After not particularly enjoying their show at Cardiff University a few years ago Polar Bear were back on form at the Cheltenham Jazz festival in 2010. We then headed to the recently revamped Welsh College of Music and Drama with high hopes.
Earlier in the day they had performed a master class to students who enthusiastically filled the auditorium. Modern Jazz is not everyone's cup of tea but we had been entranced by the controlled music boldness that they had presented on stage and CD. Today, however, they seemed determined to push the limits as far as possible. There were a few tracks I recognised from their albums but generally they seemed keener to explore new and more experimental work. When they announced the end of the set after an hour I was preparing to leave until my wife pointed out this was merely an interval.
Ultimately, though I was proved to be right. There were more gaps in the venue after the break as other audience members resisted the urge to stay. Any hopes I had that we would hear more familiar tunes were quickly dashed and we were forced to watch another hour of Leafcutter John trying to find increasingly weird ways to create noise.
The main disppointment of the evening was that Sebastian Rochford was reduced to being a purely pedestrian backing drummer. We were therefore robbed of the chance to see his idiosyncratic drumming style leading his group. Let's hope he fares better when he joins Kit Downes at the Cheltenham Jazz festival in May.
Tuesday, 20 March 2012
Monday, 19 March 2012
War Horse - 31st January 2012
Every now and again a play discovers a life outside out if it’s theatrical roots.Marianne Elliott and Tom Morris’s production of “War Horse” at the National Theatre in 2007 transferred to the New London theatre in 2009 where it has continued to delight audiences. Oddly, it didn’t triumph in the United Kingdom but it won Best Play at the 2011 Tony awards. It was only a matter of time before Hollywood came knocking in the forms of transatlantic film royalty Richard Curtis and Stephen Spielberg.
This should have immediately set off the “schmaltz” warning signs. The American is a good film-maker but occasionally over-indulges in saccharin emotions. Richard Curtis in recent years has also fallen on the wrong side of the acceptably emotionally manipulative fence.
It is still, however, a great and simple story (the best ones tend to be). A boy on a struggling farm befriends a horse and when he volunteers for the first World War, his horse is similarly (yet separately) shipped abroad.
They may have different war tales but you know there will eventually be an emotional reunion. This is all broken down into episodic adventures, some undoubtedly inserted for their cinematic qualities.
For all my concerns no-one directs war sequences as well as Spielberg. He also successfully treads that tricky path of not demonising either side. Neither army is perfect, their actions blamed on the consequences of war.
The act is of a reasonable level with some great British actors bringing as much to their roles as Richard Curtis and Lee Hall’s script will allow. The key role is Jeremy Irvine as Albert Narracott the young boy, but fortunately he is engaging so we are connected and keen to follow his story to its conclusion. John Williams score is generic but as ever the film is well shot (thanks to cinematographer Janusz Kaminiski), of over-long.
Overall, though this was an opportunity missed as this could have been a great cinematic epic but it’s failure opened up a clear run for “The Artist” to deservedly sweep this year’s Oscars.
This should have immediately set off the “schmaltz” warning signs. The American is a good film-maker but occasionally over-indulges in saccharin emotions. Richard Curtis in recent years has also fallen on the wrong side of the acceptably emotionally manipulative fence.
It is still, however, a great and simple story (the best ones tend to be). A boy on a struggling farm befriends a horse and when he volunteers for the first World War, his horse is similarly (yet separately) shipped abroad.
They may have different war tales but you know there will eventually be an emotional reunion. This is all broken down into episodic adventures, some undoubtedly inserted for their cinematic qualities.
For all my concerns no-one directs war sequences as well as Spielberg. He also successfully treads that tricky path of not demonising either side. Neither army is perfect, their actions blamed on the consequences of war.
The act is of a reasonable level with some great British actors bringing as much to their roles as Richard Curtis and Lee Hall’s script will allow. The key role is Jeremy Irvine as Albert Narracott the young boy, but fortunately he is engaging so we are connected and keen to follow his story to its conclusion. John Williams score is generic but as ever the film is well shot (thanks to cinematographer Janusz Kaminiski), of over-long.
