As the 150th birthday of Charles Ives looms next year, now is the time to get to know this most American of Mavericks. Well known for his involvement in a extremely lucrative insurance firm, Ives composed on weekends. What was conjured from his hand remains an outburst of outrageous and outstanding pieces, way ahead of it’s time.
Orchestra New England have delighted in these devilish sets some of which are premiere recordings. Granted, most of these pieces are recycled from his ludicrous and sensational songs (of which he wrote many). Its curious to see his original version of The Unanswered Question, essentially the same work if rushed, even if it maintains its sharpness in concept. Conductor James Sinclair brings these oddities wonderfully together, without a drop of novelty. I did recognise some of the songs: the brief, yet angular The Cage, an enthralling cowboy ballad Charlie Rutledge, the queasy bout of Like A Sick Eagle and more. All delivered with a fiery acknowledgement of irony and some tender moments which border on the touching.
Perhaps those keen to take the plunge with Ives might fare well with this fairly accessible recording before venturing into the more out there stuff. It’s the way he did things that’s so fascinating, concepts and discoveries that predate movements decades later. These sets define a sort of Americanism, something hard to pin down at times. Pick any of the sets at random and you’d be surprised. You can pick out old hymns, spirituals, vaudeville, marching bands, jamerbies and other noise which caught Ives’ ear.
The Barbican is ablaze with a new musical offering. A Strange Loop remains an unforgettable encounter, leaving many fine images and tunes in the brain. The songs by Michael R. Jackson are packed into this show, no interval and no prisoners here. Our leading man Usher, is his namesake at the theatre putting on The Lion King. As a young, black, gay, overweight male, he tries to find his way through and writing musicals is his escape, his passion. Yet, can Usher make it as a musical master?
There is a lot going on in this show, many themes tackled and many relatable moments for a lot of different people. Usher is very sweet as a character, down trodden by his fellow gays, snobs, family and more. A wonderful ensemble of singers dubbed his ‘Thoughts’ loiter around the stage and fill him with insecurities. Said ensemble are just one of the many highlights of the show, I’m thinking back to the outrageous musical number where black figures from history come to haunt Usher: Maya Angelo, Harriet Tubman, James Baldwin, aside an embodiment of 12 Years A Slave, clutching an Oscar. The show does have many shocking moments, never shying away from sexual, racist and homophobic bursts that left us all upset.
Director Stephen Brackett has made a wonderful production, fabulous use of the stage. I’ve yet to recover from the head turning finale scenes featuring gospel, a 80s style sitcom and even a funeral. Amazing how honest we hear truths about the parental figures in this story, the lack of support for Usher as an artist and as a gay man. Some of these songs are so catchy that I cannot even sing them now due to the context within.
The show very much belongs to our Usher: Kyle Ramar Freeman. Hardy ever off stage and with great comic timing, I was taken so much with how endearing the role is. You need a great voice and even bigger theatrical presence, Kyle does all this and more with aplomb. His brings these truths out to the role, the exhausted, bottled up emotions exploding at the end were majestic. His turn as the gospel preacher was another sensation.
This was a surreal, outrageous thrill that needs to seen at once.
A Strange Loop continues at The Barbican till 9 Sept 2023.
Lyndsey Turner’s version of Arthur Miller’s masterpiece of 20th century theatre will not be underestimated. There is a striking use of lighting thanks to the talents of Tim Lutkin, who wants to expose these characters at every angle. The stage is often alight, a large screen above the stage mimics a Rothko abstract. Perhaps the most showy thrill of this hot shot show is the water feature. Rain treacles down the front of the stage, no doubt the first few rows were in the splash zone. Its gimmicky and it’s real meaning may be contested, but I have much praise for this production.
The soft ambient drones thanks to the work of Tintying Dong and Christopher Shutt are the ever present vain throughout. The girls of the village offer further effective vocalising passages to add to the exquisite broth, another acoustic thrill. The atmosphere is heightened thanks to this and the music of Caroline Shaw also adds to this remarkable story. The actors at the start remind us of the context of the play’s creation: Miller mirroring the Salem Witch Trials with the ongoing attack from Andrew McCarthy in the ever increasing anxiety about communism in American life. Miller weaves a fine tale, facts mingle with dynamite theatre, there is never any disrespect here. The show is therefore set in the time it was written to hammer this truth home.
