisy as they cheer along, mad joggers or magical representations of the outdoor life etc you can make up your own mind.
Ulitmately, though this is a totally unique event especially as it was designed purely for Arthur's Seat as part of the 2012 Olympiad. I gather there are discussions with Rio De Janiero to adapt this spectacular for the 2016 Olympics. Let's hope they succeed.
For us, this was the perfect end to another astonishing festival.
Thanks to all concerned especially the group leader who always appeared just when I was about to experience problems and ensured I returned safely. Always a bonus at the end of a hectic week.
Hi-Kick -17th August 2012
Every year we try to see as many diverse shows as possible in our Edinburgh itinerary. We always like to select a dance piece but it is never easy knowing what to pick. So, for once I took the lead from the reviews and after seeing 5 stars scattered around I chose Seol and Co's "Hi-Kick" for our penultimate show.
This was billed as featuring "stunning dance and football" and it fully ticked both boxes. We meet some keen yet less than prolific footbalers having a gentle kick-around until they are out-played and outmuscled by a self-confident group of bully boys. Gradually, our underdogs improve their technique and have a final showdown against their less than gracious opponents. You don't have to be John Motson to guess how this ends.
This is an enjoyable show but at an hour it does outstay its welcome. The ability to control a football and invent rhythmic movement was impressive but there was only so much they could do with this format. They did, however, successfully connect with the audience ( today featuring a lot of children) getting them to clap along and even getting a couple of volunteers onstage to play keepy-uppy.
So far so predictable but I didn't expect this show to pull an emotional punch. So, when a female character ( whose catch-phrase had been " I love fotball") remonstrated that "fighting not football! I got unexpectedly choked up as this seemed to encapsualte why I have fallen out of love with the game at the top level.
A great way to enliven a festival goers week!
This was billed as featuring "stunning dance and football" and it fully ticked both boxes. We meet some keen yet less than prolific footbalers having a gentle kick-around until they are out-played and outmuscled by a self-confident group of bully boys. Gradually, our underdogs improve their technique and have a final showdown against their less than gracious opponents. You don't have to be John Motson to guess how this ends.
This is an enjoyable show but at an hour it does outstay its welcome. The ability to control a football and invent rhythmic movement was impressive but there was only so much they could do with this format. They did, however, successfully connect with the audience ( today featuring a lot of children) getting them to clap along and even getting a couple of volunteers onstage to play keepy-uppy.
So far so predictable but I didn't expect this show to pull an emotional punch. So, when a female character ( whose catch-phrase had been " I love fotball") remonstrated that "fighting not football! I got unexpectedly choked up as this seemed to encapsualte why I have fallen out of love with the game at the top level.
A great way to enliven a festival goers week!
Saturday, 25 August 2012
SADFACES REMEMBER IT DIFFERENTLY - 17TH AUGUST 2012
After the strangeness of yesterday's shows ( see Thursdays reviews) it was surprisingly refreshing to return to watching comedy.
For the last few years 4 Sad Faces have been plying their sketch comedy trade in the Free Fringe. This year they have changed tack, dropping 4 from their name, adding Rosie Fletcher to their gang, moving to a paid venue (the Underbelly) and I think, most importantly, leaving the unconnected sketch comedy format behind.
Sad Faces " Remember It Differently" does what it says on the tin. It takes one narrative story but we see it from each of the performers perspectives. This allows for a lot of silliness, ridiculous accents and props and unexpected plot variations. Each of the talented performers is allowed their moment in the spotlight, but it is Jack Bernhardt with his boyish, confused optimism (often misplaced) and Rosie Fletcher's assertive, self-confident (often misplaced) personas that steal the show.
The only suggestion I would make for future improvement would be more audience involvement. The show we watched was quieter than the quality of the material deserved but getting a rapport with (at least) one member of the audience should immediately get them on the performers side and therefore more vocal.
This was my 27th show of this year's festival and naturally shows are beginning to overlap with each other. But, one of my over-ridding memories of the entire week was " The profit of Poundland" sequence. Comedy gold.
Well done to all involved, you have found your true niche.
For the last few years 4 Sad Faces have been plying their sketch comedy trade in the Free Fringe. This year they have changed tack, dropping 4 from their name, adding Rosie Fletcher to their gang, moving to a paid venue (the Underbelly) and I think, most importantly, leaving the unconnected sketch comedy format behind.
Sad Faces " Remember It Differently" does what it says on the tin. It takes one narrative story but we see it from each of the performers perspectives. This allows for a lot of silliness, ridiculous accents and props and unexpected plot variations. Each of the talented performers is allowed their moment in the spotlight, but it is Jack Bernhardt with his boyish, confused optimism (often misplaced) and Rosie Fletcher's assertive, self-confident (often misplaced) personas that steal the show.
The only suggestion I would make for future improvement would be more audience involvement. The show we watched was quieter than the quality of the material deserved but getting a rapport with (at least) one member of the audience should immediately get them on the performers side and therefore more vocal.
This was my 27th show of this year's festival and naturally shows are beginning to overlap with each other. But, one of my over-ridding memories of the entire week was " The profit of Poundland" sequence. Comedy gold.
Well done to all involved, you have found your true niche.
The Blind - 16th August 2012
A children's show about a huge vegetable, an acapella modern opera about a dying boy falling in love with the Moon, how on earth could I follow that? Well, how about an open-air virtually unspoken Polish dance show ending in a mini monsoon.
A few years ago we were impressed by a very physical Polish "Coriolanus" here and tonight we weren't disappointed. Although you can never take the Edinburgh weather for granted it is normally trying some site specific open-air performances.
Our first realisation that the show had started occurred when various performers rushed from the audience and began Central American style dancing. The tone of the piece soon changed following the intervention of military force and the use of tear gas. From here on the performers were generally restricted to moving either with white sticks or on hospital beds. This may sound odd, and indeed it was. What it never was, however, was dull!
The events may not have been easy to watch but it was always interesting and often beautiful. As it ended I stated I didn't really understand what was happening but I still loved it. A loud and ryhthmic soundtrack always gave something for your ears to feast upon while your eyes followed what was on show in front of them.
The performers were extraordinarily vibrant throughout the show and a cloudburst towards the end may have dampened the bodies of audience and artistes alike , but never their (or our) spirits. This is an outstanding antidote to being boiled alive in stuffy, sweaty, claustrophobic venues.
A few years ago we were impressed by a very physical Polish "Coriolanus" here and tonight we weren't disappointed. Although you can never take the Edinburgh weather for granted it is normally trying some site specific open-air performances.
Our first realisation that the show had started occurred when various performers rushed from the audience and began Central American style dancing. The tone of the piece soon changed following the intervention of military force and the use of tear gas. From here on the performers were generally restricted to moving either with white sticks or on hospital beds. This may sound odd, and indeed it was. What it never was, however, was dull!
The events may not have been easy to watch but it was always interesting and often beautiful. As it ended I stated I didn't really understand what was happening but I still loved it. A loud and ryhthmic soundtrack always gave something for your ears to feast upon while your eyes followed what was on show in front of them.
The performers were extraordinarily vibrant throughout the show and a cloudburst towards the end may have dampened the bodies of audience and artistes alike , but never their (or our) spirits. This is an outstanding antidote to being boiled alive in stuffy, sweaty, claustrophobic venues.
Moon - 16th August 2012
Well, what a truly Edinburgh day. After spending the afternoon trying to entertain lively three year old twins (including watching my first children's show) it was time to rush to another production.
Feeling hungry and thirsty we were surprised (to put it mildly) to be approached on the steps to the venue and asked if we were prepared to be on fire extinguisher duty for the evening. We are nothing if not game and armed with a carton of juice ( to quence my thirst and not to be used in case of fire)and a muffin we headed into the auditorium.
This being Edinburgh they were still tearing down the set of the previous show as we entered, naturally passing a perspriring Liza Minelli look-alike. After receiving our fire-fighting instructions my wife and I were duly placed at opposite ends of the theatre and despite this being a large and plush venue the first other audience member demanded to sit next to me in case she needed a quick exit. Later, I discovered in the kerfuffle that I had inadvertently knocked over my drink, not only causing a nice puddle of liquid to ooze from under my seat but ensuring that if any fire broke out ( it didn't) my area was already protected.
So, once my pre-show activities were complete I could finally concentrate upon the matter in hand. "Moon" is a modern piece of music by Gordon Hamilton, using a poem by Venero Armanno and sung by The Australian Voices, a group of male and female singers. Together they tell the story of Sam, a sickly boy, dying in his bedroom,but Diana, the Moon, sees him and falls in love. The ending could be sad yet somehow, here is uplifting as he finds peace, happiness and love.
At festival time Edinburgh as a 100 miles an hour city which never seems to sleep. As I know from experience it is easy to get caught up in the frenetic lifestyle. "Moon" is an increasing rarity, an oasis of calm and beauty amongst an increasingly noisy and mad world outside.
To be honest I am not a great fan of choral music but the sound they made, individually and collectively was truly wonderous to hear. They were helped by the musicality of the score but I must stress this wasn't just a treat for the ears. Sam's story was enhanced by screen projection and although most of the words was easy to follow, the visibility of the lyrics was a bonus.
The liveliness of the piece was also helped by placing the conductor in an aisle so his enthusiastic, physical presence was a additional piece of theatricality. The choir wasn't just restricted to static singing, using their bodies they helped to explain the action by movement, swaying, lying down and even writhing on the ground when the situation needed it.
The fringe is about taking chances. This one more than repaid our gamble. Even if you miss this performance in Edinburgh check their website as they are about to embark on a tour of the Kingdom, singing a mainly classical repertoire. I hope to catch them in October in Cardiff.
Feeling hungry and thirsty we were surprised (to put it mildly) to be approached on the steps to the venue and asked if we were prepared to be on fire extinguisher duty for the evening. We are nothing if not game and armed with a carton of juice ( to quence my thirst and not to be used in case of fire)and a muffin we headed into the auditorium.
This being Edinburgh they were still tearing down the set of the previous show as we entered, naturally passing a perspriring Liza Minelli look-alike. After receiving our fire-fighting instructions my wife and I were duly placed at opposite ends of the theatre and despite this being a large and plush venue the first other audience member demanded to sit next to me in case she needed a quick exit. Later, I discovered in the kerfuffle that I had inadvertently knocked over my drink, not only causing a nice puddle of liquid to ooze from under my seat but ensuring that if any fire broke out ( it didn't) my area was already protected.
So, once my pre-show activities were complete I could finally concentrate upon the matter in hand. "Moon" is a modern piece of music by Gordon Hamilton, using a poem by Venero Armanno and sung by The Australian Voices, a group of male and female singers. Together they tell the story of Sam, a sickly boy, dying in his bedroom,but Diana, the Moon, sees him and falls in love. The ending could be sad yet somehow, here is uplifting as he finds peace, happiness and love.
At festival time Edinburgh as a 100 miles an hour city which never seems to sleep. As I know from experience it is easy to get caught up in the frenetic lifestyle. "Moon" is an increasing rarity, an oasis of calm and beauty amongst an increasingly noisy and mad world outside.
To be honest I am not a great fan of choral music but the sound they made, individually and collectively was truly wonderous to hear. They were helped by the musicality of the score but I must stress this wasn't just a treat for the ears. Sam's story was enhanced by screen projection and although most of the words was easy to follow, the visibility of the lyrics was a bonus.
The liveliness of the piece was also helped by placing the conductor in an aisle so his enthusiastic, physical presence was a additional piece of theatricality. The choir wasn't just restricted to static singing, using their bodies they helped to explain the action by movement, swaying, lying down and even writhing on the ground when the situation needed it.
The fringe is about taking chances. This one more than repaid our gamble. Even if you miss this performance in Edinburgh check their website as they are about to embark on a tour of the Kingdom, singing a mainly classical repertoire. I hope to catch them in October in Cardiff.
Friday, 24 August 2012
THE MILLER'S TALE - 15TH AUGUST 2012
Having watched a lot of comedy in the early part of the week it was time to look for some unusual drama. And shows don't come much odder than a Nigerian version of Geoffrey Chaucer's " The Miller's Tale", from his epic "The Canterbury Tales".
Classic drama transcends time and culture and, amazingly, this unlikely mix works incredibly well. African theatre is generally lively and their natural exuberance perfectly fits this 14th century morality tale of laziness, infidelity, the perils of marrying a young wife etc. This isn't a production where you can hear every word but this doesn't matter. You can easily follow the plot and most importantly, get carried away with the liveliness of the performers.
It disappoints me that each year people increasingly feel Edinburgh is just a comedy festival. This was a highly enjoyable show with 8 in the cast and (on the day I went) just 12 in the audience. So, if people want to experience something different to generic stand-up and experience what the real fringe festival is about head to C on Chambers street.
PS. I would love to see Overo Productions tackle another of Chaucer's tales next year.
Classic drama transcends time and culture and, amazingly, this unlikely mix works incredibly well. African theatre is generally lively and their natural exuberance perfectly fits this 14th century morality tale of laziness, infidelity, the perils of marrying a young wife etc. This isn't a production where you can hear every word but this doesn't matter. You can easily follow the plot and most importantly, get carried away with the liveliness of the performers.
It disappoints me that each year people increasingly feel Edinburgh is just a comedy festival. This was a highly enjoyable show with 8 in the cast and (on the day I went) just 12 in the audience. So, if people want to experience something different to generic stand-up and experience what the real fringe festival is about head to C on Chambers street.
PS. I would love to see Overo Productions tackle another of Chaucer's tales next year.
Thursday, 23 August 2012
Tales From Edgar Allan Poe- 14th August 2012
Today was a true Edinburgh festival day. After walking a long way to see a disappointing free show I then saw two successive five star shows. Whatever came next had some hard acts to follow and Backhand Theatre's " Tales from Edgar Allan Poe" wasn't up to it.
It didn't help that we walked straight past the venue and arrived a few minutes late. I suspect we didn't miss much as a doctor was still showing a sanitorium inspector around his mental asylum. This was their premise for the show with each inmate relating a well-know Poe story. "The Raven" had the bonus of a good performance from Sally Preston, the voice of a famous Shakespearean actor but the disadvantage of a ridiculously amateurish (and huge) paper-mache Raven ( which oddly was partially obscured to anyone sitting to the right of the audience). "The Pit and the Pendulum" was well performed by Gavin Maxwell but the advertised "daring circus" generally involved wobbling in, out and around a hoop.
There was another goor perfomance by Davey Kelleher but unfortunately the play also featured the worst acting I have seen at this festival. The idea itself was fine but the execution needed tightening, the ending was predictable and sadly, the show was boring.
It didn't help that we walked straight past the venue and arrived a few minutes late. I suspect we didn't miss much as a doctor was still showing a sanitorium inspector around his mental asylum. This was their premise for the show with each inmate relating a well-know Poe story. "The Raven" had the bonus of a good performance from Sally Preston, the voice of a famous Shakespearean actor but the disadvantage of a ridiculously amateurish (and huge) paper-mache Raven ( which oddly was partially obscured to anyone sitting to the right of the audience). "The Pit and the Pendulum" was well performed by Gavin Maxwell but the advertised "daring circus" generally involved wobbling in, out and around a hoop.
There was another goor perfomance by Davey Kelleher but unfortunately the play also featured the worst acting I have seen at this festival. The idea itself was fine but the execution needed tightening, the ending was predictable and sadly, the show was boring.
Ali McGregor's Alchemy - 14th August 2012
Preparing an Edinburgh festival itinerary is tricky. I like to be organised and pre-book a reasonable amount of shows but I also like to leave some gaps for impromptu amendments.
Having decided not to see Simon Evans and drop a free show I had some unexpected time to visit the half-price ticket booth by the Mound & was pleased ( from our point of view) to see it included one of our favourite cabaret artistes. This allowed us to see Ali McGregor in a full show for the first time, having previously seen her host a BBC radio show "Curiosity Killed The Cabaret" a couple of years ago.
The concept for this year's show was adapting 1980's & 90's pop songs and putting them into a Jazz environment and to accompany her stunning voice she surrounded herself with three impressive musicians.
I'm not sure what most of the audience was expecting but I suspect "Tainted Love" wasn't high on the list, especially as this was followed by "Barbie Girl", " Song 2", "La Isla Bonita", " Push It" etc.
As well as being a fun and novelty evening it was interesting how these songs actually thrive in a Jazz setting. Anyone who knows Miss McGregor will be well aware of what a fantastic vocal range she possesses and her infectious sense of mischief she displayed in the links between songs.