Overall, though this was an opportunity missed as this could have been a great cinematic epic but it’s failure opened up a clear run for “The Artist” to deservedly sweep this year’s Oscars.
Sunday, 18 March 2012
The Descendants - 7th February 2012
For the discerning cinema goer the opening months of the year are the most exciting as films are released in time for the forthcoming awards season. This week's nomination for Oscar glory is " The Descendants", director Alexander Payne's dysfunctional family drama. Following on from "About Schmidt" and " Sideways" this quirky story is familiar territory for the writer/director.
The story revolves around Matt King whose wife is in a coma following a water-skiing accident. Suddenly George Clooney's character's life is turned upside down as he has to look after a troublesome daughter. This is basically a coming of age movie for all ages.
His wife may be static but it is her revealedsecrets that provide the dramatic tension of the movie. Clooney's personal and business life crumbles around him as he attempts to keep his close family together while determining the future of the piece of Hawaiian property his wider family has inherited.
We all know the camera loves George Clooney but this is the first time the lens allows you to see inside his head. You feel the workings of his brain as he battles whether to reveal the truth of his wife and therefore destroy the memories people will keep of her.
For a densely written piece this is a film that takes its time. You are given two hours to understand the characters, warts and all. It is also a film about the environment with Hawaii increasingly becoming a character in its own right. Early on we see modern Hawaii, all horrible soul-less skyscrapers. But as the film develops and Clooney (as lead trustee) has to decide the future of his family's inheritance the camera pans lovingly on the remaining beautiful unspoilt territory.
This is undoubtedly Clooney's film but he is forced to provide the performance of his career thanks to a splendid supporting cazt including Shailene Woodley as his troubled daughter and Robert Forster as his father-in-law attempting to conceeal his grief.
This may not sound like a barrel of laughs but Alexander Payne has the good sense to insert humour along the way to prevent this turning into one-paced melodrama. Clooney's running for example will be long remembered and credit must go for the perfect ending.
The story revolves around Matt King whose wife is in a coma following a water-skiing accident. Suddenly George Clooney's character's life is turned upside down as he has to look after a troublesome daughter. This is basically a coming of age movie for all ages.
His wife may be static but it is her revealedsecrets that provide the dramatic tension of the movie. Clooney's personal and business life crumbles around him as he attempts to keep his close family together while determining the future of the piece of Hawaiian property his wider family has inherited.
We all know the camera loves George Clooney but this is the first time the lens allows you to see inside his head. You feel the workings of his brain as he battles whether to reveal the truth of his wife and therefore destroy the memories people will keep of her.
For a densely written piece this is a film that takes its time. You are given two hours to understand the characters, warts and all. It is also a film about the environment with Hawaii increasingly becoming a character in its own right. Early on we see modern Hawaii, all horrible soul-less skyscrapers. But as the film develops and Clooney (as lead trustee) has to decide the future of his family's inheritance the camera pans lovingly on the remaining beautiful unspoilt territory.
This is undoubtedly Clooney's film but he is forced to provide the performance of his career thanks to a splendid supporting cazt including Shailene Woodley as his troubled daughter and Robert Forster as his father-in-law attempting to conceeal his grief.
This may not sound like a barrel of laughs but Alexander Payne has the good sense to insert humour along the way to prevent this turning into one-paced melodrama. Clooney's running for example will be long remembered and credit must go for the perfect ending.
Saturday, 17 March 2012
Avenue Q - 21st February 2012
Most new musicals (especially American) are based on films (often less than brilliant ones). Most comedy musicals are usually sadly unfunnny. Avenue Q, fortunately, proves to be the exception to both of these rules.
First produced in 2004 this musical defied logic by combining the cuteness of Sesame Street with the lewdness of writing you would not expect to see on Broadway.
Surprisingly, this show won 3 Tony's including Best Musical defeating " Wicked". Unlike a lot of award-winning musicals this transferred across the pond landing at the Noel Coward theatre in 2006 where its success continued.
Long runs don't revolve around good reviews or awards but ultimately word of mouth. This is a unique feel-good show which the audiences want to see again and again.
