I stumbled out of the semi subterranean darkness of the Menier Chocolate Factory into a dreary Sunday afternoon and found myself passing the giant figure of David Babani, its Artistic Director, in the bar. Under his leadership this tiny fringe venue has produced a host of exciting new and successful revivals of musicals and a succession of bland and dreary plays. I had hoped that "The Common Pursuit", their latest non-musical offering, might break this pattern.
I had just sat through two hours of a twenty five year old play about a bunch of Cambridge graduates who set up a literary publication. The bumf from the Chocolate Factory describes this as a "sharp comedy" which is "as defined a study of friendship now as it was when it was first performed". More of that later.
Babani, as Producer, and Director Fiona Laird have gathered together an extraordinary hotchpotch of mostly unsuitable performers in Nigel Harman (housewives' favourite from Eastenders), James Dreyfus (mincing directly from one gay character to another on the small screen and more recently in "The Producers" and "Cabaret" on the West End) and Reece Shearsmith (as grotesque here as when one of the "League of Gentlemen"). Along side them are Ben Caplin, Robert Portal and Mary Stockley each of whom I'd seen previously on stage but not elsewhere.
The two room box set which transported us from a Trinity College bedroom to a London Office by gliding into the wings was carefully constructed and marvelously realistic to look at, but somewhat spoiled by hollow wooden booming sounds as the actors stomped their way around the MDF floor.
Hollow and wooden, I'm afraid, is all that can be said about most of the performances. Beginning when they're all at University, the opening scene (and subsequent epilogue) was a peculiar picture. I've sat in many an eccentric Oxbridge meeting and observed nothing quite as bizzare as this cliché ridden parody of eccentricity. Nigel Harman's caddish "Lone Ranger" managed throughout to channel Frank Spencer as he nasally flounced around the stage. Reece Shearsmith, whose character was revealed to have emphysema as the painful entertainment concluded, was certainly not cast for his ability to cough realistically. James Dreyfus' performance was tolerably restrained, but his gay character was subjected to a sexual denouement so outmoded that it achieved merely groans from the audience members around me. What plot was left had to be carried by the three lesser known actors, who did so adequately, if not with flair.
The decline of the idealisitic students into intellectually bored adults appeared nothing more than mundane and inevitable in this production and mirrored my progression as the minutes ticked by. As a study of friendship, the tales of Simon Gray's characters seemed to be no more telling than those in an Ayckbourn farce, and far less amusing.
In all this was a fairly dreary afternoon of comedy which seemed to have lost any sharpness under a mound of dust in the two decades since it was written. I wonder, even then, if the sexual improprieties were all _that_ shocking.
Let's hope the Factory's next offering, rumoured to be a Lippa show, will be a return to musical form.
Tuesday, 27 May 2008
Wednesday, 21 May 2008
Fram
To comment on this National disgrace would be unfair,
as after only a few minutes I realised I couldn't bear,
to persevere (and prove my friends (who had warned me) not to be right),
and to return after the interval for more self indulgent rhyming shite.
I'm yet to meet anyone who's seen the second half of this terrible play. Occasional humorous moments are outnumbered by lengthy dull scenes, including an interminable ballet (!), itself prefaced by a character reassuring the audience that it wouldn't be long! On the night I went, the most enjoyment was gained from the unprofessional improvisation of the lead character when the set malfunctioned. Urgh. I'd urge the writer to offer his services up for panto - the only place such cheesy couplets would fit these days. However this found its way onto the Olivier stage, I've no idea. The audience on the night I went was thin to say the least, and I'm sure, was thinner after the first opportunity to escape.
Boo.
as after only a few minutes I realised I couldn't bear,
to persevere (and prove my friends (who had warned me) not to be right),
and to return after the interval for more self indulgent rhyming shite.
I'm yet to meet anyone who's seen the second half of this terrible play. Occasional humorous moments are outnumbered by lengthy dull scenes, including an interminable ballet (!), itself prefaced by a character reassuring the audience that it wouldn't be long! On the night I went, the most enjoyment was gained from the unprofessional improvisation of the lead character when the set malfunctioned. Urgh. I'd urge the writer to offer his services up for panto - the only place such cheesy couplets would fit these days. However this found its way onto the Olivier stage, I've no idea. The audience on the night I went was thin to say the least, and I'm sure, was thinner after the first opportunity to escape.
Boo.