Just when we thought the evening couldn't get any wierder ( or better) her encore number was the Britney Spears number "Oops, I've Done It Again" where she hit a note I'm sure I have never heard before. Yes, it was that kind of a magical night.
Having decided not to see Simon Evans and drop a free show I had some unexpected time to visit the half-price ticket booth by the Mound & was pleased ( from our point of view) to see it included one of our favourite cabaret artistes. This allowed us to see Ali McGregor in a full show for the first time, having previously seen her host a BBC radio show "Curiosity Killed The Cabaret" a couple of years ago.
The concept for this year's show was adapting 1980's & 90's pop songs and putting them into a Jazz environment and to accompany her stunning voice she surrounded herself with three impressive musicians.
I'm not sure what most of the audience was expecting but I suspect "Tainted Love" wasn't high on the list, especially as this was followed by "Barbie Girl", " Song 2", "La Isla Bonita", " Push It" etc.
As well as being a fun and novelty evening it was interesting how these songs actually thrive in a Jazz setting. Anyone who knows Miss McGregor will be well aware of what a fantastic vocal range she possesses and her infectious sense of mischief she displayed in the links between songs.
Just when we thought the evening couldn't get any wierder ( or better) her encore number was the Britney Spears number "Oops, I've Done It Again" where she hit a note I'm sure I have never heard before. Yes, it was that kind of a magical night.
Bane 1,2,3 14th August 2012
There are many ways of choosing a show to see at the festival, reviews, flyers, adverts and blurb in the official brochure amongst many others. Well, we attended "Bane, 1,2,3" as the actor is a friend of a friend & I was fed up making excuses about why we hadn't seen it. I had been aware of the "Bane" franchise over the last couple of years after seeing regular glowing reviews but as it was featured in the theatre section of the fringe brochure I assumed ( wrongly) it was a straight play.
The omens weren't good as the ticket checkers pre-warned us about the extreme heat in Ace Dome, recommending we take as much water and preferably ice with us. as possible. DARKCHATTER Anne then refused to sit in a seat without a back so we found ourselves a few rows away from the front in a pcked and baking venue.
The fact that we were captivated and mesmerised by what followed is a tribute to the skills of Joe Bone. We were open-minded about what we were about to witness but we didn't expect a man appearing in an overcoat and proceeding to deliver a Philip Marlowe/ Sam Spade style American gumshoe style story for an hour. He is accompanied by Ben Roe on guitar providing an atmospheric soundtrack but otherwise this is a man show as he plays all the roles from the lead character, his nemesis, the moll etc down to the stall holders selling vegetables and the worlds largest cushion.
Not only is this an extraordinary tour de force it is hysterical throughout as well is being a slimming aid for Mr Bone as he must shed a stone in weight every day. But, the coup of this show is that as it heads towards a predictable conclusion something occurs which makes most of the audience gasp out loud. This is my 14th festival and that was one of the most unexpected events I have witnessed.
I cannot recommend this highly enjoyable show enough. So, if you don't go you are depriving yourself of a great theatrical experience.
The omens weren't good as the ticket checkers pre-warned us about the extreme heat in Ace Dome, recommending we take as much water and preferably ice with us. as possible. DARKCHATTER Anne then refused to sit in a seat without a back so we found ourselves a few rows away from the front in a pcked and baking venue.
The fact that we were captivated and mesmerised by what followed is a tribute to the skills of Joe Bone. We were open-minded about what we were about to witness but we didn't expect a man appearing in an overcoat and proceeding to deliver a Philip Marlowe/ Sam Spade style American gumshoe style story for an hour. He is accompanied by Ben Roe on guitar providing an atmospheric soundtrack but otherwise this is a man show as he plays all the roles from the lead character, his nemesis, the moll etc down to the stall holders selling vegetables and the worlds largest cushion.
Not only is this an extraordinary tour de force it is hysterical throughout as well is being a slimming aid for Mr Bone as he must shed a stone in weight every day. But, the coup of this show is that as it heads towards a predictable conclusion something occurs which makes most of the audience gasp out loud. This is my 14th festival and that was one of the most unexpected events I have witnessed.
I cannot recommend this highly enjoyable show enough. So, if you don't go you are depriving yourself of a great theatrical experience.
Wednesday, 22 August 2012
BELT UP THEATRE'S THE BOY JAMES - 13TH AUGUST 2012
It would be easy to spend a week just watching comedy at the Edinburgh festival but it is important to select a balance of shows before your funny muscles explode. Trying to find a good new play is a mine-field, there are obviously gems to be uncovered but there is also a lot of boring crap.
In the last few years Belt Up Theatre have acquired a growing reputation for interesting theatre and this year have three productions running. Children's books appear to be their theme, with their other shows revolving around the works of Frances Hodgson Burnett and Lewis Carroll while "The Boy James" concentrates on James Barrie.
We are ushered into a large Victorian style living room and meet our narrator. The unnamed boy introduces us to a forgotten world of forgotten childrens games where I prove I am the worst person to be selected to be the murderer in the game of wink/murderer.
He is then joined by a young (unnamed) girl (making impressively dramatic entrances and exits) who tries to make him rebel, throw away childish things and head towards adulthood.
This is a play about growing up. We see the older James Barrie and we know he retained his childhood innocence, especially in his writing. This is a well-acted play with a beautifully designed set and ultimately extremely disturbing. There is one particularly upsetting scene (the audience are very close to the performers) which makes its (unsubtle) point in an unnecessarily graphic scene. If the director and writer wanted to unsettle the audience it worked but ultimately left a nasty taste in the mouth, surely not what James Barrie would have wanted.
Interesting but horrific.
In the last few years Belt Up Theatre have acquired a growing reputation for interesting theatre and this year have three productions running. Children's books appear to be their theme, with their other shows revolving around the works of Frances Hodgson Burnett and Lewis Carroll while "The Boy James" concentrates on James Barrie.
We are ushered into a large Victorian style living room and meet our narrator. The unnamed boy introduces us to a forgotten world of forgotten childrens games where I prove I am the worst person to be selected to be the murderer in the game of wink/murderer.
He is then joined by a young (unnamed) girl (making impressively dramatic entrances and exits) who tries to make him rebel, throw away childish things and head towards adulthood.
This is a play about growing up. We see the older James Barrie and we know he retained his childhood innocence, especially in his writing. This is a well-acted play with a beautifully designed set and ultimately extremely disturbing. There is one particularly upsetting scene (the audience are very close to the performers) which makes its (unsubtle) point in an unnecessarily graphic scene. If the director and writer wanted to unsettle the audience it worked but ultimately left a nasty taste in the mouth, surely not what James Barrie would have wanted.
Interesting but horrific.
HELEN KEEN:ROBOT WOMAN OF TOMORROW - 13TH AUGUST 2012
Organising a DARKCHAT itinerary for a week is a balancing act. We like to choose new acts as well as revisiting previous favourites. Sometimes the latter is a mistake as current material may be weaker, or worse, the same as previous shows. On the plus side it is a joy to watch a performer blossom and that is the category in which Helen Keen can be found.
Three years ago we really enjoyed "The Primitive Methodist Guide To Arctic Survival" but the following year " It Is Rocket Science" was a show we had mainly seen before.
The Hut at Pleasance is an intimate venue which is perfectly suited to her gentle, friendly, all-encompassing personality (who else would include soothing breaks so we can all remain focussed). We hear about her upbringing and how her interest in science helps her to deal with a succession of dull admin temporary jobs.
"Robot Woman Of The Future" revolves around what may happen and is a show bordering on a lecture ( albeit hysterical) featuring a life-size Robot figure, shadow puppetry and a powerpoint presentation. A screen allows us to play a strange game of guessing from a photograph whether a woman was a Futurist or
Felon and see a variety of slides including an HG Wells sculpture in Woking and robots designed for personal fulfilment.
The material is consistently funny and our host is more confident than we have seen previously. As an audience member you can relax, you are in safe hands.
Three years ago we really enjoyed "The Primitive Methodist Guide To Arctic Survival" but the following year " It Is Rocket Science" was a show we had mainly seen before.
The Hut at Pleasance is an intimate venue which is perfectly suited to her gentle, friendly, all-encompassing personality (who else would include soothing breaks so we can all remain focussed). We hear about her upbringing and how her interest in science helps her to deal with a succession of dull admin temporary jobs.
"Robot Woman Of The Future" revolves around what may happen and is a show bordering on a lecture ( albeit hysterical) featuring a life-size Robot figure, shadow puppetry and a powerpoint presentation. A screen allows us to play a strange game of guessing from a photograph whether a woman was a Futurist or
Felon and see a variety of slides including an HG Wells sculpture in Woking and robots designed for personal fulfilment.
The material is consistently funny and our host is more confident than we have seen previously. As an audience member you can relax, you are in safe hands.
The Trench - 13th August 2012
The Terrible Infants have been DARKCHAT favourites since we were mesmerised by "The Terrible Infants". They followed this up with the darker " Ernest and the Pale Moon" and the event entertainment
"The Vaudevillains".
This year we are back in more familiar territory, a well-acted piece with puppet inter-action. Bert is conscripted to fight in the First World War, digging undeground to lay mines under German mines. Naturally all does not go well and the trench collapses but he is unexpectedly offered salvation from a creature which seemed to have escaped from Sesame Street.
I was particularly impressed by the language, especially as it was mainly spoken in rhyming couplets adding weight and importance. This was balanced by Alexandder Wolfe playing and singing his own music, a perfect accompaniment to the drama we were witnessing. The only minor criticism I would make was that Bert's background story was emotionally manipulative but it certainly packed a punch to me.
Every festival there is one show which divides DARKCHAT reviewers and this show was out 2012 talking point. My current wife felt it was wrong to set a Tolkien type tale amongst the true-life horror of the First World War and the modern style of singer/ songwriter did not fit that period.
She is clearly wrong but the only way you can make up your mind is to see "The Trench".
"The Vaudevillains".
This year we are back in more familiar territory, a well-acted piece with puppet inter-action. Bert is conscripted to fight in the First World War, digging undeground to lay mines under German mines. Naturally all does not go well and the trench collapses but he is unexpectedly offered salvation from a creature which seemed to have escaped from Sesame Street.
I was particularly impressed by the language, especially as it was mainly spoken in rhyming couplets adding weight and importance. This was balanced by Alexandder Wolfe playing and singing his own music, a perfect accompaniment to the drama we were witnessing. The only minor criticism I would make was that Bert's background story was emotionally manipulative but it certainly packed a punch to me.
Every festival there is one show which divides DARKCHAT reviewers and this show was out 2012 talking point. My current wife felt it was wrong to set a Tolkien type tale amongst the true-life horror of the First World War and the modern style of singer/ songwriter did not fit that period.
She is clearly wrong but the only way you can make up your mind is to see "The Trench".
MACAULAY & CO - 13TH AUGUST 2012
This year at my 14th festival I seem to have finally discovered how to survive on virtually no sleep. After not getting to bed until the hours of Monday morning I was in the queue for Fred Macaulay's radio show at 10.00am.
He is joined on stage by his co-host Susan Calman for gentle banter with themselves and the audience. This action-packed ninety minutes was kickstarted by the ever lively Frisky & Mannish ( oddly using the same Lily Allen/Noel Coward segment I had heard on a previous radio recording " Curiosity Killed The Cabalret" a couple of years ago.
Rob Deering provided more musicality ( weirdly I heard the same clip on the Penny Smith arts programme a couple of weeks ago). I was less impressed by an improbably accurate predictor but loved Irish comic Martin Mor before we were spoilt by 3 Edinburgh comedy gods on the sofa, Rhod Gilbert, Adam Hills and Rhod Gilbert.
Here, for thirty minutes we were treated to humour of the highest quality as they tried to up-stage each other. They were all on top form but nothing could top the incredible discovery that not only had Mr Brigstock worked on an oil rig but on his weeks off he would perform as a podium dancer. Rhod Gilbert's look of incredulity had to be seen to be believed.
Free BBC tickets are hard to get hold of but when shows are as good as this you can understand why they are like gold dust. Thank you Auntie Beeb.
He is joined on stage by his co-host Susan Calman for gentle banter with themselves and the audience. This action-packed ninety minutes was kickstarted by the ever lively Frisky & Mannish ( oddly using the same Lily Allen/Noel Coward segment I had heard on a previous radio recording " Curiosity Killed The Cabalret" a couple of years ago.
Rob Deering provided more musicality ( weirdly I heard the same clip on the Penny Smith arts programme a couple of weeks ago). I was less impressed by an improbably accurate predictor but loved Irish comic Martin Mor before we were spoilt by 3 Edinburgh comedy gods on the sofa, Rhod Gilbert, Adam Hills and Rhod Gilbert.
Here, for thirty minutes we were treated to humour of the highest quality as they tried to up-stage each other. They were all on top form but nothing could top the incredible discovery that not only had Mr Brigstock worked on an oil rig but on his weeks off he would perform as a podium dancer. Rhod Gilbert's look of incredulity had to be seen to be believed.
Free BBC tickets are hard to get hold of but when shows are as good as this you can understand why they are like gold dust. Thank you Auntie Beeb.
Tuesday, 21 August 2012
Dan Mitchell - 12th August 2012
Dan Mitchell is a friend. I know him and met him in Cardiff for a pre-Edinburgh interview. He is here due to reaching the final of ITV's " Show Me The Funny", which I think he should have won, but I am biased.
So, here he is in his 1st full length show at the festival with "Free Egg". No, this is not an inducement to gain a bigger audience with the promise of gaining complimentary farm produce but a vomit reference.
Dan Mitchell is not your average observational comedian. He sees things differently to the rest of us. Few comedians would appear on stage in a household appliance pretending to be a West End musical star singing an Andrew Lloyd Webber song. The focus of the story is what happened in his head when he was ill and unable to leave the house.
The material is solid and includes some trust and tested stories from previous shows but it is when he riffs with his audience that the evening comes alive. Suddenly his brain is in warp- factor drive and he is a Geordie seagull talking to other long-necked birds.
This is a highly enjoyable hour and depends upon the quality of the audience. If you supply sufficient ideas he will reward you with comedy gold. Sadly, he has yet to make a name for himself at the festival so audences could be bigger. So, do yourself a favour, go and then you can say " I saw Dan Mitchell before he was famous".
(These comments come from an Edinburgh reviewer, not a friend)!
So, here he is in his 1st full length show at the festival with "Free Egg". No, this is not an inducement to gain a bigger audience with the promise of gaining complimentary farm produce but a vomit reference.
Dan Mitchell is not your average observational comedian. He sees things differently to the rest of us. Few comedians would appear on stage in a household appliance pretending to be a West End musical star singing an Andrew Lloyd Webber song. The focus of the story is what happened in his head when he was ill and unable to leave the house.
The material is solid and includes some trust and tested stories from previous shows but it is when he riffs with his audience that the evening comes alive. Suddenly his brain is in warp- factor drive and he is a Geordie seagull talking to other long-necked birds.
This is a highly enjoyable hour and depends upon the quality of the audience. If you supply sufficient ideas he will reward you with comedy gold. Sadly, he has yet to make a name for himself at the festival so audences could be bigger. So, do yourself a favour, go and then you can say " I saw Dan Mitchell before he was famous".
(These comments come from an Edinburgh reviewer, not a friend)!
Andrew O'Neill and Marc Burrows Do Music And Comedy And Hideous Murders - 12th August 2012
2 years ago "The Men Who Will Not Be Blamed For Nothing" won the DARKCHAT award for Best Music. Last year Marc Burrows won the DARKCHAT award for Best Free Show so the expectations were high for his show at Canon's Gait.
These were somewhat tempered with the news that Andrew O'Neill would not appear tonight as he had a better gig elsewhere. However, Marc Burrows had wisely recruited three comedians to fill the gap.
He still gamely played and sang a few numbers from his band, impressively as normally he is only the bass player. Despite a big build-up I was expecting some generic unknown free comedians and was surprised to discover the opening act was Wil Hodgson with a highly impressive set ( a possible addition to next year's spreadsheet). He was followed by Rob Auton, hitherto unknown to me, discussing his love for the colour yellow and his sketch about a builder mistakenly painting his room maroon is one of my festival highlights. ( He is a definite for next year's spreadsheet if he returns).