After it closed in the West End Cameron Mackintosh organised a National tour and it succeesfully ran at the Millenium Centre, Cardiff last year. I was surprised it returned to the Welsh capital so soon and that it was packed on the opening night. The knowing response to each character and song indicated that most of them had seen the show at least once already.
For those who don't what to expect " Everyone's a little bit racist" quickly tells you this is not Rodgers & Hammerstein. You soon also forget that the puppet is hand-operated in front of you and you can only wonder at the talents of the performers who not only have to act & sing but also bring their puppets to life. It is only later you realise that while some actors have 2 puppets, some have none.
All of the artists are outstanding but special mentions must go to Julie Yammanee and Luke Striffler. The former steals every scene she is in with her loud-mouthed Christmas Eve while you would never have guessed that Luke Striffler was an undertudy playing the key double roles of Princeton and Rod for the first time. It makes you realise how much talent there is in musical theatre nowadays.
I am pleased to have finally visited Avenue Q. As long as you are open-minded this is a show I can definitely recommend.
First produced in 2004 this musical defied logic by combining the cuteness of Sesame Street with the lewdness of writing you would not expect to see on Broadway.
Surprisingly, this show won 3 Tony's including Best Musical defeating " Wicked". Unlike a lot of award-winning musicals this transferred across the pond landing at the Noel Coward theatre in 2006 where its success continued.
Long runs don't revolve around good reviews or awards but ultimately word of mouth. This is a unique feel-good show which the audiences want to see again and again.
After it closed in the West End Cameron Mackintosh organised a National tour and it succeesfully ran at the Millenium Centre, Cardiff last year. I was surprised it returned to the Welsh capital so soon and that it was packed on the opening night. The knowing response to each character and song indicated that most of them had seen the show at least once already.
For those who don't what to expect " Everyone's a little bit racist" quickly tells you this is not Rodgers & Hammerstein. You soon also forget that the puppet is hand-operated in front of you and you can only wonder at the talents of the performers who not only have to act & sing but also bring their puppets to life. It is only later you realise that while some actors have 2 puppets, some have none.
All of the artists are outstanding but special mentions must go to Julie Yammanee and Luke Striffler. The former steals every scene she is in with her loud-mouthed Christmas Eve while you would never have guessed that Luke Striffler was an undertudy playing the key double roles of Princeton and Rod for the first time. It makes you realise how much talent there is in musical theatre nowadays.
I am pleased to have finally visited Avenue Q. As long as you are open-minded this is a show I can definitely recommend.
Billy Connolly - 12th March 2012
There aren't many reasons to go out in Cardiff on a Monday night, but the chance to see Billy Connolly is one of them. Having seen him at the Millenium Centre in 2007 I wasn't overly excited about this show but I was interested to see if the great man had lost any of his touch.
I shouldn't have worries. A packed audience at the Powerpoint arena was in the mood to laugh. Billy Connolly needs no support act, big build up or computer graphics, he just appears and does what seems natural and effortless.
He immediately acknowledged the fact he is getting older (he is now 69) which makes his rambling style seem even more shambolic than usual. On the previous occasion I saw him it was apparent he eased himself in for the opening hour and then unleashed another hour of scintillating comedy few can equal.
Today, though he went at it from the start commencing with a reference to his last stay in a Cardiff hotel when he heard a Radio 4 programme about the Wankier music from the Indes.
Anyone of a certain age knows the mind wanders as you get older and tonight's performance showed that it can affect comedians. Every sentence seemed to lead him in a different direction though he was (generally) able to get back on track eventually.
Fans will be relieved to hear that he is not mellowing and I would have not liked to be the guy in charge of the air-conditioning after he verbally abused him several times. He was, however, more tolerant of a strange man who tried to sell him a tin of an unknown substance. As he mentioned earlier his method of dealing with hecklers is a torrent of four letter words which he demonstrated but he did ask the security guards to be gentle with this nuisance as they removed him.
Despite several stories left up in the air Billy Connolly finally called it quit after one last joke and as we streched our legs we realised we had spent two and a half hours (interval-less) in the company of the great man. His stamina and desire to continue to communicate with an audience after all these years is stunning. The purist may claim that little of the material was new, but does that matter if you are constantly laughing?