The Crucible remains a fine example of how not to be in a community. Its is the indulging of gossip, conjecture and hatred for the fellow man that sees these events play out. Faith and delusion intermingle and the threat of the devil and his effect upon people. Yet who has seen what? Are they really servicing the devil himself? The play skillfully used old timey English language without being too archaic, we hear and understand these characters clearly.
A remarkable cast, stun in a list of names as long as the village. Too many to say, but Nick Fletcher does well as the annoying Reverend Samuel Parris who potter’s about lost in his own pomposity. Milly Alcock is a resounding Abigail, one of the girls accused of dancing naked in the woods. Many Irish and English accent float around though Milly’s give wonderful across the pond pipes and her convulsions were immeasurably disturbing. Brian Gleeson has a lap of honour as John Proctor. This saintly figure, who fights for his wife Elizabeth aside his problematic role with Abigial.
Elizabeth is Caitlin FitzGerald, the tall, blonde presence who was hardly involved in any of the witch implied antics. I love her resilience in the face of terror. Giles Corey was a grand Karl Johnson, who get good laughs and offers great insight. Reverend John Hale is Fisayo Akinade, the serious and effective role who on the quest for truth, finds horror instead, as many girls and women are tried for witchcraft with the sentence being hanging. My favourite role was Matthew Marsh as Deputy Governor Danforth. I was awash with goose bumps for the tense trial scene and Marsh is a jammy voiced, highly intimidating figure and simply gloria in the role. Also how the quest for truth, though still extremely biased. I’ll say sorry now for not going into all the great acting in this show.
Just go and see it.
The Crucible is at the Gielgud Theatre till 2 Sept 2023.
In what might be the most interesting venue in which to attend a concert in 2023, Bristol Opera had a big old bash for their 100th birthday. They couldn’t believe their luck, a century of activity establishing themselves as the go to opera makers in the city. They haven’t shyed away from working with big composer, nor large scale pieces either. I’m ashamed to say this is my first venture with them. I can feel the passion, the good vibes and of course the love of all the music they embrace.
Curiously, we got to mingle around the Concorde Museum in Filton, seeing inside the inconic plane and bits and pieces behind glass. With the smell of the diesel still in the air, Bristol Opera showed of their best. It was a tour of the past hundred years, looking back at past productions, starting with their first: The Snow Maiden by Rimsky-Korsakov. In the marvellous Prologue we got a glimmer of the Russian master’s cleverness. Clare Daly as the Wood Sprite gave a brief solo, showing promise.
There was a lot of expected things: Carmen, Aida, Lakme and more. The fact they took on Verdi’s Don Carlos is impressive. The chorus clearly practice feverishly and produce a sweet sound of note, getting many numbers for them to sing here. The orchestra also have many great moments, the venue helping the sound along. Sophie Kirk-Harris faired well with her O mio babbino caro from Gianni Schicci. Ever the touching aria, Sophie found a good fitting in it. The Flower Duet from Ethel-Jane Cormack and Heather Holmes added a perfumed aura to the night, a very popular work that is never easy to do. Louise Geller as Olympia for her Doll’s Song from Offenbach’s Tales of Hoffman. Her voice was subtle in the French, she had fun and seemed to know it well.
For the celebration, a new opera was created. Fish by Joel M. Baldwin tells the story of Anne Harriet Fish, a Bristol born artist who’s art got into the crème of top fashion papers. Very much saturated in 1920s flapper culture, her elongated figures brim with whimsy. The opera sees her dream of characters she has created and historical figures who’s writing she could utilize for new art. In a second more sombre scene, the mood is a bathroom where Anne recounts her salad days, years after the first scene is haunted by ghosts of the past in a steamed up mirror. She falls and hits the taps in her tub and is no more.
This curious piece had a lot of potential and worked well. Its eccentric nature matched that of Anne’s own quirkyness. A fine quartet of singers brought out great things. Rebecca Chellappah as Anne was a great success, these new, bold piece she seems to take on with gusto. Fine singing as ever, previous reviews have said the same as well. Andrew Shore, an opera legend and past performer for Bristol Opera played Anne’s husband Walter and also Persian polymath Omar Khayyám. Shore has still got it, his baritone remains a real feast, his Wagner and Rossini also noteworthy.
