ENO / Young Vic
Punch and Judy
Well I went to Punch and Judy with enormous trepidation (and a book for the expected expansive pointless and plotless sections) following ROH's Minotaur last week. But this time I was blown away.
It was FANTASTIC from beginning to end and the best thing I've seen with an ENO label in the time I've been going there. The score was fabulously delivered (despite, tonight, us having the B conductor).
The piece combines perfectly judged horror and comedy with (unlike Minotaur) real feeling.
It was designed simply and attractively with some extremely successful elements. The acting was superb, given they were all singers primarily, particularly from Andrew Shore as a variously evil, comic, mischievous and touching lead.
Go.
Tuesday 22 April 2008
Friday 18 April 2008
A load of bull...
Royal Opera House
Minotaur
For what it's worth I loved the orchestral music, especially the haunting toccati, with their associated video projections. The singing was faultless... but as with The Tempst I found myself loathing the libretto and some of the elements - not least the jeering chorus of choral speakers and the laughable booming conscience from behind the mirror.
I nearly didn't go back for more after the interval, but was glad I did. If only he'd started the story there and continued for a further fifteen minutes at the end - much more interesting!
The set looked as though it was made for the Linbury and I liked the horizon effect, but rather disliked the bull pit.
Three stars.
Minotaur
For what it's worth I loved the orchestral music, especially the haunting toccati, with their associated video projections. The singing was faultless... but as with The Tempst I found myself loathing the libretto and some of the elements - not least the jeering chorus of choral speakers and the laughable booming conscience from behind the mirror.
I nearly didn't go back for more after the interval, but was glad I did. If only he'd started the story there and continued for a further fifteen minutes at the end - much more interesting!
The set looked as though it was made for the Linbury and I liked the horizon effect, but rather disliked the bull pit.
Three stars.
Sunday 6 April 2008
Don't call me Frankie...
Saw the first preview of http://www.gwtwthemusical.com/ on Saturday in advance of world premiere in a few weeks.
Rather ominously it was prefaced by a slightly weary looking Stage Manager coming on stage to announce that "to tell this epic story which spans ten years is currently taking us three and three quarter hours and we hope it to make it shorter.. if you need to leave early please do so with consideration for the cast and other audience members...".
After a heavy sigh the production commenced. With much giggling on my part. Several times such wonderful lines came up in the book including "will we be out of here by midnight?" and "this is a story without an end". Ha ha.
In fact, the initial estimate didn't include the interval... so we didn't hear those famous lines "frankly my dear..." (followed by ovation), "tomorrow is another day" and the profound title number "[all those things are now] gone... gone with the wind" until four and a quarter hours after the lights initially went down. And suffice to say the house lights were up and the audience was off with the briefest and most apologetic of bows I've experienced.
Scarkett O'Hara (Jill Paice) spent too much time running on and off the blandly designed stage and barking through the songs to create any lasting impression. Darius Danesh, it turns out, is more than an irritating reality TV contestant, rather a tall and handsome character with a baritone reminiscent of Bing Crosby. Only the "negros" managed to save anything from the burning ashes of this disaster, with some fantastic ensemble numbers.
At least it had memorable music... oh hang on. In fact what tunes there were were variously swiped from Andrew Lloyd Webber, Oliver, My Fair Lady etc. Can't wait for the reviews. And, not long after I predict, the closing notices.
How can anyone have thought this would be any good? Just a brief glance at the biography in the programme of Margaret Martin, the lady credited with book, music and lyrics should have caused alarm bells to sound. It begins "Margaret Martin earned a doctorate in public health from UCLA..." and continues "She... is the author and illustrator of Pregnancy and Childbirth: The Basic Illustrated Guide". Erm. Oh hang on. Music is mentioned first just after the half way point... "She is the founder of... a non-profit organisation... that provides musical instruments... to 400 children from low-income LA families". Well, brava Margaret. But how the hell did you manage to find yourself as the main creative force behind a West End show?
Tosh. For a more interesting interpretation of the South, stick to Parade or Caroline Or Change instead.
Rather ominously it was prefaced by a slightly weary looking Stage Manager coming on stage to announce that "to tell this epic story which spans ten years is currently taking us three and three quarter hours and we hope it to make it shorter.. if you need to leave early please do so with consideration for the cast and other audience members...".
After a heavy sigh the production commenced. With much giggling on my part. Several times such wonderful lines came up in the book including "will we be out of here by midnight?" and "this is a story without an end". Ha ha.
In fact, the initial estimate didn't include the interval... so we didn't hear those famous lines "frankly my dear..." (followed by ovation), "tomorrow is another day" and the profound title number "[all those things are now] gone... gone with the wind" until four and a quarter hours after the lights initially went down. And suffice to say the house lights were up and the audience was off with the briefest and most apologetic of bows I've experienced.
Scarkett O'Hara (Jill Paice) spent too much time running on and off the blandly designed stage and barking through the songs to create any lasting impression. Darius Danesh, it turns out, is more than an irritating reality TV contestant, rather a tall and handsome character with a baritone reminiscent of Bing Crosby. Only the "negros" managed to save anything from the burning ashes of this disaster, with some fantastic ensemble numbers.
At least it had memorable music... oh hang on. In fact what tunes there were were variously swiped from Andrew Lloyd Webber, Oliver, My Fair Lady etc. Can't wait for the reviews. And, not long after I predict, the closing notices.
How can anyone have thought this would be any good? Just a brief glance at the biography in the programme of Margaret Martin, the lady credited with book, music and lyrics should have caused alarm bells to sound. It begins "Margaret Martin earned a doctorate in public health from UCLA..." and continues "She... is the author and illustrator of Pregnancy and Childbirth: The Basic Illustrated Guide". Erm. Oh hang on. Music is mentioned first just after the half way point... "She is the founder of... a non-profit organisation... that provides musical instruments... to 400 children from low-income LA families". Well, brava Margaret. But how the hell did you manage to find yourself as the main creative force behind a West End show?
Tosh. For a more interesting interpretation of the South, stick to Parade or Caroline Or Change instead.
Subscribe to:
Posts (Atom)