Thursday, 15 May 2008
Sound - check - mate
Chess in Concert
Royal Albert Hall
I would love to be able to comment on the quality of the performances at Chess the Concert on Tuesday. The cast promised to be fantastic, with Idina Menzel and Kerry Ellis battling for the heart of Josh Groban.
Unfortunately I am unable to do so. I left the Hall infuriated and immensely disappointed at having forked out £25 for a seat with a severely restricted view only to discover during the performance that the sound quality was also restricted to such a level that the lyrics and spoken words were essentially inaudible throughout.
The overall experience was akin to listening to a concert in a stadium from outside in the car park.
Not being familiar with the musical, I was forced to guess the plot based upon the simultaneous PowerPoint presentation projected above the performers. And at times I regretted being too far away from the stage to be able to read the titles which I could see scrolling past on the immensely tacky and distracting autocues which were dotted around the stage.
I can only assume that many other members of the audience found themselves in a similar position: two rows of people around me did not return after the interval and when I tried to purchase a programme (pouring good money after bad in an attempt to salvage my evening by reading the synopsis), I was told that programmes were sold out despite them also being vastly overpriced at £15. Phew.
Advice to all: look out for future productions promoted by Heartaches Ltd / The Night of 1000 Voices / JGPC and give them a very wide berth. And really, DON'T buy the DVD.
I found this Youtube Clip later taken on someone's mobile phone. The sound really was this bad.
Royal Albert Hall
I would love to be able to comment on the quality of the performances at Chess the Concert on Tuesday. The cast promised to be fantastic, with Idina Menzel and Kerry Ellis battling for the heart of Josh Groban.
Unfortunately I am unable to do so. I left the Hall infuriated and immensely disappointed at having forked out £25 for a seat with a severely restricted view only to discover during the performance that the sound quality was also restricted to such a level that the lyrics and spoken words were essentially inaudible throughout.
The overall experience was akin to listening to a concert in a stadium from outside in the car park.
Not being familiar with the musical, I was forced to guess the plot based upon the simultaneous PowerPoint presentation projected above the performers. And at times I regretted being too far away from the stage to be able to read the titles which I could see scrolling past on the immensely tacky and distracting autocues which were dotted around the stage.
I can only assume that many other members of the audience found themselves in a similar position: two rows of people around me did not return after the interval and when I tried to purchase a programme (pouring good money after bad in an attempt to salvage my evening by reading the synopsis), I was told that programmes were sold out despite them also being vastly overpriced at £15. Phew.
Advice to all: look out for future productions promoted by Heartaches Ltd / The Night of 1000 Voices / JGPC and give them a very wide berth. And really, DON'T buy the DVD.
I found this Youtube Clip later taken on someone's mobile phone. The sound really was this bad.
Sunday, 11 May 2008
Sugared Armands
A preview performance of Marguerite at the Theatre Royal Haymarket.
The story, as in “La Dame aux Camélias” / “Traviata” / “Moulin Rouge” is fairly familiar but I thought it worked quite well in the WW2 setting.
However, I did feel that the telling of it was undermined at the beginning by failing to conjure the aristocratic hedonism from which Otto had plucked Marguerite. We first meet her as a fairly prim matronly figure at a drinks party, where her behaviour is not particularly raunchy or sexual. It is hard to understand why Otto feels the way she is behaving is in any way inappropriate, nor why her love for Armand is such a bolt. I’d have liked to see her as more of a player early on to contrast with the genuine passion we are encouraged to believe later.
The most significant problem with the book is in the passing of time. Months seem to pass between scenes and this is unmentioned (quite the opposite problem from “Gone With the Wind”, coincidentally, where they pedantically narrate the passing of every moment). Finally, when Otto is killed (almost without any repercussions at all?!), Marguerite asks for a singing job and we are told that she is to be spurned for cavorting with “the enemy” (so the Germans have now left have they? We could have done with some newsreel to inform us of that). A moment later she is seen repeatedly being kicked and spat upon by her former friends. That scene involved her clothes being torn off (slightly more revealingly than intended, I suspect) and her hair, pointlessly, being cut – what was that image meant to convey? And then she’s dead. Why? Did she die from a hair cut? It would help to see her becoming impoverished, returning to prostitution, catching TB (perhaps a cough or two), rather than simply leave the audience with the impression that she dies from the shame of accidentally flashing her boobs at them.