You can hardly move now for stand-up comedians filling concert halls, but the person who started it is still at the top of his game. No one does it the way he does. If you haven't seen him before, catch him while you can.
I shouldn't have worries. A packed audience at the Powerpoint arena was in the mood to laugh. Billy Connolly needs no support act, big build up or computer graphics, he just appears and does what seems natural and effortless.
He immediately acknowledged the fact he is getting older (he is now 69) which makes his rambling style seem even more shambolic than usual. On the previous occasion I saw him it was apparent he eased himself in for the opening hour and then unleashed another hour of scintillating comedy few can equal.
Today, though he went at it from the start commencing with a reference to his last stay in a Cardiff hotel when he heard a Radio 4 programme about the Wankier music from the Indes.
Anyone of a certain age knows the mind wanders as you get older and tonight's performance showed that it can affect comedians. Every sentence seemed to lead him in a different direction though he was (generally) able to get back on track eventually.
Fans will be relieved to hear that he is not mellowing and I would have not liked to be the guy in charge of the air-conditioning after he verbally abused him several times. He was, however, more tolerant of a strange man who tried to sell him a tin of an unknown substance. As he mentioned earlier his method of dealing with hecklers is a torrent of four letter words which he demonstrated but he did ask the security guards to be gentle with this nuisance as they removed him.
Despite several stories left up in the air Billy Connolly finally called it quit after one last joke and as we streched our legs we realised we had spent two and a half hours (interval-less) in the company of the great man. His stamina and desire to continue to communicate with an audience after all these years is stunning. The purist may claim that little of the material was new, but does that matter if you are constantly laughing?
You can hardly move now for stand-up comedians filling concert halls, but the person who started it is still at the top of his game. No one does it the way he does. If you haven't seen him before, catch him while you can.
Sunday, 11 March 2012
Hugo - 28th February 2012
If you mention Martin Scorcese you naturally imagine Italian-American gangster type drama littered with violence and strong language. The knowledge that he was making a chidren-friendly film and in 3D certainly took me by surprise.
"Hugo" is a young orphaned child living and (secretly) fixing the clocks at Paris station in the 1920's. A chance encounter with an ageing stallholder allows the current classic film-maker to open up the world of the forgotten turn of the century classic film-maker Georges Melieres.
For someone who has spent most of his life making gritty, realistic dramas you got the feeling Scorcese was like the kid who had been given the keys to the toy box. The intricacy of the station scenes are stunning with the huge clcokwork mechanism contrasting with the intimacies of the personal vignettes. I thoroughly enjoyed the
unexpected bonus of seeing so many British actors ( generally unused in films) eg Richard Griffiths and Frances De La Tour etc.
You can tell this is made by an old-style director as this is a film that takes it's time. The beginning is quite gentle as it introduces you to all the characters and sets up all the stories that will coincide later. Though " The Artist" has deservedly won critical acclaim for its lack of dialogue, "Hugo" is in similar vein. Obviously, both are set in Paris in the past, use music as an integral part of the story-telling and have a feel-good atmosphere about them.
All good movies need drama and "Hugo's" is provided in the unexpected form of Sacha Baron Cohen as an officious station attendant. He's not everyone's cup of tea but he does have a film presence and showed hitherto hidden emotional depths when his family and war-ravaged past was revealed.
After a slightly over-acted start Ben Kingsley improved as the film developed but it was the performance of Asa Butterfield in the title role that was the most important. If you don't care for his wellbeing you won't emotionally invest any time or time or involvement in the film. He mesmerises you will be extremely blue eyes whihc I finally realised I recognised as Mordred from BBC's Merlin.
"Hugo" is a triumph of film-making and adds yet another chapter to Scorcese's remarkable career.
"Hugo" is a young orphaned child living and (secretly) fixing the clocks at Paris station in the 1920's. A chance encounter with an ageing stallholder allows the current classic film-maker to open up the world of the forgotten turn of the century classic film-maker Georges Melieres.