Sadaly, the final comedian (whose man I thankly can't remember) had no discernible material instead spending too much time finding out exactly why a couple were late and asking what a heckler didn't like about him. Fortunately, the man concerned decided not to provide a full critique of how this performer had forgotten the basic role of a comedian, TO BE FUNNY.
This was a strange show. It was still enjoyable though, any chance to hear songs from our favourite Steam Punk band is always appreciated. It must be stressed that this performance was a one-off and when Mr O'Neill returns the show will return to its normal format. Go and see what we missed.
These were somewhat tempered with the news that Andrew O'Neill would not appear tonight as he had a better gig elsewhere. However, Marc Burrows had wisely recruited three comedians to fill the gap.
He still gamely played and sang a few numbers from his band, impressively as normally he is only the bass player. Despite a big build-up I was expecting some generic unknown free comedians and was surprised to discover the opening act was Wil Hodgson with a highly impressive set ( a possible addition to next year's spreadsheet). He was followed by Rob Auton, hitherto unknown to me, discussing his love for the colour yellow and his sketch about a builder mistakenly painting his room maroon is one of my festival highlights. ( He is a definite for next year's spreadsheet if he returns).
Sadaly, the final comedian (whose man I thankly can't remember) had no discernible material instead spending too much time finding out exactly why a couple were late and asking what a heckler didn't like about him. Fortunately, the man concerned decided not to provide a full critique of how this performer had forgotten the basic role of a comedian, TO BE FUNNY.
This was a strange show. It was still enjoyable though, any chance to hear songs from our favourite Steam Punk band is always appreciated. It must be stressed that this performance was a one-off and when Mr O'Neill returns the show will return to its normal format. Go and see what we missed.
Dead Cat Bounce - 11th August 2012
Garlic bread? Cheesey chips? Comedy rock? These are combinations that shouldn't work, but, fortunately Dead Cat Bounce proved that this premise can work if you are talented musicians and wordsmiths. Oddly enough, though, the evening wouldn't have been such a success but for excellent sound. Clever and funny lyrics are pointless unless you hear them all and the sound crew ensured this was not a problem.
All three musicians possess the rock god status many of us aspire to but few achieve. This was our third show of this year's festival and they had the disadvantage of following Pappy's Last Show Ever ( 5 stars) but after their opening number "Border Control" we realised we were in surreal yet funny territory. The songs were often laugh out loud funny ( an increasingly rare talent) and impressively the link between songs were just as amusing.
As each year passes I feel the music aspect of the festival weakens but "Dead Cat Bounce" helps to rectify the balance. If you like the music and laughing, go. "Howl Of The She-Leopard" is truly a two for one show.
All three musicians possess the rock god status many of us aspire to but few achieve. This was our third show of this year's festival and they had the disadvantage of following Pappy's Last Show Ever ( 5 stars) but after their opening number "Border Control" we realised we were in surreal yet funny territory. The songs were often laugh out loud funny ( an increasingly rare talent) and impressively the link between songs were just as amusing.
As each year passes I feel the music aspect of the festival weakens but "Dead Cat Bounce" helps to rectify the balance. If you like the music and laughing, go. "Howl Of The She-Leopard" is truly a two for one show.
Monday, 20 August 2012
The Space Race - Wednesday 15th August 2012
Despite being a little disappointed by their alternative show " The Midnight Movie" we were back for their latest comedy play. Upon arrival we are met by the unexpected sight of them Morris dancing, with occasional help from audience members.
This introduces us to the quaint village of Lower Birchley which we later discover houses a secret military base where they plan to launch a rocket and beat the Americans and Russians to land on the moon. Oh, did I mention we were back in the 1960's? Naturally, all does not go well and in the best traditions of science fiction movies there are evil aliens determined to take over the world.
This is the style of comedy the Beta Males excel at. Silly situations, silly characters and silly audience interplay. They are clearly following the gap left (hopefully only temporarily by the Penny Dreadfuls) in the comedy play genre. (Though they had better watch out as Sad Faces have shown a change of style this year and are close on their heels).
As usual the performances are impeccable ( Guy Kelly excels with his facial contortions and Richard Soames does some real acting) and they rapport well with an adoring audience. The plot could be tighter and some jokes are predictable but there are few shows on the fringe as funny as this.
This introduces us to the quaint village of Lower Birchley which we later discover houses a secret military base where they plan to launch a rocket and beat the Americans and Russians to land on the moon. Oh, did I mention we were back in the 1960's? Naturally, all does not go well and in the best traditions of science fiction movies there are evil aliens determined to take over the world.
This is the style of comedy the Beta Males excel at. Silly situations, silly characters and silly audience interplay. They are clearly following the gap left (hopefully only temporarily by the Penny Dreadfuls) in the comedy play genre. (Though they had better watch out as Sad Faces have shown a change of style this year and are close on their heels).
As usual the performances are impeccable ( Guy Kelly excels with his facial contortions and Richard Soames does some real acting) and they rapport well with an adoring audience. The plot could be tighter and some jokes are predictable but there are few shows on the fringe as funny as this.
The Enormous Turnip - 16th August 2012
A few years ago trying to find a show in the festival to entertain three year old twins would have been a nightmare. Recently though, ( like most of the other sections) the choice of children's shows is becoming quite impressive. Spotlites Theatre productions are becoming experts in this genre, producing two shows, this show alternating with " The Magic Porridge Pot".
Along with drunks children are possibly the hardest audience to please as you will discover if they are bored or restless. Two ways of holding their interest are to recreate a story they know or use a lot of participation. Spotlites Theatre are not silly, they use both.
Upon arrival they give the children a programme also acting as a ticket to a cushion in front of a chair occupied by an adult. The helper is very clear about how they can get involved, raise their hand when they are asked for help and then ensuring they return to the designated white line.
Then we are introduced to the three performers who play a variety of roles and are excellent in relating to the youngsters. The story is simple, basically planting a seed, watering it, protecting it from predators and watch it grow.
This synopsis does not capture the looks of wonderment of the children which is of course the reason for coming. Sadly, their run has ended this year but I am sure they will return, as will the children.
Along with drunks children are possibly the hardest audience to please as you will discover if they are bored or restless. Two ways of holding their interest are to recreate a story they know or use a lot of participation. Spotlites Theatre are not silly, they use both.
Upon arrival they give the children a programme also acting as a ticket to a cushion in front of a chair occupied by an adult. The helper is very clear about how they can get involved, raise their hand when they are asked for help and then ensuring they return to the designated white line.
Then we are introduced to the three performers who play a variety of roles and are excellent in relating to the youngsters. The story is simple, basically planting a seed, watering it, protecting it from predators and watch it grow.
This synopsis does not capture the looks of wonderment of the children which is of course the reason for coming. Sadly, their run has ended this year but I am sure they will return, as will the children.
Tuesday, 14 August 2012
Allotment - 12th August 2012
Everyone knows there are an increasing amount of performances in the Edinburgh festival, a lot of which are comedy or generic student shows in stuffy, hot, cramped venues. Each year it becomes harder to uncover different and unusual events.
Site specific shows occasionally appear each year and though the weather in Scotland's capital is changeable ( to say the least) it is generally worth checking out those performances set outdoors.
Nutshell theatre's " Allotment" amazingly is set in an allotment in Inverleith. To be fair I doubt if many people make the trip to a venue in A1 of the fringe brochure but the journey itself is worth the admission price alone. We haven't visited this area for a long time and it was lovely being re-united with the lovely sights of Inveleith Park and the Botanic gardens. It was so peacfeul and tranquil you would not have known there was a festival going on until you reach the designated allotment and are warmly greeted with a lovely cup of tea and a scone.
The show revolves around two sisters, Dora & Maddy from childish exuberance to ageing resentment. The gardens are a vital ingredient of the play but it is the quality of writing acting that grips the audience from beginning to end. Nicola Jo Cully and Gowan Calder beautifully capture the essence of these souls over countless decades without ever resulting to caricature or mawkishness. The weather was kind & as the play reached its climax the sun made a welcome appearance just at the most opportune moment.
This reviewer was enchanted and moved. Please go, but take time to enjoy the beautiful scenery around you.
Site specific shows occasionally appear each year and though the weather in Scotland's capital is changeable ( to say the least) it is generally worth checking out those performances set outdoors.
Nutshell theatre's " Allotment" amazingly is set in an allotment in Inverleith. To be fair I doubt if many people make the trip to a venue in A1 of the fringe brochure but the journey itself is worth the admission price alone. We haven't visited this area for a long time and it was lovely being re-united with the lovely sights of Inveleith Park and the Botanic gardens. It was so peacfeul and tranquil you would not have known there was a festival going on until you reach the designated allotment and are warmly greeted with a lovely cup of tea and a scone.
The show revolves around two sisters, Dora & Maddy from childish exuberance to ageing resentment. The gardens are a vital ingredient of the play but it is the quality of writing acting that grips the audience from beginning to end. Nicola Jo Cully and Gowan Calder beautifully capture the essence of these souls over countless decades without ever resulting to caricature or mawkishness. The weather was kind & as the play reached its climax the sun made a welcome appearance just at the most opportune moment.
This reviewer was enchanted and moved. Please go, but take time to enjoy the beautiful scenery around you.
Beta Males Midnight Movie - 11th August 2012
The Beta Males leapt to prominence at the Edinburgh festival last year with "The Train Job" a success with critics and public like, They return with their latest comedy play " The Space Race" but in true fringe fashion they have an additional show running. For four performances only they show a truly horrific film with comedic inserts so hopefully we can literally die laughing.
A late start ( actually Sunday morning) allows other performers to join them (after their own shows end) in a variety of unexpected guises. One well known sketch group's sole contribution was a silent impression of a large static insect at about 1.30am, ( I would have loved to have listened to that particular sales pitch).
There is no doubting that these comedy inserts were internded to liven up proceedings and stop you from thinking you are just watching a film. Unfortunately, they were generally under-written or repetitive , though I enjoyed the concept of the director's commentary gradually petering out as he became increasingly involved reading an Agatha Christie novel.
Thnis evening would have been disappointing if the film hadn't been absolutely hysterical in its own right. Badly written, horrendously acted, poorly directed with a special effects budget not exceeding £5 this was perfect late night cult viewing. Sadly, technical problems ensured we never saw the ending and even sadder is the fact that we are tempted to track down the original and its (unnecessary and unwanted) sequel.
Having been critical of the additional material this is an Edinburgh event that you won't see elsewhere, surely the reason the festival exists. So,if you fancy being part of something unique and watch a truly awful film on a big screen head to one of the last two performances this week-end.
A late start ( actually Sunday morning) allows other performers to join them (after their own shows end) in a variety of unexpected guises. One well known sketch group's sole contribution was a silent impression of a large static insect at about 1.30am, ( I would have loved to have listened to that particular sales pitch).
There is no doubting that these comedy inserts were internded to liven up proceedings and stop you from thinking you are just watching a film. Unfortunately, they were generally under-written or repetitive , though I enjoyed the concept of the director's commentary gradually petering out as he became increasingly involved reading an Agatha Christie novel.
Thnis evening would have been disappointing if the film hadn't been absolutely hysterical in its own right. Badly written, horrendously acted, poorly directed with a special effects budget not exceeding £5 this was perfect late night cult viewing. Sadly, technical problems ensured we never saw the ending and even sadder is the fact that we are tempted to track down the original and its (unnecessary and unwanted) sequel.
Having been critical of the additional material this is an Edinburgh event that you won't see elsewhere, surely the reason the festival exists. So,if you fancy being part of something unique and watch a truly awful film on a big screen head to one of the last two performances this week-end.
Monday, 6 August 2012
Short and Curly - 29th July 2012
Having seen three pre-Edinburgh review shows in Cardiff yesterday I then moved Capital cities to see a couple of events in the Olympics. Amazingly, en route to a relative I discovered there was a Free Edinburgh festival at The Bedford, a large pub in Balham.
I headed straight to see "Short and Curly", a sketch comedy duo. I believe comedy succeeds because of good material, good performers and the ability to connect with an audience. One out of three is sufficient to make you laugh but "Short and Curly" impressively ticked all three boxes.
Rebecca Shorrocks and Paul Taylor are both charismatic in their own right and combine well together. As usual with sketch comedy some sketches work better than others but all of them have funny moments. Refreshingly, there is no theme linking them all, though the better characters do reappear throughout the show.
Anyone attending a show in Edinburgh runs the risk of getting involved but I thought I was safe sitting in the middle of the third row. I was wrong and soon became involved in a line-up before being found guilty of an unnamed crime. Calling a reviewer a criminal is normally a bad idea but I enjoyed them so much I will not be contacting my lawyer.
There are a lot of complicated costume and prop changes and being a preview things do not go smoothly including a completely mis-timed set of music cues but this only helped to add to their natural charm as they ad-libbed their wat through the mishaps.
The Edinburgh fringe is increasingly turning into a comedy festival and you could now spend a week only seeing Free shows. The down-side is that there is no quailty control. Well, there is here. Go and see "Short and Curly". If you find a better free show you will be lucky. You won't be disappointed!!
I headed straight to see "Short and Curly", a sketch comedy duo. I believe comedy succeeds because of good material, good performers and the ability to connect with an audience. One out of three is sufficient to make you laugh but "Short and Curly" impressively ticked all three boxes.
Rebecca Shorrocks and Paul Taylor are both charismatic in their own right and combine well together. As usual with sketch comedy some sketches work better than others but all of them have funny moments. Refreshingly, there is no theme linking them all, though the better characters do reappear throughout the show.
Anyone attending a show in Edinburgh runs the risk of getting involved but I thought I was safe sitting in the middle of the third row. I was wrong and soon became involved in a line-up before being found guilty of an unnamed crime. Calling a reviewer a criminal is normally a bad idea but I enjoyed them so much I will not be contacting my lawyer.
There are a lot of complicated costume and prop changes and being a preview things do not go smoothly including a completely mis-timed set of music cues but this only helped to add to their natural charm as they ad-libbed their wat through the mishaps.
The Edinburgh fringe is increasingly turning into a comedy festival and you could now spend a week only seeing Free shows. The down-side is that there is no quailty control. Well, there is here. Go and see "Short and Curly". If you find a better free show you will be lucky. You won't be disappointed!!
Richard Herring - 28th July 2012
Simarly, to Catie Wilkins Richard Herring is previewing his Edinburgh show and claims to be under-prepared. However, his traditional machine-gun delivery and easy rapport indicated he was in complete control of his material and even technical glitches failed to put him off his stride.
"Talking Cock" is a revival of his 2003 show, his male version of "The Vagina Monologues". This, of course provides him with the perfect opportunity to deliver a succession of "knob" gags which never fail to hit the target.
Everyone who has seen him will know he is a great comedian but in many ways the biggest laughs of the day come from the public. Over the past few years he has set up (anonymously) on-line polls to ask the most personal of questions from both sexes. Incredibly (and fortunately for him and us) people seemed happy to
reveal the most intimate and often hysterical details about their private parts and lives.
There are no great revelations or universal truths to be uncovered here but if you want to see a master comedian at work for an hour and laugh constantly "Talking Cock" is the show for you. (Prudes need not apply).
Most stand-up performers use recurrent themes but I have never before seen a joke referenced from a previous show. Outstanding.
"Talking Cock" is a revival of his 2003 show, his male version of "The Vagina Monologues". This, of course provides him with the perfect opportunity to deliver a succession of "knob" gags which never fail to hit the target.
Everyone who has seen him will know he is a great comedian but in many ways the biggest laughs of the day come from the public. Over the past few years he has set up (anonymously) on-line polls to ask the most personal of questions from both sexes. Incredibly (and fortunately for him and us) people seemed happy to
reveal the most intimate and often hysterical details about their private parts and lives.
There are no great revelations or universal truths to be uncovered here but if you want to see a master comedian at work for an hour and laugh constantly "Talking Cock" is the show for you. (Prudes need not apply).
Most stand-up performers use recurrent themes but I have never before seen a joke referenced from a previous show. Outstanding.
Catie Wilkins - 28th July 2012
A year ago today I saw Catie Wilkins Edinburgh preview show " Chip Off The Old Block" at St David's Hall. A year later we are now at Chapter to see this year's Edinburgh show "Joy Is My Middle Name".
This was basically a statement about how ironic it was for a shy, hesitant woman to take up a career as a stand-up comic. Her marital situation may have changed but her stilted and less than confident style hadn't. She openly admitted she hadn't learnt the script and blatantly read her links from her tiny phone.
