Note: This is a belated review of the performance on Wednesday 12th April 2017.
My hopes were high for this show after Steve Waters's powerful Temple at the same venue in 2015. I was not disappointed. This is an outstanding play, superbly performed: politically charged, emotionally moving, and posing us difficult questions.
The drama focuses on the hours prior to the Gang of Four's famous Limehouse Declaration founding the SDP. David Owen (Tom Goodman-Hill), and his wife Debbie (Nathalie Armin), Shirley Williams (Debra Gillett), Roy Jenkins (Roger Allam) and Bill Rodgers (Paul Chahidi) gather at Owen's house to argue, by turns bitterly, ambitiously, idealistically, and with anguish about political futures – their own and the country's.
Tuesday, 18 April 2017
Note: This is a belated review of the performance on Wednesday 12th April 2017.
Note: You can find the full listings for the 2017-18 Royal Opera House season here.
The 2017-18 Royal Opera House season bears strong marks of departing artistic director Kasper Holten. If his farewell production, a dismal Die Meistersinger, saw him, as some suggested and I'm inclined to agree, shaking his fist at an under appreciative London public, this season reminds us of the broader legacy he leaves behind. It is, overall, not an encouraging one.
Starting first with the pick of the new productions which for me only arrives in March with Krzysztok Warlikowski's take on Janacek's From the House of the Dead. As a director he will be new to me, and I am slightly uneasy about someone who thinks the director's task is "to inject life into the structures imposed by the score and ossified conventions" (quoted in a fuller profile here) which suggests a distrust of the form which makes me uneasy. This new staging will also be up against stiff competition in Opera North's recent fine production, but it's great news that Janacek finally returns to the House after too long an absence, and Warlikowski's operatic work has been well received elsewhere, so I hope for the best. The conductor, Teodor Currentzis will also be new to me, but there are some fine singers in the ensemble – most notably Johan Reuter and Nicky Spence.
Monday, 17 April 2017
Note: This is a slightly belated review of the performance on Tuesday 11th April 2017.
This is a production that finds its groove after the interval. Director Simon Godwin at that point seems to realise that this is not a pure comedy. The melancholy and uneasiness which exist throughout are allowed to properly emerge and moments of real power result. But the effect, with one notable exception, is less than it should be because it doesn't emerge from a sufficiently complete reading of the piece.
Quite where Godwin's Illyria is never comes into focus. Elements of the new (a buzzer entry to Olivia's house, motor vehicles) and old (swords for the duel) are juxtaposed. My partner identified various references to current popular culture which passed me by. The show gets away with this on the whole, but I think a more concrete sense of place could have added depth.
Friday, 24 March 2017
After taking a couple of years off (once through busyness and last year because we were pretty annoyed with the Festival) our annual commentary on the Opera and Theatre programme returns...
After some comparatively lean years, the 2017 edition of the festival presents nine operas. The devil, however, is in the detail.
Let us start with the positives. After their stunning Nozze di Figaro in Linehan's first year, the Budapest Festival Orchestra under Ivan Fischer return with a semi-staging of Don Giovanni. This is a revival of a production first staged in Budapest in 2010 and in New York in 2011 (warmly reviewed here and here and less so here). Laura Aiken, evidently a standout in New York, reprises her Donna Anna, and I look forward to hearing Christopher Maltman as the Don. The 2015 Figaro in Edinburgh was one of my finest operatic experiences of recent years. Highly recommended.
Tuesday, 21 March 2017
I've been privileged to see some exceptional productions of this work, which is very dear to me, in recent years, of which the outstanding Glyndebourne production by David McVicar still stands out. The Royal Opera's previous production, by Graham Vick, was also pretty strong. This replacement is another dismal effort from departing Artistic Director Kasper Holten which left me unmoved and, in what should be one of the most emotionally moving works in the repertoire, increasingly alienated and fed up. I wouldn't put it past Holten for that to have been intentional – there are certainly distinct elements of contempt for work and viewer lurking in this show.
