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.
Wednesday, 4 April 2012
Stewart Lee - 28th March 2012
Stewart Lee is one of those "marmite" comedians, you either love or hate him. He came to prominence in the 1990's as part of Lee & Herring and then hit the front pages by co-writing "Jerry Springer - The Opera" which caused the Christian right to protest against him, without having seen the piece, of course.
In recent years he has returned to touring and, like the best comedians having fallen under the radar, he has re-emerged as the "comedians comedian", appearing unexpectedly at 41 on Channel 4's Best ever stand-up comedian list.
Oddly, we first saw him at the Cheltenham Jazz festival in 2010, compering a Free form Jazz concert. Sadly, I generally hated the evening but it does begin to explain his comedy.
He is not your standard comedian. We finally caught his stand-up show in Cardiff last year after re-scheduling a "Vegetable Stew" gig. This year's show is " Carpet Remnant World" and basically the 2 hour set involves him haranguing the audience for not laughing more at cetain moments and confessing that being in his early 40's & staying at home looking after his young son he has nothing to say.
This of course is nonsense. Every word is meiculously crafted and the ability to pretend to end the first half on a badly received joke, allowing him to perform for another 10 minutes to get a better laugh and then moan that we had driven him to finish on a shitty pant joke is comedy genius.
The second half shows more of a theme emerging although he has a good swipe at modern comedians who use serious events in their lives to gain laughs & sympathy through pathos. (His hidden attack on Adam Hills was as wince-making as it was funny).
Finally we get a set-piece about how retail shops who use " World" in their title are little more than cons, though it does explain why a variety of carpets are standing proudly erect behind him.
You may be lucky enough to find funnier comedians around, but none will be as clever at constructing a show and controlling an audience.
Go and revel at the master of 21st century stand-up.
In recent years he has returned to touring and, like the best comedians having fallen under the radar, he has re-emerged as the "comedians comedian", appearing unexpectedly at 41 on Channel 4's Best ever stand-up comedian list.
Oddly, we first saw him at the Cheltenham Jazz festival in 2010, compering a Free form Jazz concert. Sadly, I generally hated the evening but it does begin to explain his comedy.
He is not your standard comedian. We finally caught his stand-up show in Cardiff last year after re-scheduling a "Vegetable Stew" gig. This year's show is " Carpet Remnant World" and basically the 2 hour set involves him haranguing the audience for not laughing more at cetain moments and confessing that being in his early 40's & staying at home looking after his young son he has nothing to say.
This of course is nonsense. Every word is meiculously crafted and the ability to pretend to end the first half on a badly received joke, allowing him to perform for another 10 minutes to get a better laugh and then moan that we had driven him to finish on a shitty pant joke is comedy genius.
The second half shows more of a theme emerging although he has a good swipe at modern comedians who use serious events in their lives to gain laughs & sympathy through pathos. (His hidden attack on Adam Hills was as wince-making as it was funny).
Finally we get a set-piece about how retail shops who use " World" in their title are little more than cons, though it does explain why a variety of carpets are standing proudly erect behind him.
You may be lucky enough to find funnier comedians around, but none will be as clever at constructing a show and controlling an audience.
Go and revel at the master of 21st century stand-up.
Sunday, 1 April 2012
Clybourne Park - 31st March 2012
In 2010 the Royal Court theatre continued its trend of producing new hard-hitting drama with Bruce Norris's "Clybourne Park".Following critical and public acclaim it transferred to London's Wyndham's theatre winning Best Play at the 2011 Olivier Awards, beating the much fancied "Jerusalem".
It has now just recently received its Cardif debut in the Richard Burton theatre at the Welsh College of Music and Drama. This intimate auditorium was the perfect venue for this intimate tsle of a married couple, Bev & Russ, in America in the 1950's with obligatory coloured housemaid. They are surrounded by packing cases as they are in the process of moving, a simple standard event until we realise the reason why they can no longer live there and the impact their new owners will have on the neighbourhood. The second half then moves us on 50 years in the same house with a modern day dispute about building permission.
This is a play about race and prejudice ,past present & future. The simple plot shows how much society has moved on in half a century, or have we? The best state of the nation plays makes us question what we would do in these situation but does not provide answers. The writer, rightly, makes you do the work. He always understands the power of humour to relax an unsuspecting audience whilst the characters attempt to step through the minefield they have found themselves in.
The acting is of a uniformally high standard, the American accents remained solidly impressive and you soon forgot these 21 year olds are portraying middle-aged people. For me Jessica Hayles and Carole Turner dominated the piece in their two differing roles especially at the end of the play when the tone changes, making uncomfortably (if extremely funny) watching. Mention must also go to James Peake for his comic turn as local vicar Jim, trying his best to be conciliating but clearly out of his depth.