This was a shame as her material was funnier than last year's show but her referral to her notes lost all the momentum she had built up. But, this is why performers have previews and hopefully once she knows her show she can win over her audience with her amusing stories and likeable, engaging personality.
Sunday, 5 August 2012
The Two Worlds Of Charlie F - 28th July 2012
Every now and again a play comes along and re-defines what you think about theatre. Is acting about convincingly playing a different character to yourself, relating your own experience or playing a character based on the re-interpretation of events relating to your life? What happens if the actor in the play isn't an actor at all? If you go and see "The Two Worlds Of Charlie F" you can answer these questions.
Playwright Owen Sheers has listened to the stories of soldiers ( male and female) injured during the current Afghanistan conflict and created a drama from their tales. Nothing new about that you might think. The next astonishing act is to persuade the actors to appear in the play in a one-off performance at the Theatre Royal, Haymarket. The success of this unique event has resulted in a tour at the coveted Pleasance at the Edinburgh festival.
So, why has this been such a critical success receiving such a glowing endorsement from Ray Winstone ( check out his outstanding Youtube advertisement)? Well, firstly I can't think of such an unusual project and whatever you think about the rights and wrongs of war most people admire (though don't really understand) why people wouild put their lives and bodies on the line.
Great theatre is about connecting with your audience. Ultimately, that is what " The Two Worlds Of Charlie F" is about. You are forced to confront how you deal with people missing limbs in everyday life while listening to their stories of how this occurred. This show works because it is real and avoids the obvious traps. It is not mawkish, it does not manipulate your emotions, it is honest and brutal. The language does not belong in an Ayckbourn play, the description of war is not always easy to hear and most importantly, none of them play the blame game. There is no finger-pointing about the morality of the conflict, any failures of equipment etc, it is just a statement of fact about army life, what happened to them and how they are coping.
The above sounds heavy-going but the playwright wisely includes a lot of humour and amazingly new songs. Some (none professional) performers naturally look more comfortable on stage than others, the self-confidence of Cassidy Little in the lead role is extremely impressive, but overall the performances are outstanding. ( The programme is also particularly illuminating about why most of them have agreed to be in the play).
The only suggestion I would make to improve the play is to cut the interval and run it through in one act, which I believe will happen in Edinburgh.
So, if you want to experience an extremely unusual theatrical event rush to see " The Two Worlds Of Charlie F". You won't be disappointed.
Playwright Owen Sheers has listened to the stories of soldiers ( male and female) injured during the current Afghanistan conflict and created a drama from their tales. Nothing new about that you might think. The next astonishing act is to persuade the actors to appear in the play in a one-off performance at the Theatre Royal, Haymarket. The success of this unique event has resulted in a tour at the coveted Pleasance at the Edinburgh festival.
So, why has this been such a critical success receiving such a glowing endorsement from Ray Winstone ( check out his outstanding Youtube advertisement)? Well, firstly I can't think of such an unusual project and whatever you think about the rights and wrongs of war most people admire (though don't really understand) why people wouild put their lives and bodies on the line.
Great theatre is about connecting with your audience. Ultimately, that is what " The Two Worlds Of Charlie F" is about. You are forced to confront how you deal with people missing limbs in everyday life while listening to their stories of how this occurred. This show works because it is real and avoids the obvious traps. It is not mawkish, it does not manipulate your emotions, it is honest and brutal. The language does not belong in an Ayckbourn play, the description of war is not always easy to hear and most importantly, none of them play the blame game. There is no finger-pointing about the morality of the conflict, any failures of equipment etc, it is just a statement of fact about army life, what happened to them and how they are coping.
The above sounds heavy-going but the playwright wisely includes a lot of humour and amazingly new songs. Some (none professional) performers naturally look more comfortable on stage than others, the self-confidence of Cassidy Little in the lead role is extremely impressive, but overall the performances are outstanding. ( The programme is also particularly illuminating about why most of them have agreed to be in the play).
The only suggestion I would make to improve the play is to cut the interval and run it through in one act, which I believe will happen in Edinburgh.
So, if you want to experience an extremely unusual theatrical event rush to see " The Two Worlds Of Charlie F". You won't be disappointed.
Thursday, 19 July 2012
Grainne Maguire - 17th July 2012
This Irish comedienne has a show revolving around how annoying " Try too hard people" are. She admits she is " a try too hard person". She is right, they are annoying.
She had the occasional good line, but her full-on persona failed to connect with the audience and she lost us, the worst fate that can befall a performer.
Disappointing.
She had the occasional good line, but her full-on persona failed to connect with the audience and she lost us, the worst fate that can befall a performer.
Disappointing.
Chris Corcoran's Committee Meeting - 17th July 2012
He may not know it, but Elis James and I have been through a lot, Many years ago I saw him host the short-lived Cardiff Bites at Dempseys & I was sick at the end of his gig at the Kaz Bar, again long gone and is a relection on my inability to drink huge amounts of wine (then) than his act. He was then the opening act for DARKCHAT in 2009 in a tropical hell-hole called the Tron which was so hot ( those were the days) he shared his bottle of water with the audience to avoid possible fatalities.
He has a solo show in Edinburgh this year but was on cracking form at the Glee Club, Cardiff in " Chris Corcoran and Elis James - The Committee Meeting".
The show does what it says on the tin. Chris Corcoran is in the chair and the and we (the audience) are his committee members. He is aided and abetted by Mr James in a couple of character roles, including Steve News, who wants to ... read the news. There is a lot of audience involvement and a surreal Mastermind caretaker contest between rival club caretakers.
The evening then went up a level when we hear of the 85 year old's unexepected involvement on the American soul scene on the 1960's & 1970's. This section is well worth the price of admission alone!
Oddly enough the reason why this evening was successful might explain why they might not fare so well in the Scottish capital. Firstly, the preview is set in a Welsh Club with two Welsh comedians portraying Welsh characters performing in front of a Welsh audience. Secondly, they were clearly under-rehearsed and an audience loves nothing more than watching things going wrong, forgotten props, consistently missed music cues and Chris telling the audience " you are now watching Elis and and not an 85.year old character".
They have a couple of weeks to tighten up the show but I suspect the Scottish audience would still enjoy their apparent amateurishness. There will be slicker, more sensible shows in Edinburgh but this is worth catching to see two funnymen clearly thoroughly enjoying themselves which infectiously reaches out to the audience.
He has a solo show in Edinburgh this year but was on cracking form at the Glee Club, Cardiff in " Chris Corcoran and Elis James - The Committee Meeting".
The show does what it says on the tin. Chris Corcoran is in the chair and the and we (the audience) are his committee members. He is aided and abetted by Mr James in a couple of character roles, including Steve News, who wants to ... read the news. There is a lot of audience involvement and a surreal Mastermind caretaker contest between rival club caretakers.
The evening then went up a level when we hear of the 85 year old's unexepected involvement on the American soul scene on the 1960's & 1970's. This section is well worth the price of admission alone!
Oddly enough the reason why this evening was successful might explain why they might not fare so well in the Scottish capital. Firstly, the preview is set in a Welsh Club with two Welsh comedians portraying Welsh characters performing in front of a Welsh audience. Secondly, they were clearly under-rehearsed and an audience loves nothing more than watching things going wrong, forgotten props, consistently missed music cues and Chris telling the audience " you are now watching Elis and and not an 85.year old character".
They have a couple of weeks to tighten up the show but I suspect the Scottish audience would still enjoy their apparent amateurishness. There will be slicker, more sensible shows in Edinburgh but this is worth catching to see two funnymen clearly thoroughly enjoying themselves which infectiously reaches out to the audience.
Tuesday, 17 July 2012
The Devil's Jig - 15th July 2012
In 2010 Cardiff writer Rick Allden's mini-play "The Devil's Jig" came second in Sherman Theatre's Script Slam competition. Re-written and amended for the Cardiff Comedy festival it appeared for one night only ( so far) upstairs at Dempseys.
Last year's Comedy Festival offering "Humanzee" was performed at the Chapter Arts centre but this production is part of their current trend of providing cheap and cheerful shows in pub spaces. The lack of technical enhancements stimulates the imagination which is perfectly indicated in the opening moments. The simple use of a sheet, lighting and name on sticks provided a highly amusing and silly opening title sequence which immediately set the tone for the following hour's entertainment.
Guy D'Amn Fine is a highwayman, looking back at his past glories, the women, the money, the women, the fame and not forgetting, the women. He uses flashbacks to show the events which lead him to his current predicament, awaiting his imminent death at the end of a hangman's noose.
Rick Allden's scripts are always funny but they need good actors to bring these weird characters to life and over the years Inky Quills have acquired an impressive array of performers. George Goding ( who also directed the piece) excels as the egotistical, yet family protector, Guy D'amnfine, Alan Humphreys shows his versatility in a variety of roles as diverse as a dead French Highwayman, Mrs D'amnfine and a very butch nun ( you do wonder about the state of the writer's mind sometimes) and Jon Holcroft made you believe he truly was a lisping Cockney idiot.
This production saw the arrival of a new addition to the Inky fold, Yusuf as Lord Dove, displaying an unexpectedly high voice for such an evil baddie amd showing great comic timing and an impressive stage presence ( not to mention his nipples).
This play is worthy of a longer run and a wider audience. If it comes around your way, don't miss it if you like affordable, accessible fun. Oh, and nuns!!
(Inky Quill productions is mainly known for comedy but it is also branching out into horror plays ( look out for the next Shudders at Halloween).
Last year's Comedy Festival offering "Humanzee" was performed at the Chapter Arts centre but this production is part of their current trend of providing cheap and cheerful shows in pub spaces. The lack of technical enhancements stimulates the imagination which is perfectly indicated in the opening moments. The simple use of a sheet, lighting and name on sticks provided a highly amusing and silly opening title sequence which immediately set the tone for the following hour's entertainment.
Guy D'Amn Fine is a highwayman, looking back at his past glories, the women, the money, the women, the fame and not forgetting, the women. He uses flashbacks to show the events which lead him to his current predicament, awaiting his imminent death at the end of a hangman's noose.
Rick Allden's scripts are always funny but they need good actors to bring these weird characters to life and over the years Inky Quills have acquired an impressive array of performers. George Goding ( who also directed the piece) excels as the egotistical, yet family protector, Guy D'amnfine, Alan Humphreys shows his versatility in a variety of roles as diverse as a dead French Highwayman, Mrs D'amnfine and a very butch nun ( you do wonder about the state of the writer's mind sometimes) and Jon Holcroft made you believe he truly was a lisping Cockney idiot.
This production saw the arrival of a new addition to the Inky fold, Yusuf as Lord Dove, displaying an unexpectedly high voice for such an evil baddie amd showing great comic timing and an impressive stage presence ( not to mention his nipples).
This play is worthy of a longer run and a wider audience. If it comes around your way, don't miss it if you like affordable, accessible fun. Oh, and nuns!!
(Inky Quill productions is mainly known for comedy but it is also branching out into horror plays ( look out for the next Shudders at Halloween).
Thursday, 12 July 2012
Lucy Porter - People Person 9th July 2012
Lucy Porter was the 11th show DARKCHAT ever saw, way back in August 2007.
In recent times she has been less prominent on stage and screen due to 2 almost consecutive pregancies. She has always been a comedienne who talks about her own experiences and this show revolves around how she has coped with bringing up two young children. In particular the need to leave the house and try and make new friends, resulting in a chance meeting at a coffee shop.
Lucy Porter is always a good and like-able story-teller and the tale, as always, is funny and interesting with an unexpected (and sad) ending, but it had few laugh-out-loud highlights.
It was enjoyable enough but (on this double-bill of female comics) she had the misfortune to follow the high octane set of Vikki Stone. It is unfair to compare their styles but Lucy Porter failed to build on the momentum the early act supplied.
Fun, but no surprises.
In recent times she has been less prominent on stage and screen due to 2 almost consecutive pregancies. She has always been a comedienne who talks about her own experiences and this show revolves around how she has coped with bringing up two young children. In particular the need to leave the house and try and make new friends, resulting in a chance meeting at a coffee shop.
Lucy Porter is always a good and like-able story-teller and the tale, as always, is funny and interesting with an unexpected (and sad) ending, but it had few laugh-out-loud highlights.
It was enjoyable enough but (on this double-bill of female comics) she had the misfortune to follow the high octane set of Vikki Stone. It is unfair to compare their styles but Lucy Porter failed to build on the momentum the early act supplied.
Fun, but no surprises.
Wednesday, 11 July 2012
Vikki Stone - 9th July 2012
July. Rain. The rain. Some sun. Wimbledon. Rain. The Open Golf. Rain. And most importantly pre-Edinburgh fringe festival previews.
The Cardiff Comedy festival wisely chooses this month to spot-light familiar ( and probably more importantly) lesser known but up and coming talent as they try out their shows before they to the Scottish capital later next month.
This is the time to catch a bargain. For about the price of a solo show in Edinburgh you get to see two comedians ( tonight comediennes) performing their acts. You then get the chance to see how your reviews match those appearing North of the Border in August.
In tonight's double-bill of female funsters we first saw the award-winning Vikki Stone trying to explain what a "Hot Mess" was. We may not particularly have been any the wiser afterwards but we were impressed by the contents of her Durex hamper which was her reward for winning that award!
Showing complete confidence in her material and how to relate to an audience she revealed her love for Philip Scofield,Dragons Den and No Deal Or No Deal in a variety of hysterical set-pieces. As well as good spoken material she impressively showed that the art of the comedy song was not dead and knew the limits of rude,bawdy humour without reverting to coarseness for effect.
A Monday evening Cardiff audience wants to be entertained but will get involved if asked politely. Joining in with a love song to the theme of Jurassic Park was the perfect, if surreal, moment which summed up the evening.
The Edinburgh festival is awash with comedians. It is easy just to see people off the television ( though they don't come cheap). Much more fulfilling is picking less familiar (and more reasonably priced) names and watch their career develop. To be honest Vikki Stone was not a name I recognised when I arrived. Hopefully she will receive the acclaim she deserves in Edinburgh for this highly enjoyable and extremely funny show. If you want to be able to say you caught her first, visit Underbelly:
http://www.edfringe.com/whats-on/comedy/vikki-stone-hot-mess
The Cardiff Comedy festival wisely chooses this month to spot-light familiar ( and probably more importantly) lesser known but up and coming talent as they try out their shows before they to the Scottish capital later next month.
This is the time to catch a bargain. For about the price of a solo show in Edinburgh you get to see two comedians ( tonight comediennes) performing their acts. You then get the chance to see how your reviews match those appearing North of the Border in August.
In tonight's double-bill of female funsters we first saw the award-winning Vikki Stone trying to explain what a "Hot Mess" was. We may not particularly have been any the wiser afterwards but we were impressed by the contents of her Durex hamper which was her reward for winning that award!
Showing complete confidence in her material and how to relate to an audience she revealed her love for Philip Scofield,Dragons Den and No Deal Or No Deal in a variety of hysterical set-pieces. As well as good spoken material she impressively showed that the art of the comedy song was not dead and knew the limits of rude,bawdy humour without reverting to coarseness for effect.
A Monday evening Cardiff audience wants to be entertained but will get involved if asked politely. Joining in with a love song to the theme of Jurassic Park was the perfect, if surreal, moment which summed up the evening.
The Edinburgh festival is awash with comedians. It is easy just to see people off the television ( though they don't come cheap). Much more fulfilling is picking less familiar (and more reasonably priced) names and watch their career develop. To be honest Vikki Stone was not a name I recognised when I arrived. Hopefully she will receive the acclaim she deserves in Edinburgh for this highly enjoyable and extremely funny show. If you want to be able to say you caught her first, visit Underbelly:
http://www.edfringe.com/whats-on/comedy/vikki-stone-hot-mess
Sunday, 8 July 2012
RHYS DARBY - 3rd JULY 2012
Most successful stand-up touring comedians capitalise on television appearances on various panel and stand-up shows. Rhys Darby is the opposite.He started as a stand-up in his native New Zealand but it was his performance as Murray Hewitt in the comedy series " Flight Of The Conchords" that gave him the exposure to now tour big venues with his solo show.
Our first sight of him at St David's Hall was as Bill Napier (rhymes with Rapier) a Park Ranger. He was then followed by Jamie Bowen who, once he stopped swearing gratuitously, was actually quite funny with a scattergun riff about how boxes control our lives and some comedy songs. ( He will also be performing at Edinburgh in the guise of Munfred Bernstein in the "Cabinet of Munfred Bernstein" - http://www.edfringe.com/whats-on/comedy/munfred-bernstein-s-cabinet-of-wonder ).