The cast, I thought was superb overall. In my eyes the gorgeous Julian Ovenden can do no wrong. He has a wonderful operatic tone, is beautiful to watch and as a pianist excelled. My only criticism was that he seemed a bit too old to play the youthful character with which he was charged. In some of his impetuous moments (tossing the music into the air, or having a hissy fit about not seeing Marguerite often enough) he seems to be quite a childish character and this contrasts too starkly with his reserved adult demeanour during the rest of the performance. I’d like to have seen him acting more impishly throughout, perhaps more like Matt Cross, who appeared to be channeling energy for all of the rest of the cast. Ruthie Henshall obviously has a superb voice, however she also seemed a bit reserved in her performance last night. I’ve already mentioned wishing to have seen more distinction between her as a sexy player at the beginning and as a dying broken woman at the end. In contrast to Julian Ovenden, she seemed to appear too young for her part. When they were in bed together the generation age difference between them was entirely absent… in another play they could have been playing lovers of the same age.
The musical writing had a variety of styles. I didn’t come out humming any of the tunes alas, and tantalizingly on a number of occasions the good songs aren’t long enough for the moment to be enjoyed (“Jazz Time”). The conducting seemed to be too precise – moving on all of the numbers at a pace rather than allowing the Mills-and-Boonesque romantic pieces to gush out of the pit all over the audience. A few climax notes sustained beyond their nominal length, I think, is all that would be required for this.
I thought the numbers were perfectly atmospheric, however stylistically I thought it was a shame that each of the first numbers we heard was sung in unison, which made for a flat start to the evening. A bit of harmonisation would have made it more interesting on the ear.
The band, unfortunately, is too small. Particularly with only four strings and synth for genuine gushes. I would love to hear it played by a bigger orchestra and would encourage them to hire in more players if a CD is contemplated – it would really make a difference.
Some of the writing sounded a little familiar: “China Doll” owes more than a nod to Jaques Brel’s “Carousel”, and I found myself picturing Norma Desmond on a number of occasions, not least during “The Face I See” – [“With One Look?”]. At other times, “Light in the Piazza”, “Passion”, “Phantom” (= “Intoxication”) and briefly “West Side Story” were evoked – I don’t say this entirely as a criticism, as you know I am a fan of all of the above, but only in preparation for others who might do so.
The most interesting and enjoyable numbers, to my ear, were in the counterpoints between Armand, Marguerite and Otto (“Intoxication”) and “Day by Day”.
The design was stunning and the transformation between scenes was very successfully choreographed, despite a few technical wobbles and clattering which will be ironed out by the end of previews. I enjoyed the interior of Armand’s apartment most of all, though Otto’s pad was clearly deluxe. The projections were mostly good, I liked her blinking doll face, Notre Dame and the Gare de l’Est. On a couple of other occasions, particularly for the briefer scenes, these could have been dispensed with. And I feared for cast injuries when Pierrot wheeled his bicycle along the revolve during, I think, “Time Was When”! The least successful element, I felt, was the New Year’s Eve champagne bottle/firework/clock. Although impressive, this was unfortunately a distraction from the crucial action on stage (shooting Otto) and an irritating anachronism – since when were digital clocks a feature of wartime parties? I’d rather have had a few streamers.
In summary, I’m afraid I don’t think this is going to be another “Les Miserables”, but I’d like to see it have a decent run and will be recommending it widely. I’d love to see it again when further tweaking has been done over the coming weeks and will look out for positive reviews.
The greatest advantage it has going for it is that it is vastly superior to its main competitor (GWTW), however it doesn’t have a famous title (unless you’re familiar with the ballet) so Jonathan Kent and his team ought to be pubicising it more… not least because it would be very nice to see and hear Julien Ovenden singing on the telly!
The story, as in “La Dame aux Camélias” / “Traviata” / “Moulin Rouge” is fairly familiar but I thought it worked quite well in the WW2 setting.
However, I did feel that the telling of it was undermined at the beginning by failing to conjure the aristocratic hedonism from which Otto had plucked Marguerite. We first meet her as a fairly prim matronly figure at a drinks party, where her behaviour is not particularly raunchy or sexual. It is hard to understand why Otto feels the way she is behaving is in any way inappropriate, nor why her love for Armand is such a bolt. I’d have liked to see her as more of a player early on to contrast with the genuine passion we are encouraged to believe later.