This is writing, acting of a directing of the highest order. Sadly, this run has ended but look out for this play at other venues and visit the Welsh College of Music & Drama, to see what high quality of young talent is currently available in Cardiff.
A theatrical gem.
It has now just recently received its Cardif debut in the Richard Burton theatre at the Welsh College of Music and Drama. This intimate auditorium was the perfect venue for this intimate tsle of a married couple, Bev & Russ, in America in the 1950's with obligatory coloured housemaid. They are surrounded by packing cases as they are in the process of moving, a simple standard event until we realise the reason why they can no longer live there and the impact their new owners will have on the neighbourhood. The second half then moves us on 50 years in the same house with a modern day dispute about building permission.
This is a play about race and prejudice ,past present & future. The simple plot shows how much society has moved on in half a century, or have we? The best state of the nation plays makes us question what we would do in these situation but does not provide answers. The writer, rightly, makes you do the work. He always understands the power of humour to relax an unsuspecting audience whilst the characters attempt to step through the minefield they have found themselves in.
The acting is of a uniformally high standard, the American accents remained solidly impressive and you soon forgot these 21 year olds are portraying middle-aged people. For me Jessica Hayles and Carole Turner dominated the piece in their two differing roles especially at the end of the play when the tone changes, making uncomfortably (if extremely funny) watching. Mention must also go to James Peake for his comic turn as local vicar Jim, trying his best to be conciliating but clearly out of his depth.
This is writing, acting of a directing of the highest order. Sadly, this run has ended but look out for this play at other venues and visit the Welsh College of Music & Drama, to see what high quality of young talent is currently available in Cardiff.
A theatrical gem.
Secrecy - 29th March 2012
Making a film is not an easy event, so imagine being a first-time director with limited resources.I can't contemplate how you start but fortunately they still do.
Thanks to a " friend of a friend" I was his "spy" at the screening of Tom Betts first full-length film " Secrecy" at G39 a gallery space now based behind the Ernest
Willows pub on City Road. Not the most glamorous of locations but these who attended the event were like a collective positive focus group whilst a little unsure about what we were about to witness. This was probably the perfect atmosphere for what we would soon see.
Greeted by the naturally nervous film-maker I grab my glass of wine and head for the front row (why does no-one ever sit there?) for the most intimate of views. The film (written by the director) revolves around the virtually unseen Sean (played in the distance by the multi-talented director). His story pieced together through Adrian claiming to be his brother and gradually revealing his pursuit of a rare (and therefore hugely expensive) substance.
As you would expect a lot is filmes in familiar Cardiff surroundings but then he plays his trump card and moves the story to Japan. But not the beautiful settings of Bond films etc, no this is grimy, industrial,dirty,grey Japan which fits the story perfectly.
The plot is obviously important but not vital to the success of the evening. We are here to support a new talent. The sound isn't great as you would expect from a large warehouse mainly used for exhibitions and rehearsal space for a forthcoming National Theatre of Wales production. The camerawork is handheld & jumpy, the editing is not always subtle but these unpolished edges enhance the unpredictable,seamy side of the story.
"Secrecy" is not going to take the independent cinema world by storm but it is an impressive first step on the ladder of full-length movie making. It shows Tom Betts knows how to tell a story and has good visual flair. All he needs is someone to nurture his talent and support his work in the future.
Good luck,Tom.
Thanks to a " friend of a friend" I was his "spy" at the screening of Tom Betts first full-length film " Secrecy" at G39 a gallery space now based behind the Ernest
Willows pub on City Road. Not the most glamorous of locations but these who attended the event were like a collective positive focus group whilst a little unsure about what we were about to witness. This was probably the perfect atmosphere for what we would soon see.
Greeted by the naturally nervous film-maker I grab my glass of wine and head for the front row (why does no-one ever sit there?) for the most intimate of views. The film (written by the director) revolves around the virtually unseen Sean (played in the distance by the multi-talented director). His story pieced together through Adrian claiming to be his brother and gradually revealing his pursuit of a rare (and therefore hugely expensive) substance.
As you would expect a lot is filmes in familiar Cardiff surroundings but then he plays his trump card and moves the story to Japan. But not the beautiful settings of Bond films etc, no this is grimy, industrial,dirty,grey Japan which fits the story perfectly.
The plot is obviously important but not vital to the success of the evening. We are here to support a new talent. The sound isn't great as you would expect from a large warehouse mainly used for exhibitions and rehearsal space for a forthcoming National Theatre of Wales production. The camerawork is handheld & jumpy, the editing is not always subtle but these unpolished edges enhance the unpredictable,seamy side of the story.
"Secrecy" is not going to take the independent cinema world by storm but it is an impressive first step on the ladder of full-length movie making. It shows Tom Betts knows how to tell a story and has good visual flair. All he needs is someone to nurture his talent and support his work in the future.
Good luck,Tom.
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