For someone who has spent most of his life making gritty, realistic dramas you got the feeling Scorcese was like the kid who had been given the keys to the toy box. The intricacy of the station scenes are stunning with the huge clcokwork mechanism contrasting with the intimacies of the personal vignettes. I thoroughly enjoyed the
unexpected bonus of seeing so many British actors ( generally unused in films) eg Richard Griffiths and Frances De La Tour etc.
You can tell this is made by an old-style director as this is a film that takes it's time. The beginning is quite gentle as it introduces you to all the characters and sets up all the stories that will coincide later. Though " The Artist" has deservedly won critical acclaim for its lack of dialogue, "Hugo" is in similar vein. Obviously, both are set in Paris in the past, use music as an integral part of the story-telling and have a feel-good atmosphere about them.
All good movies need drama and "Hugo's" is provided in the unexpected form of Sacha Baron Cohen as an officious station attendant. He's not everyone's cup of tea but he does have a film presence and showed hitherto hidden emotional depths when his family and war-ravaged past was revealed.
After a slightly over-acted start Ben Kingsley improved as the film developed but it was the performance of Asa Butterfield in the title role that was the most important. If you don't care for his wellbeing you won't emotionally invest any time or time or involvement in the film. He mesmerises you will be extremely blue eyes whihc I finally realised I recognised as Mordred from BBC's Merlin.
"Hugo" is a triumph of film-making and adds yet another chapter to Scorcese's remarkable career.
The Best Exotic Marigold Hotel - February 13th 2012
Most films nowadays are made for the younger cinema-goer. The louder,faster and more explosions you have generally means profit. Plot,characterisation and good acting are often only found in smaller independent movies.
For someone who loved intelligent, well-made and interesting films the period between January and April is both the best and most frustrating time of the year. This is awards season and the contenders are generally released now to maximise the publicity which often means I miss films that fit my requirements, while the remainder of the year is filled with disapppointing blockbusters and remakes.
The success of "The King's Speech" last year proved that the " greying cinema-goers" can be lured to the mutli-plexes if they are ensured of a good fun, enjoyable night.This is the audience that "The Best Exotic Marigold Hotel" is targetting. Early on director John Madden played his trump card with a small scene showing the stellar cast sitting quietly in the airport. We could then relax and sit back we were in safe hands.
The premise was seven ageing disillusioned Brits moving to India to enjoy a better retirement or moperation than they wouild receive in their homeland.Naturally, their arrival at their chosen destination was not as idyllic as they had expected.
The stories that befall our ex-pats reveal no great surprises but the reasons for seeing this film are the director and the cast. John Madden, Oscar nominated for " Shakespeare In Love" knows how to tell a story and make his stars look good. When you see the list of names involved, Dench, Smith, Nighy, Wilton, Imrie, Pickup and Wilton you wonder how they are all going to get a reasonable amount of screen time.
Writer Ol Parker ( based on Deborah Moggach's novel) ensured that no-one was short-changed though as you woukd expect Judi Dench took central stage and brought an air of class to proceedings. The other all played supporting roles though Bill Nighy, Tom Wilkinson and Celia Ikmrie provided unexpectedly subtle performances. Credit must also go to Dev Patel who in a major role refuses to be over-awed by his illustrious co-stars and more than holds his own.
As you would expect there is an up-beat endng and we all come away having a thoroughly enjoyable ending and a desire for a curry. No, surprises but with such a great cast who cares. Oh and great music from Thomas Newman.
For someone who loved intelligent, well-made and interesting films the period between January and April is both the best and most frustrating time of the year. This is awards season and the contenders are generally released now to maximise the publicity which often means I miss films that fit my requirements, while the remainder of the year is filled with disapppointing blockbusters and remakes.
The success of "The King's Speech" last year proved that the " greying cinema-goers" can be lured to the mutli-plexes if they are ensured of a good fun, enjoyable night.This is the audience that "The Best Exotic Marigold Hotel" is targetting. Early on director John Madden played his trump card with a small scene showing the stellar cast sitting quietly in the airport. We could then relax and sit back we were in safe hands.