These diversions filled the time until Rhys Darby appeared as himself. He is surprisingly tall and proves to be unexpectedly physically funny. He then leads us into his odd world with a series of random experiences of growing up in New Zealand. Some are funnier than others and it all seems rather disjointed and haphazard. Then, as only master comedians can, he unleashes an unstoppable, hysterical finale when all these hitherto unconnected incidents seemlessly come together.
Being a good reviewer I will not reveal any specific moments and will just urge you to rush to see this unique performer. His " This Way To The Spaceship" is heading to the Edinburgh festival next month and despite stiff opposition will be one of the MUST SEE SHOWS.
DO NOT MISS.
Rhys will be appearing at Pleasance Courtyard : http://www.edfringe.com/whats-on/comedy/rhys-darby-this-way-to-spaceship
Our first sight of him at St David's Hall was as Bill Napier (rhymes with Rapier) a Park Ranger. He was then followed by Jamie Bowen who, once he stopped swearing gratuitously, was actually quite funny with a scattergun riff about how boxes control our lives and some comedy songs. ( He will also be performing at Edinburgh in the guise of Munfred Bernstein in the "Cabinet of Munfred Bernstein" - http://www.edfringe.com/whats-on/comedy/munfred-bernstein-s-cabinet-of-wonder ).
These diversions filled the time until Rhys Darby appeared as himself. He is surprisingly tall and proves to be unexpectedly physically funny. He then leads us into his odd world with a series of random experiences of growing up in New Zealand. Some are funnier than others and it all seems rather disjointed and haphazard. Then, as only master comedians can, he unleashes an unstoppable, hysterical finale when all these hitherto unconnected incidents seemlessly come together.
Being a good reviewer I will not reveal any specific moments and will just urge you to rush to see this unique performer. His " This Way To The Spaceship" is heading to the Edinburgh festival next month and despite stiff opposition will be one of the MUST SEE SHOWS.
DO NOT MISS.
Rhys will be appearing at Pleasance Courtyard : http://www.edfringe.com/whats-on/comedy/rhys-darby-this-way-to-spaceship
Tuesday, 5 June 2012
Our Country's Good - 1st June 2012
First produced at the Royal Court theatre in 1988, “Our Country’s Good” was one of three plays recently performed at the Welsh College of Music and Drama. It tells the story of convicts transported to Australia in the late 18th century and their harsh treatment by their captors.
We see an unrelenting circle of misdemeanours and punishment until the enlightened Ralph Clark attempts to impress the Governor by getting the prisoners to put on a play. His choice of George Farquhar’s ”The Recruiting Officer” has more in common with the privileged class than this underclass.
The play is broken-up with a lot of mini-scenes allowing the set designers, assistants and actors to show how organised they are to cope with these technically difficult changes. However, I felt that so many scenes broke up any real emotional intensity, which coupled with the fact that the cast played more than one role made it hard to get involved with the characters, especially at the beginning.
Gradually, though you get used to this frenetic style and the ending is rather moving. The acting is solid throughout with Gillian Saker excelling as Liz Morden with Alex Griffin-Griffiths stealing the show as Robert Sideway who enjoys acting a little too much.
This was an enjoyable evening though I was expecting more substance to the play. There were few surprises along the way and the ending, however uplifting, was predictable. Not as impressive as my last visit here to see “Clybourne Park” but perhaps that was too much to ask.
Monday, 4 June 2012
Minsk 2011: A Reply to Kathy Acker - 30th May 2012
Having missed this critically acclaimed play at last year’s Edinburgh festival I was determined not to miss one of it’s two dates at the Sherman Theatre. I wasn’t disappointed.
This is a piece (mainly) created by the cast to demonstrate the repression of any hint of free speech by the Belarus government. This is perfectly indicated in the opening scene where the actors are arrested for a variety of trivial events ranging from unfurling flags to clapping or playing a musical instrument.
However, this is not always an easy watch. The performers all speak Russian but the surtitles enable us to follow events on stage and some moments are purely visual eg, when a naked actress is body painted then totally covered in paper.
The most emotional part of the evening occurs right at the end when all the actors have a solo moment to discuss their own personal experiences of arrests, sackings, exile and forced separation from their loved ones.
This is theatre at its most visceral and riveting. Congratulations to Sherman Cymru for staging it and for the Belarus Free theatre coming to tell their story. Long may they continue to inform and entertain . A must see.
Sunday, 27 May 2012
King John - 19th May 2012
One of the joys of our 21st century has been the late discovery of the Royal Shakespeare theatre in Stratford. After our first visit in 2002 to see an Richard Jones' odd (if enjoyable) version of "A Midsummer Night's Dream" we have returned most years.
Like people who collect football league grounds I am (slowly) attempting to see all of Shakespeare's plays, so the appearance of this rarely seen play encouraged me to overcome a broken car and travel by train to see "King John".
You can see why this isn't performed more often as it doesn't easily fit into any obvious genre. It is one of his earlier plays and is a history story with John enjoying his coronation following the death of his brother Richard the Lionheart. Even the threat of war with France didn't deflect his arrogance having usurped Arthur, the son of John's brother Geoffrey.
But, having acquired the power he (and his dominant mother) wanted, he soon discovers it is harder to keep it. This is one of Shakespeare's wordy plays with the physical action occuring (conveniently) offstage. It is therefore essential that the director keeps an audience involved and here Maria Aberg is exceptional.
From the start, the Bastard (Shakespeare's name) arrives with an old-fashioned microphone to sing an uptempo version of " Land of Hope and Glory" which the audience join in with (rather impressively) and immediately we are part of a
patriotic masse.
The marriage of Lewis the Dauphin and Blanche is celebrated with a stunning wedding dinner celebration in their own style of " Dirty Dancing" with " The Time Of My Life" performed into front of a Strictly Come Dancing style audience. The second half commences with John's second coronation releasing a stage full of confetti and a huge number of huge balloons allowing the actors to kick them in anger as events get increasingly bad for them. One of the most beautiful moments occurs when Arthur nudges one of them slowly down the ramparts preceeding his suicide moments later.
Then, as King John is dying Alex Waldmann embarks one of the most challenging pieces of drama I have ever witnessed. He has to show us his forthcoming death by poisoning and his desperation to avoid his fate by dancing to the Four Seasons song "Beggin", centre-stage, all alone. That this succeeds is a testiment to the skill of the actor and the imagination of the director. Similarly, the choice of PJ Harvey's " Let England Shake" as we left the auditorium was a master-stroke.
This production is awash with ideas but some questions remained unanswered, how does John's mother die, why did Arthur kill himself, who was the monk who poisoned John etc? Perhaps this matters more to a modern audience brought up on endless detective shows and Scandinavian murder dramas than Shakespeare who is more concerned with intentions and consequences.
As always at Stratford the acting is of a high quality. In the title role Alex Waldmann perfectly shows the arrogance and contempt for the French and Arthur though I was less convinced of his emotional involvement when his crown is at stake in the second act.
Pippa Nixon as The Bastard steals the show, clearly relishing her unexpected advancement at the beginning of act one and the pace of the piece clearly picked up when she was on stage. John Stahl was an impressive Philip of France ( especially in the hysterical marriage sequence) with Susie Trayling providing most of the emotional drive as Arthur's mother.
This isn't an easy play to watch or perform but with thanks to an interesting perspective from the director this is a welcome addition to a Shakespeare watcher's portfolio.
Like people who collect football league grounds I am (slowly) attempting to see all of Shakespeare's plays, so the appearance of this rarely seen play encouraged me to overcome a broken car and travel by train to see "King John".
You can see why this isn't performed more often as it doesn't easily fit into any obvious genre. It is one of his earlier plays and is a history story with John enjoying his coronation following the death of his brother Richard the Lionheart. Even the threat of war with France didn't deflect his arrogance having usurped Arthur, the son of John's brother Geoffrey.
But, having acquired the power he (and his dominant mother) wanted, he soon discovers it is harder to keep it. This is one of Shakespeare's wordy plays with the physical action occuring (conveniently) offstage. It is therefore essential that the director keeps an audience involved and here Maria Aberg is exceptional.
From the start, the Bastard (Shakespeare's name) arrives with an old-fashioned microphone to sing an uptempo version of " Land of Hope and Glory" which the audience join in with (rather impressively) and immediately we are part of a
patriotic masse.
The marriage of Lewis the Dauphin and Blanche is celebrated with a stunning wedding dinner celebration in their own style of " Dirty Dancing" with " The Time Of My Life" performed into front of a Strictly Come Dancing style audience. The second half commences with John's second coronation releasing a stage full of confetti and a huge number of huge balloons allowing the actors to kick them in anger as events get increasingly bad for them. One of the most beautiful moments occurs when Arthur nudges one of them slowly down the ramparts preceeding his suicide moments later.
Then, as King John is dying Alex Waldmann embarks one of the most challenging pieces of drama I have ever witnessed. He has to show us his forthcoming death by poisoning and his desperation to avoid his fate by dancing to the Four Seasons song "Beggin", centre-stage, all alone. That this succeeds is a testiment to the skill of the actor and the imagination of the director. Similarly, the choice of PJ Harvey's " Let England Shake" as we left the auditorium was a master-stroke.
This production is awash with ideas but some questions remained unanswered, how does John's mother die, why did Arthur kill himself, who was the monk who poisoned John etc? Perhaps this matters more to a modern audience brought up on endless detective shows and Scandinavian murder dramas than Shakespeare who is more concerned with intentions and consequences.
As always at Stratford the acting is of a high quality. In the title role Alex Waldmann perfectly shows the arrogance and contempt for the French and Arthur though I was less convinced of his emotional involvement when his crown is at stake in the second act.
Pippa Nixon as The Bastard steals the show, clearly relishing her unexpected advancement at the beginning of act one and the pace of the piece clearly picked up when she was on stage. John Stahl was an impressive Philip of France ( especially in the hysterical marriage sequence) with Susie Trayling providing most of the emotional drive as Arthur's mother.
This isn't an easy play to watch or perform but with thanks to an interesting perspective from the director this is a welcome addition to a Shakespeare watcher's portfolio.
Tuesday, 15 May 2012
John Taylor - 6th May 2012
We don't know much about Jazz but every Cheltenham festival we try to select a balance of familiar musicians ( this year Seb Rochford and Roberta Fonseca) and new acts to us. Yesterday this proved successful with Sheelanagig and today it was the turn of John Taylor, an accomplished pianist celebrating his 70th birthday with a new piece commissioned by the BBC.
He duly surrrounded himself with an accomplished seven piece band featuring two of his sons and established players like Henning Berg on trombone and Julian Arguelles on Saxophone etc. As he explained at the start the piece is based on Kurt Vonnegut Jr's book " Harrison Bergeron" with each segment relating to particular characters and pivotal moments.
This undoubtedly helped from an audience perspective. As you listen you can decide if you like a tune or not but if you understand the thought process behind it it helps to paint a picture in your head.
This wasn't always an easy listen but it was interesting to compare with more sedate Seb Rochford/ Kit Downes show the previous evening. Both performances had their merits while the additional instruments to Mr Taylor which obviously helped to provide a more varied sound.
He,of course, as composer and pianist was the central figure and thoroughly deserved the tumultuous applause he received at the end. We may never have heard of him at the beginning of the festival but we would definitely add him to the (growing) list of people we would see again.
He duly surrrounded himself with an accomplished seven piece band featuring two of his sons and established players like Henning Berg on trombone and Julian Arguelles on Saxophone etc. As he explained at the start the piece is based on Kurt Vonnegut Jr's book " Harrison Bergeron" with each segment relating to particular characters and pivotal moments.
This undoubtedly helped from an audience perspective. As you listen you can decide if you like a tune or not but if you understand the thought process behind it it helps to paint a picture in your head.
This wasn't always an easy listen but it was interesting to compare with more sedate Seb Rochford/ Kit Downes show the previous evening. Both performances had their merits while the additional instruments to Mr Taylor which obviously helped to provide a more varied sound.
He,of course, as composer and pianist was the central figure and thoroughly deserved the tumultuous applause he received at the end. We may never have heard of him at the beginning of the festival but we would definitely add him to the (growing) list of people we would see again.
Roberto Fonseca - 6th May 2012
As always we like our Cheltenham festival to feature a balance of new and familiar musicians. In 2008 we were bowled over by the artistry of Roberto Fonseca and when we knew he was returning this was a must-see concert for us.
One of the disadvantages of the Jazz Arena is that as most of the seats are on the flat you have to bob between the heads of people sitting in front of you to see much. The alternative is to sit further back in the raised area which gives you the benefit of seeing everything that happens on stage. This may not be necessary for all Jazz concerts but is is a plus for Mr Fonseca who is always active. This can just be trying to focus on his fingers as they move too quickly for your eyes to properly focus on, to see his control of a computer keyboard, presumably to re-create certain sounds from his latest CD or just to watch his inter-action with his band. I was mesmerised just watching them all constantly staring at their leader to see what he wanted them to do next. This was Jazz at its most thrilling and enthralling.
The previous concert we saw him clearly referenced his Cuban/ Bueno Vista Social Club roots. This show is far more linked to World Music. The rhythms are similar but his current band makes this journey even more accessible and enjoyable. One of the joys was the musicianship and incredible personality of Baba Sissoko on African percussion and vocals. On the few occassions you could draw your attention from the effervescent pianist it was to see this charismatic performer.
The sell-out audience thoroughly and understandably had a great time ( though a few people amazingly did rush out before the end to catch another show). This was their loss as concerts of this quality don't come around often.
This was the perfect way to end our festival. Thank you Roberto, thank you Cheltenham.
One of the disadvantages of the Jazz Arena is that as most of the seats are on the flat you have to bob between the heads of people sitting in front of you to see much. The alternative is to sit further back in the raised area which gives you the benefit of seeing everything that happens on stage. This may not be necessary for all Jazz concerts but is is a plus for Mr Fonseca who is always active. This can just be trying to focus on his fingers as they move too quickly for your eyes to properly focus on, to see his control of a computer keyboard, presumably to re-create certain sounds from his latest CD or just to watch his inter-action with his band. I was mesmerised just watching them all constantly staring at their leader to see what he wanted them to do next. This was Jazz at its most thrilling and enthralling.
The previous concert we saw him clearly referenced his Cuban/ Bueno Vista Social Club roots. This show is far more linked to World Music. The rhythms are similar but his current band makes this journey even more accessible and enjoyable. One of the joys was the musicianship and incredible personality of Baba Sissoko on African percussion and vocals. On the few occassions you could draw your attention from the effervescent pianist it was to see this charismatic performer.
The sell-out audience thoroughly and understandably had a great time ( though a few people amazingly did rush out before the end to catch another show). This was their loss as concerts of this quality don't come around often.
This was the perfect way to end our festival. Thank you Roberto, thank you Cheltenham.
Monday, 14 May 2012
Kit Downes & Seb Rochford - 6th May 2012
For us the Cheltenham Jazz festival isn't the same without, at least, one sighting of Seb Rochford. Our first show in 2007 saw him as part of Fulbourn Teversham, before seeing him with Johnny Philips, Battle of the Beats with Schlomo and of course, Polar Bear.
Today he was teaming up with fellow Mercury nominated Kit Downes, allowing us our first oppportunity to look inside one of Cheltenham's newest venues. This was the Parabola Arts Centre which provided excellent comfortable seats and more importantly, perfect acoustics.
The concept behind this particular collaboration is quite simple. They both know each other individually and as part of other groups and just wanted to do something, just the two of them. So, they wrote their own tunes, rehearsed at each others houses & here they are. It sounds simple and in many ways it was. With Kit Downes generally leading on piano and Seb Rochford following this wasn't complicated music and I thought was a joy because of it's simplicity.
Having arrived at Cheltenham a few hours ago not feeling well, Sheelangig and Candi Staton perked me up and I was able to fully concentrate on every note and pause. The same, however, cannot be said of other audience members. One of the problems of starting a gig at 10.15pm is the temptation to close your eyes and let the music flow over you ( I know my wife did though she claims never to losing consciousness).