Each prelude is played with the curtain down – one of the few moments in the show when the music is allowed centre stage. Once it goes up on Act 1, the oddities start. We are in a classically, for modern opera stagings, geographically confused building. The main element is a central staircase leading up to a door. To the viewer's left the opening chorale is in rehearsal watched by Sachs (if you're thinking that usually he doesn't appear until rather later in Act 1 you would be quite correct). Nearby Eva is hovering. This causes two fairly rapid problems. I accept that the sequence when Eva keeps forgetting things so she can prolong a conversation with Walther is not the easiest thing to stage convincingly but Holten doesn't even try. She stands a few feet from a table on which the objects are resting – needless to say it's daft that Magdalene is sent that small distance to fetch them, and equally that this is supposed to grant space for the lovers meeting. The second problem is that, having put Sachs on stage in defiance of the text, Holten seems to have no idea why he has done so. He (Sachs) hovers about ineffectively for a bit and then wanders off – now one might suppose that a man as concerned for Eva as the text will later bear out that he is (and this production sometimes accepts), might want to hang around and observe the new man on the scene – but no.
Monday, 20 March 2017
Directors and writers often try to shock. But it's rare in my experience to encounter theatre which is truly shocking or unsettling. This is a such a play. It does it not with the kind of cheap shots of nudity and violence I've seen so often but with a dissection, through words and silence, of some of our worst capacities as human beings. Partnering this text with the superb production and ensemble seen here makes for an enormously powerful, if sometimes hard to watch, piece of theatre.
Edward Albee's play takes place in a small New England college town. The quartet of characters are an older history professor George (Conleth Hill) and his wife Martha (Imelda Staunton), daughter of the college President, and an ambitious young newly arrived biology professor Nick (Luke Treadaway) and his wife Honey (Imogen Poots). At the beginning we're given the impression that George and Martha are your fairly standard, bickering, long-married couple, though already here the barbs being traded are very sharp. They've returned from a faculty party but, just as George is relaxing, Martha drops the first bombshell – for reasons that are never entirely explained Nick and Honey have been invited to continue the evening with them. The stage is set.
Thursday, 16 March 2017
Note: This is a review of the performance on Saturday 11th March 2017.
In advance I had no expectations about this show. Indeed, on paper it was the kind of piece that seemed likely to annoy me – signs of possible gimmickry, no script – though I have enjoyed improv on other occasions. But it turns out to be a gem.
The premise is to take a group of experienced performers in their 70s and 80s who have never previously done improv and have them do so (at the performance I was at the line up featured Georgine Anderson, Caroline Blakiston, Anna Calder-Marshall, Lynn Farleigh and Tim Preece). They are provided with occasional guidance by directors Phelim McDermott and Lee Simpson. The resulting scenes range from an ensemble family group, brilliantly transported by Anna Calder-Marshall to a failing farm, to a lovely solo by Tim Preece's bus driver who wishes he'd been a musician (and sounded at times as if he was recalling one of Peter Cook's monologues in Beyond the Fringe).
Thursday, 9 March 2017
Note: This is a review of the matinee on Saturday 4th March 2017.
The previous occasion I saw this show, at Chichester, I enjoyed it but it didn't especially stick in my mind (apart from the Act 2 number Where's My Shoe). So when this revival was announced, I was a little hesitant about booking. Thank goodness I did. This is a fabulous revival in every sense, and sent me out into the street grinning from ear to ear.
The show by Joe Masteroff (book), Jerry Bock (music) and Sheldon Harnick (music) tells the story of the love trials of the staff of a perfume shop in Budapest. At the centre are Mark Umbers's Georg and Scarlett Strallen's Amalia. They have been writing love letters to anonymous correspondents they've never met, whom they know in each case only as Dear Friend. The astute among you will doubtless have spotted the plot. There's also a second, more tempestuous, romance between Katherine Kingsley's Ilona and Dominic Tighe's Kodaly. There are occasional darker moments, but overall this is a lovely, frothy, what I think of as perhaps slightly old fashioned musical comedy. I treasure this type of musical, and what I particularly loved about this show is everybody involved evidently treasures it too. They don't try to make it more than it is, but they treat with love everything it is. The results are rich.