The premise was seven ageing disillusioned Brits moving to India to enjoy a better retirement or moperation than they wouild receive in their homeland.Naturally, their arrival at their chosen destination was not as idyllic as they had expected.
The stories that befall our ex-pats reveal no great surprises but the reasons for seeing this film are the director and the cast. John Madden, Oscar nominated for " Shakespeare In Love" knows how to tell a story and make his stars look good. When you see the list of names involved, Dench, Smith, Nighy, Wilton, Imrie, Pickup and Wilton you wonder how they are all going to get a reasonable amount of screen time.
Writer Ol Parker ( based on Deborah Moggach's novel) ensured that no-one was short-changed though as you woukd expect Judi Dench took central stage and brought an air of class to proceedings. The other all played supporting roles though Bill Nighy, Tom Wilkinson and Celia Ikmrie provided unexpectedly subtle performances. Credit must also go to Dev Patel who in a major role refuses to be over-awed by his illustrious co-stars and more than holds his own.
As you would expect there is an up-beat endng and we all come away having a thoroughly enjoyable ending and a desire for a curry. No, surprises but with such a great cast who cares. Oh and great music from Thomas Newman.
Saturday, 10 March 2012
The Muppets Film - 6th 2012
There aren't many people who haven't heard of the Muppets. Their television series ran from 1976 to 1981 before hitting the big screen and disappearing from sight in 2005 following " The Muppet's Wizard Of Oz".
However, the persistence of current high-flying comedian Jason Segal (also co-producer & co-writer)got the go-ahead for their return to the cinema. The concept is quite simple, they need to re-unite for one last show to raise ten million dollars to save their theatre from demolition by evil oil baron (is there any other) played with great relish by Chris Cooper.
Natgurally this allows us to be re-united with our favourites ( mine are Beaker and the Swedish chef) plus a few special guests along the way. But, where this film triumphs is in its warmth and its knowingness. It realises it will mainly appeal to existing fans and references its past with mentions, a clip and a variety of stills from past shows. Some of the performers may be long gone but the wackiness and charm of the Muppets hasn't died.
The two leads Jason Segal and Amy Adams willing provide the cheesiness that allows the Muppets to seem human in comparrison. A Muppets film wouldn't be complete without great music and the choice of Bret Mckenzie of " Flight Of The Concord" fame to the write the songs was inspired. "Man Or Muppet" was a delight and deservedly won the first Oscar for any Muppets movie.
This is not a film full of surprises. But, I was surprised how good it was, how much i enjoyed it and how much I had missed the Muppets. Welcome back, guys.
However, the persistence of current high-flying comedian Jason Segal (also co-producer & co-writer)got the go-ahead for their return to the cinema. The concept is quite simple, they need to re-unite for one last show to raise ten million dollars to save their theatre from demolition by evil oil baron (is there any other) played with great relish by Chris Cooper.
Natgurally this allows us to be re-united with our favourites ( mine are Beaker and the Swedish chef) plus a few special guests along the way. But, where this film triumphs is in its warmth and its knowingness. It realises it will mainly appeal to existing fans and references its past with mentions, a clip and a variety of stills from past shows. Some of the performers may be long gone but the wackiness and charm of the Muppets hasn't died.
The two leads Jason Segal and Amy Adams willing provide the cheesiness that allows the Muppets to seem human in comparrison. A Muppets film wouldn't be complete without great music and the choice of Bret Mckenzie of " Flight Of The Concord" fame to the write the songs was inspired. "Man Or Muppet" was a delight and deservedly won the first Oscar for any Muppets movie.
This is not a film full of surprises. But, I was surprised how good it was, how much i enjoyed it and how much I had missed the Muppets. Welcome back, guys.
Sunday, 4 March 2012
Pippin - 25th February 2012
First opening at the Imperial Theatre, New York in 1972, "Pippin" ran for 5 years and nearly 2000 performances. This was composer's Stephen Schwartz follow up to Gospell and his reputation as one of the bright lights of American musicals was enhanced. "Pippin" had a brief West End run in 1983 but it wasn't until "Wicked" opened here in 2006 that Mr Schwartz had a successful show on this side of the pond.