I wouldn't rush out to but any subsequent CD but this was a beautiful concert produced by two of the best Best contemporary Jazz musicians around. Well worth staying awake for and Kit Downes is now added to my growing list of performers I would see again
Sunday, 13 May 2012
Candi Staton - 5th May 2012
Every now and then I kindly allow my wife to select a show to see, which is how I ended up watching Candi Saton. I quite like a couple of her songs though I am not a great fan of 1970's souls music and was concerned this might turn into ninety minutes of " Young Hearts Run Free".
A generic cover of the Dobbie Brothers hit " Listen To The Music" didn't bode well although the early appearance of one her biggest UK hits " Nights On Broadway" helped to relax the packed audience.
We all knew she had a great voice but gradually we realised we were in the presence of an experienced entertainer who knew how to work the room. She carefully explained about the songs she was about to sing, talking about the writers and her reminescences, I never knew she was Grammy nominated for " Stand By Your Man" in 1971 etc.
For me the surprising aspect of the show was discovering what a great interpreter she is. Not only could she belt them out but she inhabited the songs, making them her own. She did a stunning version of a Bonnie Raitt song before singing " Breaking Down Slow" so poignantly I was moved to tears. I wasn't bothered by "Suspicious Minds" but her breath-taking take on " In The Ghetto" has replaced the Elvis version in my head.
I am a big Paloma Faith fan but surprisingly she was unable to compete with Miss Staton's on an improptu version of her 1969 hit" I'ld Rather Be An Old Man's Sweetheart (Than A Young Man's Fool").
The stage was dominated by the American's voice and presence but afterwards we saw her walking to her hotel and she looked tiny. (We were also amazed when we checked her age ( which I am too gallant to reveal) and discovered she was a decade older than we expected.
Credit must also go to her band who were all musically expert in their own right and now how to support the star without diminishing from her stunning abilities, helping to provide a storming show. Technically, not Jazz but when a show is as good as this who cares about labels.
Thank you Miss Staton for appearing and thanks to my wife for choosing it.
A generic cover of the Dobbie Brothers hit " Listen To The Music" didn't bode well although the early appearance of one her biggest UK hits " Nights On Broadway" helped to relax the packed audience.
We all knew she had a great voice but gradually we realised we were in the presence of an experienced entertainer who knew how to work the room. She carefully explained about the songs she was about to sing, talking about the writers and her reminescences, I never knew she was Grammy nominated for " Stand By Your Man" in 1971 etc.
For me the surprising aspect of the show was discovering what a great interpreter she is. Not only could she belt them out but she inhabited the songs, making them her own. She did a stunning version of a Bonnie Raitt song before singing " Breaking Down Slow" so poignantly I was moved to tears. I wasn't bothered by "Suspicious Minds" but her breath-taking take on " In The Ghetto" has replaced the Elvis version in my head.
I am a big Paloma Faith fan but surprisingly she was unable to compete with Miss Staton's on an improptu version of her 1969 hit" I'ld Rather Be An Old Man's Sweetheart (Than A Young Man's Fool").
The stage was dominated by the American's voice and presence but afterwards we saw her walking to her hotel and she looked tiny. (We were also amazed when we checked her age ( which I am too gallant to reveal) and discovered she was a decade older than we expected.
Credit must also go to her band who were all musically expert in their own right and now how to support the star without diminishing from her stunning abilities, helping to provide a storming show. Technically, not Jazz but when a show is as good as this who cares about labels.
Thank you Miss Staton for appearing and thanks to my wife for choosing it.
Saturday, 12 May 2012
Dirty Protest - 10th May 2012
Dirty Protest were established in 2007 to promote new work. Using the theme of "May Day" Debi Maclean curated seven pieces, written in four weeks, lasting from three to ten minutes and to feature no more than two female and one male character.
The performance took place under Bunkbed bar and was intimate theatre at its most literal sense. You could either sit on the floor surrounding the actors, on benches which provide no real view of proceedings or you stand up and see what you can between other heads and pillars. One of my friends gave up after one play while another asked me at the end if the actors were reading from scripts as he just couldn't see.
These practical problems were a shame as this was quite an enjoyable evening. Some plays I enjoyed more than others which is the advantage of short pieces, if you don't like the current one, another will be along soon.
My personal favourites were "Crossing" and "Mayday". In the former I loved Tudor Owen's concept of a couple rowing round the coast for charity, only for one to reveal he had been unfaithful. I thought the evening ended strongly with Keiron Self's touching tale about a comic book writer struggling on a date following the death of his wife. It was the perfect short play, funny, moving & wanting you to know more about the characters.
Impressively this evening moved along sharply ending within an hour. Lee Mengo, Rhian Blythe and Ffion Williams all handling their multi-roles well. Ultimately, I enjoyed the show more than I expected when it began. Would I go again? Probably not unless the venue is more audience friendly. Fortunately, I see their first full-lenth play " After The End" will be staged at Sherman Cymru in July.
The performance took place under Bunkbed bar and was intimate theatre at its most literal sense. You could either sit on the floor surrounding the actors, on benches which provide no real view of proceedings or you stand up and see what you can between other heads and pillars. One of my friends gave up after one play while another asked me at the end if the actors were reading from scripts as he just couldn't see.
These practical problems were a shame as this was quite an enjoyable evening. Some plays I enjoyed more than others which is the advantage of short pieces, if you don't like the current one, another will be along soon.
My personal favourites were "Crossing" and "Mayday". In the former I loved Tudor Owen's concept of a couple rowing round the coast for charity, only for one to reveal he had been unfaithful. I thought the evening ended strongly with Keiron Self's touching tale about a comic book writer struggling on a date following the death of his wife. It was the perfect short play, funny, moving & wanting you to know more about the characters.
Impressively this evening moved along sharply ending within an hour. Lee Mengo, Rhian Blythe and Ffion Williams all handling their multi-roles well. Ultimately, I enjoyed the show more than I expected when it began. Would I go again? Probably not unless the venue is more audience friendly. Fortunately, I see their first full-lenth play " After The End" will be staged at Sherman Cymru in July.
Monday, 7 May 2012
Sheelanagig - 5th May 2012
Our return to the Cheltenham Jazz festival after a two year absence did not have an auspicious start as for a variety of reasons we arrived a little late to see Sheelanagig.
Fortunately, we didn't miss much and we were soon immersed in their extraordinary world. With Aaron Catlow on violin and lead vocals, Adrian Sykes on flute, vocals ( and other items), Kit Hawes on guitar and vocals, Dorian Sutton on bass and vocals and John Blakeley on drums, percussion and vocals they excel in bringing Balkan and Eastern European music to the masses.
This is fun music and as well as instrumental tunes they wisely interspersed songs, generally with humourous explanations adding variety to proceedings and emphasizing how multi-talented these musicians are.Having been around for seven years this Bristol based group know how to engage with an audience. Aaron Catlow is the perfect front man chatting naturally and apologising for his terrible jokes.
But fun and brilliant musicianship still isn't enough for these guys. The unexpected addition of handstands, backflips, playing the guitar whilst balancing on the knees of colleagues and playing instruments horizontally all help to provide an all-round spectacle.
A perfect start to our festival. Now off to purchase the new CD.
Fortunately, we didn't miss much and we were soon immersed in their extraordinary world. With Aaron Catlow on violin and lead vocals, Adrian Sykes on flute, vocals ( and other items), Kit Hawes on guitar and vocals, Dorian Sutton on bass and vocals and John Blakeley on drums, percussion and vocals they excel in bringing Balkan and Eastern European music to the masses.
This is fun music and as well as instrumental tunes they wisely interspersed songs, generally with humourous explanations adding variety to proceedings and emphasizing how multi-talented these musicians are.Having been around for seven years this Bristol based group know how to engage with an audience. Aaron Catlow is the perfect front man chatting naturally and apologising for his terrible jokes.
But fun and brilliant musicianship still isn't enough for these guys. The unexpected addition of handstands, backflips, playing the guitar whilst balancing on the knees of colleagues and playing instruments horizontally all help to provide an all-round spectacle.
A perfect start to our festival. Now off to purchase the new CD.
Tuesday, 1 May 2012
Big and Small - 28th April 2012
The Barbican is not one of my favourite theatres so it takes a good reason to lure me to East London. However, a second appearance of Cate Blanchett on the London stage proved too strong to resist. I missed her previous appearance in David Hare's "Plenty" so I was determined not to lose the opportunity to see one of cinema's most intelligent actresses again.
It was only when I realised I would be watching a 160 minute German surrealist play that I began to have doubts. "Big and Small" ( Gross Und Klein) was written by Botho Strauss in 1978 and is presented by the Sydney Theatre company and will tour to other European venues.
It starts with Cate Blanchett sitting at the front of the stage, listening to conversations (unheard to us) whilst on holiday in Morooco. Following the monologue we entered strange scenes with the Australian actress appearing through bedroom windows and then constantly entering doors for some confusing mini-tableaux.
Eventually though the frenetic nature of the piece died down and as the audience becomes more acclimatised to the pace it becomes apparent that there is a coherent plot. We are following the exploits of Lotte a woman struggling to cope with the collapse of her marriage to Paul and see her (increasingly) desperate attempts to connect with old schoolfriends, family and ultimately the world.
This may sound heavy, pretentious material but the play's triumph is its warmth, humanity and humour. The playwright never allows us to laugh at the characters, only the situations eg a sleeping bag inhabited by a person avoiding the world, a seemingly normal family barbecue descending to chaos etc. These pieces are not designed to belittle Lotte but conversely show that none of us are totally inter-connected.
This is theatre on a grand scale. The production values are impressive with the scenery changes slik and effortless allowing these vignettes to flow naturally. The cast is surprisingly large (14) for a touring company and although obviously one performer dominates proceedings, her co-stars all have their moments in the spotlight.
But, of course the reason most people are here is to watch the Oscar-winning actress Cate Blanchett and she does not disappoint. Increasingly, film stars appear on the West End stage (often when their career is waning) in well-established plays , "Driving Miss Daisy", "The Sunshine Boys", "The Children's Hour" etc. It is therefore extremely impressive that she selected such an ambitious and demanding (both physically and mentally) piece. ( How she manages to perform twice on a matinee day is beyond me!) A succession of curtain calls from a packed, appreciative audience (no doubt relieved this was not as avant-garde as they had feared) proved she was right.
A wondrous evening was perfectly concluded having spotted Rufus Wainwright sitting next to the Duke & Duchess of Kent . A truly surreal night.
It was only when I realised I would be watching a 160 minute German surrealist play that I began to have doubts. "Big and Small" ( Gross Und Klein) was written by Botho Strauss in 1978 and is presented by the Sydney Theatre company and will tour to other European venues.
It starts with Cate Blanchett sitting at the front of the stage, listening to conversations (unheard to us) whilst on holiday in Morooco. Following the monologue we entered strange scenes with the Australian actress appearing through bedroom windows and then constantly entering doors for some confusing mini-tableaux.
Eventually though the frenetic nature of the piece died down and as the audience becomes more acclimatised to the pace it becomes apparent that there is a coherent plot. We are following the exploits of Lotte a woman struggling to cope with the collapse of her marriage to Paul and see her (increasingly) desperate attempts to connect with old schoolfriends, family and ultimately the world.
This may sound heavy, pretentious material but the play's triumph is its warmth, humanity and humour. The playwright never allows us to laugh at the characters, only the situations eg a sleeping bag inhabited by a person avoiding the world, a seemingly normal family barbecue descending to chaos etc. These pieces are not designed to belittle Lotte but conversely show that none of us are totally inter-connected.
This is theatre on a grand scale. The production values are impressive with the scenery changes slik and effortless allowing these vignettes to flow naturally. The cast is surprisingly large (14) for a touring company and although obviously one performer dominates proceedings, her co-stars all have their moments in the spotlight.
But, of course the reason most people are here is to watch the Oscar-winning actress Cate Blanchett and she does not disappoint. Increasingly, film stars appear on the West End stage (often when their career is waning) in well-established plays , "Driving Miss Daisy", "The Sunshine Boys", "The Children's Hour" etc. It is therefore extremely impressive that she selected such an ambitious and demanding (both physically and mentally) piece. ( How she manages to perform twice on a matinee day is beyond me!) A succession of curtain calls from a packed, appreciative audience (no doubt relieved this was not as avant-garde as they had feared) proved she was right.
A wondrous evening was perfectly concluded having spotted Rufus Wainwright sitting next to the Duke & Duchess of Kent . A truly surreal night.
Clytemnestra - 26th April 2012
The classical Greek plays are thousands of years old so it is refreshing to come across a modern take on an old classic. Former Welsh poet laureate Gwyneth Lewis taken the lesser known Clytemnestra and put her centre-stage. She is often a peripheral figure in drama as the wife of Agamemnon, who although rarely seen is the key figure in this story.
As with most Greek tragedies the drama has already occurred off-stage with the King having given up his daughter for much-needed food. Director Amy Hodge stages the play in an impressive industrial warehouse with workers bemoaning the lack of food and on the look-out for the marauding ferrals outside. Jaye Griffiths dominates proceedings in the title role, displaying the emotional turmoil you would expect from such an situation but without over-doing the dramatics.
These classic plays are not known for their subtlety so the ending holds no real surprises, other than the abruptness of the ending. This is a slick, classy production which does not overstay its welcome. It is hard to recover the intensity following the intrusion of an interval so they wisely choose to play it straight through. Even in these days of short attention spans seventy-five minutes is not too long to maintain concentration as long as the spectacle provided is riveting.
The acting from the entire cast and the classy staging proves this is a welcome addition to the classic Greek tragedy repertoire.
As with most Greek tragedies the drama has already occurred off-stage with the King having given up his daughter for much-needed food. Director Amy Hodge stages the play in an impressive industrial warehouse with workers bemoaning the lack of food and on the look-out for the marauding ferrals outside. Jaye Griffiths dominates proceedings in the title role, displaying the emotional turmoil you would expect from such an situation but without over-doing the dramatics.
These classic plays are not known for their subtlety so the ending holds no real surprises, other than the abruptness of the ending. This is a slick, classy production which does not overstay its welcome. It is hard to recover the intensity following the intrusion of an interval so they wisely choose to play it straight through. Even in these days of short attention spans seventy-five minutes is not too long to maintain concentration as long as the spectacle provided is riveting.
The acting from the entire cast and the classy staging proves this is a welcome addition to the classic Greek tragedy repertoire.
Antigone - 27th April 2012
I won't claim to be a great follower of Greek drama so it is highly ironic that I should see 2 Greek tragedies on consecutive nights ( in seperate coutries). Fresh from enjoying " Clytemenestra" in Cardiff I moved onto Mornington Crescent to see Sophocles "Antigone".
"Antigone" is the daughter of Oedipus mourning the deaths of her brothers in mortal combat ( which occurred at the end of " Seven against Thebes"). Creon has become King of Thebes and determined to show he is not afraid of exerting authority he decrees that the body of the traitor Polynices remain unburied, stating that anyone who disobeys his order be put to death.This being a Greek tragedy we know that such a simple sounding statement will undoubtedly end badly for all concerned.
The director's decision to set this production within a theatre group putting on this play within the context of the Greek riots against the current round of austerity measures was a masterstroke. Immediately, this show becomes relevant to a modern audience, proving that all good drama is timeless.
Ultimately, though the success of any play revolves around the actors and "Antigone" was fortunate to have 2 excellent performances in the key roles. Tania Batzoglou was outstanding in the passionate, emotional title role while David Middleton personified authority in the flawed belief that "discipline" will create a controllable and obedient populous. He is the only non-Greek performer and the contrast in accents has the bonus of emphasizing how out of step he is with his subjects.
I must also commend the space itself. It is an intimate theatre providing excellent views and impressively, superb acoustics, with a good balance between the speeches and the excellent music by Aristarchos Papadopolous.
Director and founder of Theatro Technis George Eugeniou intends to run all five remaining plays of the Oedipus legend. I would happily return.
"Antigone" is the daughter of Oedipus mourning the deaths of her brothers in mortal combat ( which occurred at the end of " Seven against Thebes"). Creon has become King of Thebes and determined to show he is not afraid of exerting authority he decrees that the body of the traitor Polynices remain unburied, stating that anyone who disobeys his order be put to death.This being a Greek tragedy we know that such a simple sounding statement will undoubtedly end badly for all concerned.
The director's decision to set this production within a theatre group putting on this play within the context of the Greek riots against the current round of austerity measures was a masterstroke. Immediately, this show becomes relevant to a modern audience, proving that all good drama is timeless.