Sophie Kirk-Harris was back and played both Eve and Lady Carstairs, characters rom Anne’s art who delight and haunt her in equal measure. Sharp voice and good presence showed Sophie as another talent. Guy Withers is a familiar face playing Edward Fitzgerald, translator of Omar’s classics. A jolly tenor, who I found endearing, Edward finished the cast of singers with aplomb.
Conductors Arne Kovac and William Stevens kept face for the classics and this premiere, easily accustomed to conducting duties with flair. Other highlights were Shore doing Doctor Bartello’s manic breakfast aria from Barber of Seville and the surreal turn in the finale: The Toreador Song from Carmen. Rebecca gave us Mon Coeue from Samson and Delia. I couldn’t have asked for anything more.
I’ll have to come and see future work now.
Bristol Opera perform in Feb 2024 with The Merry Wives of Windsor by Otto Nicolai.
Very much well done to the music students at the Guildhall for a curious double bill evening at the opera. Holst’s Sāvitri is taken from the Indian epic the Mahābhārata and looks at love beating death, a theme seen in opera for zonks. It’s a very English affair, Holst has little time for any commitment to traditional Indian music, unlike later English ones like Sir John Tavener.
There is Wagner and Richard Strauss to be heard, but it is the tea and cricket heritage that rings out. Lorna McLea is a resounding Sāvitri, Steven van Derek Linden her partner Satyavān also strong with death just in his door step, vocals which proves promise. As baddie, Death is played by Jacob Harrison, intimidating in delivery and statue, though his kryptonite being love over death foils his plans over our super woman. The real nice touch is a vocalising ladies chorus which suggested an exotic nature, a fad heard in other Indian inspired music of the era.
A much stranger second work by Judith Weir followed. We just heard her new work at the Coronation and I had the pleasure of meeting her last year, her friendly and passion for music making never wains. In Blond Eckbert based on the story but Ludwig Tieck, we get an absorbing and nasty piece. Dubbec a “pocket version” of the opera, the whole endeavour was weird and wonderful. The story became more of an oddity, the woods and fate being major themes and visuals. The Bird is Louisa Stirland, a narrator who tells the tale she has been enamoured in for years, high, vocals and irregular movement. Feeling like quite a demanding role, she makes it look easy.
Eckbert is Emyr Lloyd Jones a role filled with regrets and anxiety. Well placed here, he maintains the tension needed and has power to it all. Berthe, his wife is Rachel Roper who might be the most fascinating character, the plot vastly surrounding her circumstance. Her recounting of her abusive youth and espace was well poised. Jonah Halton as Walther holds a lot of the story in his hands, there are spoilers here for those curious. With his slight build and thick moustache, all is not what it seems and his tone is terrific. The reveal concerning his characters is quite shocking also disturbing. The score as well has loads of suspense and quirky, flavourful orchestral writing.
The Great Gatsby is an immersive performance that truly takes us back in time to the rip-roaring 1920s and is made exquisitely unique by taking place in the derelict Dolphin Pub, within Mold itself. From the moment you book your tickets at ‘Gatsby’s Drugstore’ you know you are in for a real treat.
Photo Credits Sam Taylor
Upon arrival, you are welcomed to the party and when you enter the venue, you feel as though you have stepped from the 2020s, over a magical threshold and back into the 1920s. Warmly greeted by music and the characters, who are already singing, playing the piano and coming round welcoming you to the party! Casually chatting, introducing themselves, all with a drink in hand and a smile on their face. This interaction was wonderful and I loved chatting with Carroway, George, even being offered to be looked after by Gatsby himself, during the interval. It was unique and thrilling, adding to the immersive element and making you feel as though you were surrounded by the story.
Theatr Clwyd invites you to the best roaring 1920s party ever and they are certainly not wrong! We are instantly immersed into another way of life and are taken on a journey that makes us pine for an era long gone. Seeing the forbidden love story between Daisy and Gatsby unfold, through the eyes of Carroway, there is plenty of fun, dancing and singing to be had. But behind the glitz and the glamour, we see that there are cracks and the problems that we experience today were the same then; cheating, lying, falling in love with the wrong person at the wrong time. The second half builds the tension and culminates in the dramatic conclusion that F. Scott Fitzgerald intended of his Great Gatsby tale.