The most significant problem with the book is in the passing of time. Months seem to pass between scenes and this is unmentioned (quite the opposite problem from “Gone With the Wind”, coincidentally, where they pedantically narrate the passing of every moment). Finally, when Otto is killed (almost without any repercussions at all?!), Marguerite asks for a singing job and we are told that she is to be spurned for cavorting with “the enemy” (so the Germans have now left have they? We could have done with some newsreel to inform us of that). A moment later she is seen repeatedly being kicked and spat upon by her former friends. That scene involved her clothes being torn off (slightly more revealingly than intended, I suspect) and her hair, pointlessly, being cut – what was that image meant to convey? And then she’s dead. Why? Did she die from a hair cut? It would help to see her becoming impoverished, returning to prostitution, catching TB (perhaps a cough or two), rather than simply leave the audience with the impression that she dies from the shame of accidentally flashing her boobs at them.
The cast, I thought was superb overall. In my eyes the gorgeous Julian Ovenden can do no wrong. He has a wonderful operatic tone, is beautiful to watch and as a pianist excelled. My only criticism was that he seemed a bit too old to play the youthful character with which he was charged. In some of his impetuous moments (tossing the music into the air, or having a hissy fit about not seeing Marguerite often enough) he seems to be quite a childish character and this contrasts too starkly with his reserved adult demeanour during the rest of the performance. I’d like to have seen him acting more impishly throughout, perhaps more like Matt Cross, who appeared to be channeling energy for all of the rest of the cast. Ruthie Henshall obviously has a superb voice, however she also seemed a bit reserved in her performance last night. I’ve already mentioned wishing to have seen more distinction between her as a sexy player at the beginning and as a dying broken woman at the end. In contrast to Julian Ovenden, she seemed to appear too young for her part. When they were in bed together the generation age difference between them was entirely absent… in another play they could have been playing lovers of the same age.
The musical writing had a variety of styles. I didn’t come out humming any of the tunes alas, and tantalizingly on a number of occasions the good songs aren’t long enough for the moment to be enjoyed (“Jazz Time”). The conducting seemed to be too precise – moving on all of the numbers at a pace rather than allowing the Mills-and-Boonesque romantic pieces to gush out of the pit all over the audience. A few climax notes sustained beyond their nominal length, I think, is all that would be required for this.
I thought the numbers were perfectly atmospheric, however stylistically I thought it was a shame that each of the first numbers we heard was sung in unison, which made for a flat start to the evening. A bit of harmonisation would have made it more interesting on the ear.
The band, unfortunately, is too small. Particularly with only four strings and synth for genuine gushes. I would love to hear it played by a bigger orchestra and would encourage them to hire in more players if a CD is contemplated – it would really make a difference.
Some of the writing sounded a little familiar: “China Doll” owes more than a nod to Jaques Brel’s “Carousel”, and I found myself picturing Norma Desmond on a number of occasions, not least during “The Face I See” – [“With One Look?”]. At other times, “Light in the Piazza”, “Passion”, “Phantom” (= “Intoxication”) and briefly “West Side Story” were evoked – I don’t say this entirely as a criticism, as you know I am a fan of all of the above, but only in preparation for others who might do so.
The most interesting and enjoyable numbers, to my ear, were in the counterpoints between Armand, Marguerite and Otto (“Intoxication”) and “Day by Day”.
The design was stunning and the transformation between scenes was very successfully choreographed, despite a few technical wobbles and clattering which will be ironed out by the end of previews. I enjoyed the interior of Armand’s apartment most of all, though Otto’s pad was clearly deluxe. The projections were mostly good, I liked her blinking doll face, Notre Dame and the Gare de l’Est. On a couple of other occasions, particularly for the briefer scenes, these could have been dispensed with. And I feared for cast injuries when Pierrot wheeled his bicycle along the revolve during, I think, “Time Was When”! The least successful element, I felt, was the New Year’s Eve champagne bottle/firework/clock. Although impressive, this was unfortunately a distraction from the crucial action on stage (shooting Otto) and an irritating anachronism – since when were digital clocks a feature of wartime parties? I’d rather have had a few streamers.
In summary, I’m afraid I don’t think this is going to be another “Les Miserables”, but I’d like to see it have a decent run and will be recommending it widely. I’d love to see it again when further tweaking has been done over the coming weeks and will look out for positive reviews.
The greatest advantage it has going for it is that it is vastly superior to its main competitor (GWTW), however it doesn’t have a famous title (unless you’re familiar with the ballet) so Jonathan Kent and his team ought to be pubicising it more… not least because it would be very nice to see and hear Julien Ovenden singing on the telly!
Tuesday, 22 April 2008
That's the way to do it!
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.
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.
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.
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