Ultimately, though the success of any play revolves around the actors and "Antigone" was fortunate to have 2 excellent performances in the key roles. Tania Batzoglou was outstanding in the passionate, emotional title role while David Middleton personified authority in the flawed belief that "discipline" will create a controllable and obedient populous. He is the only non-Greek performer and the contrast in accents has the bonus of emphasizing how out of step he is with his subjects.
I must also commend the space itself. It is an intimate theatre providing excellent views and impressively, superb acoustics, with a good balance between the speeches and the excellent music by Aristarchos Papadopolous.
Director and founder of Theatro Technis George Eugeniou intends to run all five remaining plays of the Oedipus legend. I would happily return.
Tuesday, 24 April 2012
Paul Merton - 15th April 2012
Most touring comedians produce generic stand-up shows, featuring observation humour or beautifully honed themed shows where every word has been carefully crafted. And then there is Paul Merton.
He first came to prominence in the 1980's doing improvisation on Channel 4 before cementing his reputation as one of the fastest wits on television in the everlasting " Have I Got News For You?" The long-running Radio 4 show " Just A Minute" has also allowed him to show a competitive streak as well as giving him the opportunity to disappear into his individual flights of fancy (for no more than 60 seconds).
So,for his first stand-up tour he decided to avoid the loneliness of a solo outing and invited some friends along for company (including Richard Vranch who I have seen before, providing musical accompaniment on an Improvised tour) Basically, the show revolves round Paul Merton's life, mainly concerning the period he spent in a mental institution whilst appearing on " Whose Line Is It, Anyway?". This is obviously an extraordinary story and gives him the chance to reveal the surreal nature of what is inside his head.
He is well known as a fan of silent movies and music hall and this evening is a throw back to the old-fashioned days of variety, general silliness and occasionally, really bad jokes. Any youngsters there to see that funny guy off the television may have wondered what they had wandered into, but anyone of the comedian's age would have enjoyed the nostalgic value of what they were seeing.
This was not a slick performance. His delivery was nervous, often tripping over his words and repeating himself but that, somehow, only seemded to add to the chaerm of the evening. His companions (including the funny and versatile Suki Webster and Lee Simpson) re-created moments from his life and provided some impressively visual images, including gloriously, his bed flying to the moon.
The greatest compliment I can make is that I hadn't been well all day and only willpower got me to the Millenium Centre. I may have only just been able to walk to my seat but the power of good comedy re-vitalised me, as I left in a much better state than I arrived.
I won't claim Paul Merton has magic powers but if you want to see a fun and unusual show go and see this master craftsman at work.
Saturday, 14 April 2012
My Week With Marilyn - 6th December 2011
December generally is not a great time for the discerning film-goer. There is a guaranteed audience for formulaic festive fare so the multi-plexes are usually full of generic Christmas and self-indulgent blockbusters, re-makes and sequels.
Occasionally, though an interesting movie arrives like " A Week With Marilyn". This is another bio-pic based on the memoirs of Colin Clark, when he was given the daunting/fascinating chance to look after/control Marilyn Monroe whilst she was in England filming "The Prince and the Showgirl".
This is an interesting concept, especially as it is true. This was Monroe at the height of her fame, newly married to Arthur Miller and starring with Sir Laurence Olivier at the peak of his powers. It was the clash of American and British royalty and the world was watching to see what happened.
A film like this lives and dies by the performance of its laeding star. Fortunately, by casting Michelle Williams she not only has the good fortune to portray the sex symbol in her prime but she is one of America's most prominent young actresses. She perfectly combines the allure, innocence and vulnerability which ultimately caused her downfall.
The success of the film revolves around her relationship with Colin and here the performance of British rising star Eddie Redmayne is pivotal. You have to believe in their connection and he perfectly portrays the opposite of what she stood for, shy, unworldy and lacking in confidence, but it is his honesty and down-to earthiness that connects with Monroe. He is starstruck but has fallen for the person, not the star or the myth.
One of the joys of this film is seeing the absolute creme de la creme of British actors with Judi Dench dominating her screen time as Dame Sybil Thorndike. Amongst a stellar Kenneth Branagh stands out because he begins by capturing Laurence Olivier's clipped tones beautifully but for some reason stops acting half-way through the film.
The movie's title tells you how it will end, so there are no surprises but it is well-worth seeing the 2 young leads stake their claim for film stardom.
Occasionally, though an interesting movie arrives like " A Week With Marilyn". This is another bio-pic based on the memoirs of Colin Clark, when he was given the daunting/fascinating chance to look after/control Marilyn Monroe whilst she was in England filming "The Prince and the Showgirl".
This is an interesting concept, especially as it is true. This was Monroe at the height of her fame, newly married to Arthur Miller and starring with Sir Laurence Olivier at the peak of his powers. It was the clash of American and British royalty and the world was watching to see what happened.
A film like this lives and dies by the performance of its laeding star. Fortunately, by casting Michelle Williams she not only has the good fortune to portray the sex symbol in her prime but she is one of America's most prominent young actresses. She perfectly combines the allure, innocence and vulnerability which ultimately caused her downfall.
The success of the film revolves around her relationship with Colin and here the performance of British rising star Eddie Redmayne is pivotal. You have to believe in their connection and he perfectly portrays the opposite of what she stood for, shy, unworldy and lacking in confidence, but it is his honesty and down-to earthiness that connects with Monroe. He is starstruck but has fallen for the person, not the star or the myth.
One of the joys of this film is seeing the absolute creme de la creme of British actors with Judi Dench dominating her screen time as Dame Sybil Thorndike. Amongst a stellar Kenneth Branagh stands out because he begins by capturing Laurence Olivier's clipped tones beautifully but for some reason stops acting half-way through the film.
The movie's title tells you how it will end, so there are no surprises but it is well-worth seeing the 2 young leads stake their claim for film stardom.
Friday, 13 April 2012
Salome - 3rd April 2012
Earlier this year a silent film deservedly triumphed at the Oscars. For many years though, silent movies were generally ignored until 1980 when Carl Davis wrote and conducted the score for Abel Gance’s masterpiece “Napoleon”. Since then writing scores for previously forgotten classics have become more commonplace.
Welsh Jazz composer Charlie Barber has become a leader in this field and his current project is bringing Charles Bryant’s 1923 version of Oscar Wilde’s Salome to life. This was the brainchild of Russian actress Natacha Rambova who produced and played the title role.
Silent films are not always an easy watch for a modern audience with performances often seeming mannered. Obviously the lack of dialogue encourages actors to over-use facile & physical gesture in an attempt to convey emotion.
The subject matter also seems to encourage over-acting as they generally pick great dramatic events from the past. This biblical story was no different covering the imprisonment, beheading of John the Baptist, Salome’s death etc.
But,it is the music that helps to connect to a modern audience. Charlie Barber’s score , of Arabic connection engages with 4 mesmerising percussionists who combined perfectly to seduce the audience into becoming emotionally involved.
This was my first visit to the refurbished Sherman theatre and although I could see little change to the auditorium if this is the quality of production provided I shall return soon. “Clytemenestra” in fact
Welsh Jazz composer Charlie Barber has become a leader in this field and his current project is bringing Charles Bryant’s 1923 version of Oscar Wilde’s Salome to life. This was the brainchild of Russian actress Natacha Rambova who produced and played the title role.
Silent films are not always an easy watch for a modern audience with performances often seeming mannered. Obviously the lack of dialogue encourages actors to over-use facile & physical gesture in an attempt to convey emotion.
The subject matter also seems to encourage over-acting as they generally pick great dramatic events from the past. This biblical story was no different covering the imprisonment, beheading of John the Baptist, Salome’s death etc.
But,it is the music that helps to connect to a modern audience. Charlie Barber’s score , of Arabic connection engages with 4 mesmerising percussionists who combined perfectly to seduce the audience into becoming emotionally involved.
This was my first visit to the refurbished Sherman theatre and although I could see little change to the auditorium if this is the quality of production provided I shall return soon. “Clytemenestra” in fact
Wednesday, 11 April 2012
The Artist - 10th January 2012
Every now and again a film comes along receiving both critical and public acclaim. At last year's London Film Festival " The Artist" opened and gradually built up enough support to make it favourite to triumph at this year's Oscars.
Three factors would have made this highly unlikely when they started production, firstly it was in French, secondly it was in Black & White and finally it was silent. On paper this shouldn't work, it couldn't possibly be as good as everyone says, could it?
If you mention current French film you immediately picture Depardieu, Auteil, Binoche, Tatou, Cotillard etc. It is refreshing that although some of the faces are familiar, none of them are French and similarly director Michel Hazanavicius is little known.
The film could then concentrate upon weaving its own web of charm without the audience being distracted trying to work out why the recognise the stars. The plot revolves around George Valentin a successful silent movie actor who then has to deal
with the arrival of taking pictures. As he fails to cope with this new threat his star wanes in contrast to Berenice Bejo whom he helps up the ladder of success and watches as she passez him on the way to the top. Naturally they fall in love and there are various similarities to the plot of "Singing In The Rain".
However, the secret of this film's success is charm. This is an old-fashioned, feel-good film and you know that even when things look bad, nothing untoward will ultimately befall the characters. It doesn't overly wallow in nostalgia but celebrates the age of classic film-making. "The Artist" never takes itself too seriously and is genuinely funny. The scene where George Valentin dances with an emot suit is pure Astaire.
The two leads are perfectly cast and just when you get used to this being a French film along come the likes of James Cromwell, John Gordon etc making unexpected appearances. With no real dialogue the music is an integral part of the film and composer Ludovic Bource duly provides a sumptious score.
So many films are over-hyped these days but this is the real thing, an instant classic. This is the first film I have seen in 2012. If I see a better one this year I shall feel very fortunate, indeed.
Three factors would have made this highly unlikely when they started production, firstly it was in French, secondly it was in Black & White and finally it was silent. On paper this shouldn't work, it couldn't possibly be as good as everyone says, could it?
If you mention current French film you immediately picture Depardieu, Auteil, Binoche, Tatou, Cotillard etc. It is refreshing that although some of the faces are familiar, none of them are French and similarly director Michel Hazanavicius is little known.
The film could then concentrate upon weaving its own web of charm without the audience being distracted trying to work out why the recognise the stars. The plot revolves around George Valentin a successful silent movie actor who then has to deal
with the arrival of taking pictures. As he fails to cope with this new threat his star wanes in contrast to Berenice Bejo whom he helps up the ladder of success and watches as she passez him on the way to the top. Naturally they fall in love and there are various similarities to the plot of "Singing In The Rain".
However, the secret of this film's success is charm. This is an old-fashioned, feel-good film and you know that even when things look bad, nothing untoward will ultimately befall the characters. It doesn't overly wallow in nostalgia but celebrates the age of classic film-making. "The Artist" never takes itself too seriously and is genuinely funny. The scene where George Valentin dances with an emot suit is pure Astaire.
The two leads are perfectly cast and just when you get used to this being a French film along come the likes of James Cromwell, John Gordon etc making unexpected appearances. With no real dialogue the music is an integral part of the film and composer Ludovic Bource duly provides a sumptious score.
So many films are over-hyped these days but this is the real thing, an instant classic. This is the first film I have seen in 2012. If I see a better one this year I shall feel very fortunate, indeed.
Tuesday, 10 April 2012
The Iron Lady - 17th January 2012
Statistics show that the best ways to win Oscars are to play real-life people or those with some kind of disability. Most biographies deal with persons who are deceased so it was bold of writer Abi Morgan to tackle the controversial figure of Margaret Thatcher while she is still alive. Phylidda Lloyd had successfully directed Mreyl Streep in " Mamma Mia" so it was no surprise they were re-united for this project.
The big question was over which periods of her life they should cover and they bravely chose to set it in the present day. This is of course is the one area of her life we know least about so we are in fantasy land, which oddly, enough is where the film was most succcessful for me. Whatever your thoughts on her politics she is now an old widow out of the public view and who may, or may not be suffering from Alzheimers.This naturally allows Meryl Streep the ability to act as she wishes but she uses her years of experience to ensure she never becomes melodramatic or too schmaltzy.
Where the film fails for me is in its depiction of real historical events. To make any real money the film must be a success in America and you felt they made a list of the top 10 facts Americans would know about her, the Brighton bombings, tick, sinking the Belgrano, tick, leaving 10 Downing Street tick etc. Having lived through these times it all looked patronising and couldn't resist re-writing history, was she really in the car park when the bomb that killed Airey Neave exploded?
The one reason to see this film, however, is the for the title performance. I have been a fan throughout Streep's career and although her casting was seen as a joke at the time, it now seems inspired. We knew she would master the voice (s) but she brilliantly caught the single-mindedness that took her to the top, kept her there and ultimately led to her downfall. I wasn't impressed by the direction but the deliberate contrast of her force of will when contrasted with the wishy-washy Conservative male politicians of the time was cleverly observed.
In politics characters come and go so the only 2 other performances of note come from her home-life. Again, Jim Broadbent was perfectly cast as Denis Thatcher (mainly after he had died) and the always reliable Olivia Colman as Carol added some much-needed class to proceedings.
After nearly thirty years and 11 (losing) Best Actress nominations this film finally gave her that elusive 2nd Best Actress Oscar,fully deserved as she proved it is possible to produce a great performance from a disappointing film.
The big question was over which periods of her life they should cover and they bravely chose to set it in the present day. This is of course is the one area of her life we know least about so we are in fantasy land, which oddly, enough is where the film was most succcessful for me. Whatever your thoughts on her politics she is now an old widow out of the public view and who may, or may not be suffering from Alzheimers.This naturally allows Meryl Streep the ability to act as she wishes but she uses her years of experience to ensure she never becomes melodramatic or too schmaltzy.
Where the film fails for me is in its depiction of real historical events. To make any real money the film must be a success in America and you felt they made a list of the top 10 facts Americans would know about her, the Brighton bombings, tick, sinking the Belgrano, tick, leaving 10 Downing Street tick etc. Having lived through these times it all looked patronising and couldn't resist re-writing history, was she really in the car park when the bomb that killed Airey Neave exploded?
The one reason to see this film, however, is the for the title performance. I have been a fan throughout Streep's career and although her casting was seen as a joke at the time, it now seems inspired. We knew she would master the voice (s) but she brilliantly caught the single-mindedness that took her to the top, kept her there and ultimately led to her downfall. I wasn't impressed by the direction but the deliberate contrast of her force of will when contrasted with the wishy-washy Conservative male politicians of the time was cleverly observed.
In politics characters come and go so the only 2 other performances of note come from her home-life. Again, Jim Broadbent was perfectly cast as Denis Thatcher (mainly after he had died) and the always reliable Olivia Colman as Carol added some much-needed class to proceedings.
After nearly thirty years and 11 (losing) Best Actress nominations this film finally gave her that elusive 2nd Best Actress Oscar,fully deserved as she proved it is possible to produce a great performance from a disappointing film.
Friday, 6 April 2012
Coriolanus - 24th January 2012
Having thoroughly enjoyed and been impressed by Ian Rickson's " Hamlet" at the Young Vic last week I was in the mood for more up-dated Shakespeare. Right on cue, enter stage left ( 2 theatrical puns intended) was Ralph Fiennes film version of Coriolanus.
Shakespeare's longevity is mainly due to the fact that his plots are so generic they fit most times. Fiennes cleverly took this tale of Roman intrigue and up-dated it to the recent Kosove conflict.
He has never particularly been a macho actor but he convincingly portrayed the war hero who functions more in war than peacetime. It is odd hearing Elizabethan words counter-balanced against the modern violence of ethnic cleansing but it works.
Soon, though we are back in the poltical world of Brutus & Cassius (ably played by James Nesbitt and Paul Jesson) attempting to undo his wartime heroics to the public (any modern references to the power of the Murdoch family are, I am sure quite coincidental). When banished Coriolanus joins his mortal enemy Tullus Aufidius (a rare proper acting role role for Gerard Butler) and threatens to destroy Rome the British theatrical big guns are sent to try and change his mind.
Brian Cox again shows what a classy film actor he can be if given a good role but it is Vanessa Redgrave who steals the film with her barn-storming Volumnia. The ending is no surprise but the fact this play works in its first cinematic outing is. Let's hope fledgling director Ralph Fiennes finds other projects to entice him back behind (and hopefully) in front of the camera.
Shakespeare's longevity is mainly due to the fact that his plots are so generic they fit most times. Fiennes cleverly took this tale of Roman intrigue and up-dated it to the recent Kosove conflict.