The cast are simply magical, from Hammett, playing the most likeable Carroway I have ever seen, leading us through the story, introducing us to his cousin Daisy, played delightfully by Bethan Rose Young, her beguiling husband Tom (Troy Marcus Richards), the vivacious Ms Baker (played perfectly by Seren Vickers) and the charming Gatsby himself (Richard McIver’s captivating performance, hitting peak levels of suave).
Hammett is word perfect, despite his lengthy dialogue, and utterly delightful in the role, charming the audience, almost as much, but not quite, as Gatsby himself. McIver is sophistication itself, with his immaculate costumes, piercing eyes and facial expressions, and his interaction with Young. Together, they are mesmerising as Gatsby and Daisy, their delightful chemistry perfecting the romance that we all yearn for. Making it all the moreheart-breaking when Gatsby is revealed to have told a few untruths of his own. Young does not just play Daisy, she is Daisy, delivering her lines in the most achingly beautiful and emotive manner, my heart almost shattered when she uttered ‘I’m glad it’s a girl. And I hope she’ll be a fool – that’s the best thing a girl can be in this world, a beautiful little fool’. A special mention too for Bevan and Blainey, who play husband and wife, George and Myrtle, who are key characters in the story. They are a constant and hold the link between the audience and the rest of the cast perfectly, whilst singing, dancing and playing the piano delightfully. Each and every one of the cast gave their all and embodied their characters, increasing the intensity of the immersive nature of the evening.
The set is simple, the derelict pub is obviously, well derelict, with its exposed brick, however, it is dressed up and completely altered, very cleverly, with drapes, a couple of pianos and superb lighting. It is instantly believable that you are in a dance hall one minute, the boudoir the next, or helping Daisy make life changing decisions in her bedroom the moment after. Whilst the action takes place over three floors, there is no obligation and accessibility is kept in mind throughout, with no fixed seating, but chairs dotted around and theatre staff on hand to assist. There are also performances to choose from that are signed and audio described, along with touch tours. There is no need to be nervous of the interaction, it was a perfect balance of being involved, but not putting anyone into an uncomfortable situation.
1920 dress code is encouraged, but not a must, pop on your pearls and dancing shoes, grab a prohibition cocktail from the bar and be ready to meet the Great Mr Gatsby himself and have a sublime evening, one that will stay with you for a very long time to come. The most refreshing and fun theatre performance I’ve witnessed (and been part of!) and I left feeling like I had truly experienced one of Gatsby’s decadent and extravagant parties!
The Dolphin Pub, Mold
Wed 28 Jun – Sun 27 Aug 2023
Authors: Director: Amie Burns Walker Associate Director: Fiona Kingwill Set and Costume Designer: Heledd Rees Assistant Director: Juliette Manon Choreographer: Holly Beasley-Garrigan Casting Director: Polly Jerrold Musical Director – Alex Wingfield Accent and Dialect Coach: Mary Howland Lighting Designer: Rachel Sampley Safeguarding, Inclusion and Consent Consultant: Bayley Turner Sound Designer: Phil Grainger Wigs, Hair and Make up: Noah Ehrhardt Fight Director: Lucky 13 Action Cast: Siobhan Bevan – Myrtle Huw Blainey – George Jack Hammett – Nick Richard McIver – Gatsby Troy Marcus Richards – Tom Seren Vickers – Jordan Bethan Rose Young – Daisy
Running time: Approximately 2 hours and 30 mins (including 10-15 minute interval).
It’s a joy to watch these live streams all the way from California. San Francisco Opera are celebrating their 100th birthday in a big way. New opera from John Adams and a return to old productions have seen this celebration brought anew.
Not seen for 30 years, their take on Richard Strauss’ Die frau ohne Schatten or The Woman Without A Shadow has still got it. There are still some problematic aspects that are baked into the opera, some might say it was an anti-abortion piece and seeing white people clump about in middle eastern costumes (quite possibly Turkey and further into India) does not fare well in todays climate. Having said this, Roy Rallo as director has taken this strange, exquisite opera and made it work very well. David Hockney’s staging is vivid, over the top and immensely colourful. The costumes of Ian Falconer evoke vintage productions and also have an outrageous quality about them.