The Menier Chocolate Factory has a reputation of interesting and interpreted revivals with " A Little Night Music", " La Cage Aux Folles" and " Sunday In The Park With George" grabbing handfuls of awards. In recent months I have rather enjoyed their quirky productions of "Paradise Found" and "Road Show" and I can now add " Pippin" to that list.
The title character, the son of the despotic ruler Charlemagne, is constantly trying to find his role in life, trying war, love, religion, politics and power. And that is just the first half. I prophetically mentioned to my companion in the interval " It is good but I have no idea where it will go as it seems to have covered everything already". Sadly, I was right, it didn't really go anyway in the second half apart from a cosy predictable ending.
This appears to be the decade for the concept show. Last month my brain cells were
challenged by Ian Rickson's production of "Hamlet" at the Old Vic and today Mitch Sebastian chose to unveil this fairytale type production within the remit of Videogame, starting as you entered watching Pippin tapping away at his console.
I am not of the computer game generation and although I was impressed by the graphics used I wasn't convinced by the idea that every adventure was a level of the game.
The songs were good without being memorable but the performers certainly gave everything they had. Although I enjoyed it I am struggling to understand how it was such a big hit first time around. I assume the feel-good factor would have helped the Americans recover from the Vietnam and Watergate shocks and no doubt the present of Bob Fosse choreography would have been a factor. Nowadays, we are faced with the recession but the underlying moral of knowing your place and settle for what you have seems a little stiffling.
Harry Hepple was impressive in the title role providing a degree of vulnerability and innocence in contrast to Matt Rawle's all knowing and smarmy Lead Player. Having heard Lord Lloyd Webber advertising his latezt money-making venture, looking for a new Jesus ( aren't we all), I suggest he look no further than the young Mr Hepple. With the show stagnating at the break opportunities for the supporting cast to prosper similarly disappreared. Ian Kelsey's dominating King was barely seen and Frances Ruffelle's talents were wasted. The only person to take advantage of a cameo was Louise Gold who blew the roof off i her one scene and only song " No Time At All".
An interesting and unusual show but no award winner.
The Menier Chocolate Factory has a reputation of interesting and interpreted revivals with " A Little Night Music", " La Cage Aux Folles" and " Sunday In The Park With George" grabbing handfuls of awards. In recent months I have rather enjoyed their quirky productions of "Paradise Found" and "Road Show" and I can now add " Pippin" to that list.
The title character, the son of the despotic ruler Charlemagne, is constantly trying to find his role in life, trying war, love, religion, politics and power. And that is just the first half. I prophetically mentioned to my companion in the interval " It is good but I have no idea where it will go as it seems to have covered everything already". Sadly, I was right, it didn't really go anyway in the second half apart from a cosy predictable ending.
This appears to be the decade for the concept show. Last month my brain cells were
challenged by Ian Rickson's production of "Hamlet" at the Old Vic and today Mitch Sebastian chose to unveil this fairytale type production within the remit of Videogame, starting as you entered watching Pippin tapping away at his console.
I am not of the computer game generation and although I was impressed by the graphics used I wasn't convinced by the idea that every adventure was a level of the game.
The songs were good without being memorable but the performers certainly gave everything they had. Although I enjoyed it I am struggling to understand how it was such a big hit first time around. I assume the feel-good factor would have helped the Americans recover from the Vietnam and Watergate shocks and no doubt the present of Bob Fosse choreography would have been a factor. Nowadays, we are faced with the recession but the underlying moral of knowing your place and settle for what you have seems a little stiffling.
Harry Hepple was impressive in the title role providing a degree of vulnerability and innocence in contrast to Matt Rawle's all knowing and smarmy Lead Player. Having heard Lord Lloyd Webber advertising his latezt money-making venture, looking for a new Jesus ( aren't we all), I suggest he look no further than the young Mr Hepple. With the show stagnating at the break opportunities for the supporting cast to prosper similarly disappreared. Ian Kelsey's dominating King was barely seen and Frances Ruffelle's talents were wasted. The only person to take advantage of a cameo was Louise Gold who blew the roof off i her one scene and only song " No Time At All".
An interesting and unusual show but no award winner.
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