He has never particularly been a macho actor but he convincingly portrayed the war hero who functions more in war than peacetime. It is odd hearing Elizabethan words counter-balanced against the modern violence of ethnic cleansing but it works.
Soon, though we are back in the poltical world of Brutus & Cassius (ably played by James Nesbitt and Paul Jesson) attempting to undo his wartime heroics to the public (any modern references to the power of the Murdoch family are, I am sure quite coincidental). When banished Coriolanus joins his mortal enemy Tullus Aufidius (a rare proper acting role role for Gerard Butler) and threatens to destroy Rome the British theatrical big guns are sent to try and change his mind.
Brian Cox again shows what a classy film actor he can be if given a good role but it is Vanessa Redgrave who steals the film with her barn-storming Volumnia. The ending is no surprise but the fact this play works in its first cinematic outing is. Let's hope fledgling director Ralph Fiennes finds other projects to entice him back behind (and hopefully) in front of the camera.
Hamlet - 21st January 2012
Most seasons produce one must see theatrical event and the end of 2011 saw Ian Rickson's long-awaited " Hamlet" arrive at the Young Vic. In the last couple of year's Jude Law and Rory Kinnear's portrayal of the Prince of Denmark both acquired critical acclaim and it was now time for Michael Sheen to throw his hat into the ring.
Having been entranced by one of his earliest performances, as Mozart in the revival of "Amadaeus" at the end of the last century, I have followed his career with interest. We saw his last performance as "Hamlet" and although I tried to avoid the reviews I was aware of the unusual staging of this production.
It was still, however, exciting to arrive half an hour early and be escorted round the outside of the Young Vic (fortunately this was a mild January evening). We were then led through the various sections of the Psychiatric hospital in which "Hamlet" was housed.
Like most unusual ideas some parts worked better than others. The concept of the authority figures in the institution being the Danish Royal family made sense but I never quite understood whether he was mad because of the murder of his father the King or he was just a fantasist. As I watched it I thought the acting was odd, if not downright bad, until it dawned on me that all the actor's were in the Dane's head and therefore all the characters were distorted from reality.
Like all "Hamlet"'s the success of the production revolves around the lead actor. The phrase " Best Actor Of His Generation" is over-used but Michael Sheen definitely deserves a nomination and no-one can convey suffering and turmoil like the former Port Talbot resident. He of course had the advantage of being the only "real" performance on stage but decided to make life even more difficult for himself. Not content with playing the largest of Shakespeare's roles he also portrayed the Ghost King and uniquely, I believe, Fortinbras.
This isn't an easy show to watch as your brain is constantly working over-time to understand what you are seeing. Ian Rickson is currently in a Directing creative golden period fresh from the deserved triumph of "Jerusalem". He has taken one of the most famous plays of all time and makes you re-evaluate it completely. He is less than reverential with the piece and playfully chooses to end the first half ( in mid-act) with Roy Orbison's " Crying". A choice as inpsired as it was odd.
Normally, the end of the play with bodies scattered everywhere is downbeat but the unexpected appearance of Michael Sheen as the conquering hero was, for me, the key that unlocked the mystery of the past few hours (though it took me a couple of days to work it out). It was a theatrical coup de grace.
(An unexpected bonus was that it enabled me to make sense of Tom Stoppard's " Rozencrantz and Guildernstern Are Dead" a few days later).
Having been entranced by one of his earliest performances, as Mozart in the revival of "Amadaeus" at the end of the last century, I have followed his career with interest. We saw his last performance as "Hamlet" and although I tried to avoid the reviews I was aware of the unusual staging of this production.
It was still, however, exciting to arrive half an hour early and be escorted round the outside of the Young Vic (fortunately this was a mild January evening). We were then led through the various sections of the Psychiatric hospital in which "Hamlet" was housed.
Like most unusual ideas some parts worked better than others. The concept of the authority figures in the institution being the Danish Royal family made sense but I never quite understood whether he was mad because of the murder of his father the King or he was just a fantasist. As I watched it I thought the acting was odd, if not downright bad, until it dawned on me that all the actor's were in the Dane's head and therefore all the characters were distorted from reality.
Like all "Hamlet"'s the success of the production revolves around the lead actor. The phrase " Best Actor Of His Generation" is over-used but Michael Sheen definitely deserves a nomination and no-one can convey suffering and turmoil like the former Port Talbot resident. He of course had the advantage of being the only "real" performance on stage but decided to make life even more difficult for himself. Not content with playing the largest of Shakespeare's roles he also portrayed the Ghost King and uniquely, I believe, Fortinbras.
This isn't an easy show to watch as your brain is constantly working over-time to understand what you are seeing. Ian Rickson is currently in a Directing creative golden period fresh from the deserved triumph of "Jerusalem". He has taken one of the most famous plays of all time and makes you re-evaluate it completely. He is less than reverential with the piece and playfully chooses to end the first half ( in mid-act) with Roy Orbison's " Crying". A choice as inpsired as it was odd.
Normally, the end of the play with bodies scattered everywhere is downbeat but the unexpected appearance of Michael Sheen as the conquering hero was, for me, the key that unlocked the mystery of the past few hours (though it took me a couple of days to work it out). It was a theatrical coup de grace.
(An unexpected bonus was that it enabled me to make sense of Tom Stoppard's " Rozencrantz and Guildernstern Are Dead" a few days later).
Poetry Please - 18th March 2012
Feeling drained after Cerys Matthews beautfully moving " With Great Pleasure" we adjourned (after acquiring yet more low numbered ticket stamps) for a lovely walk around the neighbouring park. We duly returned in time to claim good seats for Radio Four's " Poetry Please".
Hosted by the great Roger McGough this allows listeners to request their favourite poems based on particular themes. Today's was listening, in line with the concept of the "More than Words" festival. Our reason for attending was to listen to one of our favourite actresses Harriet Walter. She was joined by Guy Paul, John Mackay and the poet Paul Henry.
This does what it says on the label but Roger McGough controls this lively recording so tightly it becomes a conveyor belt of poems with the readers popping up and down as regularly as pop-up toast in a busy cafe. Only the poets themselves had the opportunity to explain their thought processes and for me the highlight was Roger McGough reading his own poem "The Sound Collector" with the audience providing the special effects noises ourselves.
I was also particularly impressed by Guy Paul whose American twang perfectly suited his pieces, especially " A Litany For Monsieur Sax" by Michael Coady. In contrast I din't feel the new Dame quite caught the euphoria of Siegfried Sassoon's " Everyone Sang" by Siegfried Sassoon but the beauty of this programme is that it encourages you to find new favourites every week.
Hosted by the great Roger McGough this allows listeners to request their favourite poems based on particular themes. Today's was listening, in line with the concept of the "More than Words" festival. Our reason for attending was to listen to one of our favourite actresses Harriet Walter. She was joined by Guy Paul, John Mackay and the poet Paul Henry.
This does what it says on the label but Roger McGough controls this lively recording so tightly it becomes a conveyor belt of poems with the readers popping up and down as regularly as pop-up toast in a busy cafe. Only the poets themselves had the opportunity to explain their thought processes and for me the highlight was Roger McGough reading his own poem "The Sound Collector" with the audience providing the special effects noises ourselves.
I was also particularly impressed by Guy Paul whose American twang perfectly suited his pieces, especially " A Litany For Monsieur Sax" by Michael Coady. In contrast I din't feel the new Dame quite caught the euphoria of Siegfried Sassoon's " Everyone Sang" by Siegfried Sassoon but the beauty of this programme is that it encourages you to find new favourites every week.
With Great Pleasure - Cerys Matthews - 18th March 2012
We have not always been great fans of Bristol but we can be lured across the bridge when there are enticing events eg The Mighty Boosh,John Cleese etc. The arrival of an email from Radio 4 inviting us to attend their " More than Words" recordings was too tempting to resist. After perusing a variety of shows we selected a double-bill at St Georges, Bristol, starting with " With Great Pleasure".
Not being known as early risers it took someone of the stature of Cerys Matthews to get us to the lovely old church early on a Sunday morning. Refreshed by coffee and ( a non-stale) Lemon cake we could smuggly relax knowing their revolutionary ticketing system of giving people numbers as they arrived would give us priority entrance when the door opened.
We duly had great seats close to the former Catatonia lead singer who was genuinely nervous at the start. Perhaps it was due to the formal nature of Radio 4 contrasting with her more relaxed stint as a presenter on BBC 6.
For those (like me) who do not normally listen to " With Great Pleasure" it devotes a programme to one person to fill it with their favourite music and poetry. Like a good Llanelli girl she started with a beautiful version of " Myfanwy" before reading some of Dylan Thomas's ! A Child's Christmas In Wales".
An hour (plus) is a long time for one person to fill so she wisely invited a couple of friends to join her, Julia on Bass accompanied her reading with a poet providing his own words.
I have seen Cerys on 3 previous occasions but I learnt more about what makes her tick in this one show. She has always been charismatic (pun unintended) but she revealed what a truly unique individual she is, leaving home in her teens to explore the world, not just to fill a gap year but to truly sample and understand different cultures.
But, firstly she is an entertainer. This is not all high-brow showing off. She can deliver a lovely Spanish song and destroy any emotional ideas we may have harboured about its meaning by explaining afterwards it referred to a cross-dresser. Her emotional roller-coaster took us from a moving 9th century poem about a poor Irish to a hysterical modern piece about an older woman beautifully describing the contours of a young woman showering, knowing what will befall her as the years pass. Her trump card was then introducing the writer in the auditorium.
Even though we started late and was over-running Cerys is a woman who knows her own mind, She had lovingly selected these items and was determined to air them all finishing on more Dylan Thomas with her two (less than willing accomplices) on improvised musical instruments.
This is what I happily pay my licence fee for. Thank you Radio 4. It will be broadcast on Monday 16th July at 4.00pm & is well worth a listen.
Not being known as early risers it took someone of the stature of Cerys Matthews to get us to the lovely old church early on a Sunday morning. Refreshed by coffee and ( a non-stale) Lemon cake we could smuggly relax knowing their revolutionary ticketing system of giving people numbers as they arrived would give us priority entrance when the door opened.
We duly had great seats close to the former Catatonia lead singer who was genuinely nervous at the start. Perhaps it was due to the formal nature of Radio 4 contrasting with her more relaxed stint as a presenter on BBC 6.
For those (like me) who do not normally listen to " With Great Pleasure" it devotes a programme to one person to fill it with their favourite music and poetry. Like a good Llanelli girl she started with a beautiful version of " Myfanwy" before reading some of Dylan Thomas's ! A Child's Christmas In Wales".
An hour (plus) is a long time for one person to fill so she wisely invited a couple of friends to join her, Julia on Bass accompanied her reading with a poet providing his own words.
I have seen Cerys on 3 previous occasions but I learnt more about what makes her tick in this one show. She has always been charismatic (pun unintended) but she revealed what a truly unique individual she is, leaving home in her teens to explore the world, not just to fill a gap year but to truly sample and understand different cultures.
But, firstly she is an entertainer. This is not all high-brow showing off. She can deliver a lovely Spanish song and destroy any emotional ideas we may have harboured about its meaning by explaining afterwards it referred to a cross-dresser. Her emotional roller-coaster took us from a moving 9th century poem about a poor Irish to a hysterical modern piece about an older woman beautifully describing the contours of a young woman showering, knowing what will befall her as the years pass. Her trump card was then introducing the writer in the auditorium.
Even though we started late and was over-running Cerys is a woman who knows her own mind, She had lovingly selected these items and was determined to air them all finishing on more Dylan Thomas with her two (less than willing accomplices) on improvised musical instruments.
This is what I happily pay my licence fee for. Thank you Radio 4. It will be broadcast on Monday 16th July at 4.00pm & is well worth a listen.
Thursday, 5 April 2012
The Civil Wars - 22nd March 2012
The Bristol Academy is not my favourite music venue so it took something special to lure me over the bridge on a Thursday evening. Jools Holland's "Later" is legendary for giving well and unknown acts an increasingly rare opportunity to perform on television. Last year we were blown away by just one song where the "Civil Wars" produced stunning harmonies. Thanks to the internet we could track down their tour dates and here we were.
In recent years " The Fleet Foxes", "Mumford & Sons" and "The Pierces" have opened the door for vocal, folk, country type groups to become popular again. The obligatory
support band " Matthew and the Atlas" fitted nicely into this category with lead singer Matthew Hegarty revealing a stunning voice, ably supported by a small band.
Most venues only normally fill up when the main act arrive but impressively the Academy was packed before "Matthew & the Atlas" started their set. Although they were musically pleasing they didn't possess enough variety to keep the audience hooked. It is a tricky decision about the balance of playing your own songs and choosing more familiar ones. I understand that Matthew wanted to showcase his song-writing abilities but as it is difficult to hear lyrics live for the first time this strategy doesn't always work. I am willing to give new artistes a chance but I didn't seek out the obligatory EP for sale in the interval.
The roar of approval that greeted the headlne act seemed to take " The Civil Wars" by surprise. John Paul White was immaculate in his dress suit with Joy Williams looking radiant in an elegant dress. Then they began to sing and we were all immediately captivated. I have never heard such beautifully entwined voices before, it was so natural and pure you felt that the likes of "Simon and Garfunkel", " The Beach Boys" and " The Mamas & Papas" would have struggled to match them musically.
The repertoire was generally love songs. not all of which ended happily but they knew how to vary their style between funny, sad, happy, emotional etc. The chemistry between them was astonishing and I was shocked when they stated they were married to other people and stunned to hear that Joy was 3 months pregnant.
It is one thing to be great singers but to be genuinely nice people over-whelmed by their success was quite another. They chatted so nonchantly with the audience it seemed impossible to believe they only started writing together three years ago. You could see that they were having as much fun as us and genuinely concerned about our well-being, requesting the spotlight be reduced to avoid blinding fans and advising us to stretch our legs having witnessed one fainting incident.
They also understood when to use the cover version, throwing in a Portishead song early on & ending up with a laid-back acoustic " Billy Jean" and the best version I have heard of one my favourite songs " Dance Me To The Edge Of Love".
They will tour again after the birth of Joy's baby and I plan to be see them in November at Cardiff University. Yes, they were that good. And I now love the Bristol Academy. What a night.
In recent years " The Fleet Foxes", "Mumford & Sons" and "The Pierces" have opened the door for vocal, folk, country type groups to become popular again. The obligatory
support band " Matthew and the Atlas" fitted nicely into this category with lead singer Matthew Hegarty revealing a stunning voice, ably supported by a small band.
Most venues only normally fill up when the main act arrive but impressively the Academy was packed before "Matthew & the Atlas" started their set. Although they were musically pleasing they didn't possess enough variety to keep the audience hooked. It is a tricky decision about the balance of playing your own songs and choosing more familiar ones. I understand that Matthew wanted to showcase his song-writing abilities but as it is difficult to hear lyrics live for the first time this strategy doesn't always work. I am willing to give new artistes a chance but I didn't seek out the obligatory EP for sale in the interval.
The roar of approval that greeted the headlne act seemed to take " The Civil Wars" by surprise. John Paul White was immaculate in his dress suit with Joy Williams looking radiant in an elegant dress. Then they began to sing and we were all immediately captivated. I have never heard such beautifully entwined voices before, it was so natural and pure you felt that the likes of "Simon and Garfunkel", " The Beach Boys" and " The Mamas & Papas" would have struggled to match them musically.
The repertoire was generally love songs. not all of which ended happily but they knew how to vary their style between funny, sad, happy, emotional etc. The chemistry between them was astonishing and I was shocked when they stated they were married to other people and stunned to hear that Joy was 3 months pregnant.
It is one thing to be great singers but to be genuinely nice people over-whelmed by their success was quite another. They chatted so nonchantly with the audience it seemed impossible to believe they only started writing together three years ago. You could see that they were having as much fun as us and genuinely concerned about our well-being, requesting the spotlight be reduced to avoid blinding fans and advising us to stretch our legs having witnessed one fainting incident.
They also understood when to use the cover version, throwing in a Portishead song early on & ending up with a laid-back acoustic " Billy Jean" and the best version I have heard of one my favourite songs " Dance Me To The Edge Of Love".
They will tour again after the birth of Joy's baby and I plan to be see them in November at Cardiff University. Yes, they were that good. And I now love the Bristol Academy. What a night.
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