Wednesday, 8 March 2017
Note: This is a review of the performance on Friday 3rd March 2017.
In advance I had high hopes for this new opera. I previously heard Ryan Wigglesworth's Echo and Narcissus at the Aldeburgh Festival, a dramatic cantata with real drama, emotional punch and superb word setting. I hoped for the same here since the source work, in theory, provides so much to work with. Sadly, despite excellent committed performances, it was not to be.
The best aspect of the evening comes from the work of the performers on stage and in the pit. ENO has assembled a very strong line up of familiar faces for this premiere and they give the work everything. I particularly enjoyed Sophie Bevan's Hermione, Samantha Price's Perdita and Neal Davies (doubling effectively as Antigonus and the Shepherd) but there isn't a weak link. The ENO Chorus are musically strong, though not always well enough directed. In the pit the ENO Orchestra under the composer is on fine form, particularly in the many exposed solo passages, though I did think he wasn't always sufficiently careful about the balance between pit and stage.
Friday, 3 March 2017
Note: This is a review of the third performance on Thursday 2nd March 2017. No press night is listed in the NT brochure.
I haven't missed a main stage NT production since 2011. It was for that reason alone that I booked for this show. The thought of having to relive the EU referendum as theatre did not remotely attract me. Nor did the prospect of another issue play which, in my recent experience, tends to produce one sided lectures. To my considerable surprise, this show does have things to recommend it, but in the end it is limited in scope and I'm not convinced of the value of the exercise in this form.
I did hate the opening in which Penny Layden's Britannia insists on explaining both the show and the presence of the audience. I've seen this kind of device countless times and I'm sick of it. Just do the play and let the audience react as they will. If it's a good show we'll listen, but you will get nowhere, at least with me, by ordering me to do so – indeed you will have a precisely opposite effect.
In advance of this show I was not optimistic. A 3hr 45min run time did not inspire confidence especially after the same director's overlong and unconvincing Oresteia. I have not generally been convinced by Robert Icke's work, and the Almeida's recent form has been poor. Fortunately, there are some marvellous things in this production but for me, finally, it was unsatisfying.
The production itself is rather simpler than some of Icke's recent efforts. We are in modern times – this produces the occasional jarring effect between elements of text and setting. The guns are a mistake, as is nearly always the case in Shakespeare, for the simple reason that they can rarely be fired – it is telling that Icke has to revert to swords for the final fight, and the television news broadcasts are a familiar and indifferent device.
Thursday, 16 February 2017
Note: A belated review of the performance on Sunday 12th February 2017
My past experiences with those involved in this production have been mixed. I thought Complicite's The Master and Margarita was remarkable. I had mixed feelings about Simon McBurney's The Encounter, and I was not impressed by the Schaubuhne Berlin's Richard III (touring alongside this show and featuring some of the same cast). As I seem to be saying depressingly often these days other critics, and social media opinion, have largely raved about this one but it left me cold.
As a staging it reminded me strongly of The Encounter. Although some scenes are partially staged (usually in lighted space centre stage) and there is some use of props and the wearily familiar projections around the sides and to the back, far too much of this show consists of people delivering text into onstage microphones. As a radio play this would work better, as theatre, for me, it had an alienating effect which the show never transcended. A similar problem bedevils the adaptation (by McBurney and colleagues). I haven't read the book, but other reviews suggest that the adaptors have maintained the narrative style – wherein the older Hofmiller recalls the experience of his younger self. There are two issues here. First, because the narration is constantly telling you how people feel and what to think about things there is little room for the viewer to use his or her own imagination – like far too much theatre at the moment there is a lecturing element. But secondly, and more seriously, on too many occasions the narration drags on (there is also not enough variety of delivery) with insufficient visual accompaniment. On a radio, where you have to imagine the scene from the words this might work quite well – on a stage cluttered with actors sitting at their microphones there is a constant unconvincing divorce between text and visuals.