This fairly tale opera is hefty, the libretto of Hugo von Hofmannsthal harks back to old German stories and Goethe quite effectively. Strauss’s score is a revelation, one of my favourites of his, now finally hearing it. Ever pushing boundaries, there is also jazz, wild waltzes, piercing modernism, mimicking of a falcon and other delights. Even a glass harmonica features for a slight few bars in a decisive moment in the final act. What could feel quite demanding is essentially a story a out love, aspiration, fate and loyalty. It remains captivating.
In the cast there were no slip ups. Linda Watson gives great theatrical dame as The Nurse, a cunning role and the make up is almost drag like in appearance. Her voice is rich and perfect for this part. David Butt Philip as The Emperor handles the high notes well, in this briefer role, the ladies very much reign supreme here. Camilla Nylund as The Emperess might be my favourite voice of the night, the woman without a shadow in question on the quest for one. Her stratospheric heights in the third act were hair raising and her presence throughout was touching and absorbing.
A magnetic turn from Nina Stemme as Barak’s Wife, the dyer, whom the Empresser yearns for her shadow in order to save The Emperor from turning to stone. Stemme is electrifying in everything she does and here is no different. Her commanding vocal is emboldened in solos and soaring in ensemble moments. Barak himself, is John Reuter, world weary and tired of the hardships of life and his distant wife. Gruff and frustrated, it another awesome role with dramatic vocal parts for the only character in the whole opera with an actual name.
The supporting troupe of dancers, children’s choir and on stage musicians also wowed in this hefty opera that needs a lot more love.
Its runs till 28th June 2023
The next live stream from San Franciso Opera is El último sueño de Frida y Diego on 22 June and is available for 48 hours from 10am PST.
My last night in London wrapped up with a a fairly noteworthy event at the Southbank. Warm up act Low Island were fairly rocky, English sounding. I found them attentive if not really attention grabbing. Loud, proud rock which was not really my thing. Amazing how dim the Queen Elizabeth Hall foyer was even with the sun beaming through.
The wonderfull named Orlando Tobias Edward Higginbottom is better known by his DJ moniker Totally Enormous Extinct Dinosaurs. There are some great, thumping tunes here. I knew him best for Trouble, which recall getting as a YouTube advert back in the day. He tracks sure know how to get a place dancing, we were lost in his groovy, funk house beats. Nice to near Orlando sing live as well, a huge plus in my books. He’s cleverly chosen to not wear a first nation’s head gear anymore as well. Other songs were recognisable, easily heard on the dance floor and it remained a great set.
We bid farewell to Sir Simon Rattle as the London Symphony Orchestra’s Music Director. Of course, he’ll be back to do more concert in the autumn. His swansong were two evenings of the same programme, one which will not be forgotten in a hurry.
A world premiere from Betsy Jolas continues to improve her twilight success. At the age of 96, I even had the pleasure to meet her last year (I’veonly just discovered she knew James Joyce). She has lead a fascinating life, never quite clamping onto any of the fierce Male dominated experimental musical cults. Rattle has put the spotlight on Besty these last few years, though she has said that ‘Ces belles années…’ will be her last symphonic work. Translated as ‘Those good years…’ this has the composer looking back at wonderful summers filled with music, her love of the Aix-en-Provence Festival unwavering. The work is strange, theatrical with the musicians clapping, whispering and stomping. Happy Birthday is quoted and a modulating form hits the ear. Soprano Faustine de Monés arrives on stage during the piece and comically waves at the orchestra, most of which wave back. The use of staged directions makes Besty’s work stand out and Faustine sang with affectionate love for these bygone days. Its was all very touching and amusing.
Photos creidt: Mark Allen
Following on with the big guns, Messiaen’s Turangalîla-Symphonie remains Rattle’s show piece. This is a work I fell in love with some years ago. It remain the chattering, clamoring joy of the piece that stands out. Quasi-romance and galactic musing are super imposed with Indian and Greek music with devastating effect. Strangely based upon the Celtic myth of Tristan and Isolde, it’s a loud, unwavering avalanche, thanks to Rattle who kept the mass of instruments on stage in check. His joy in playing came through, Peter Donohoe in the piano solo is a head spinning sight and the demands he met with grace and agility. Cynthia Miller playing the ondes Martenot adds the ethereal sound to proceedings, you might mistake for a theremin. Her aura adds wonderfully to the exotic pot, though her passion is inward, the instrument being a small, early synth from France. Though she was surrounded by the speakers which pipe out the generous sounds of the ondes.
I’ve haven’t heard the piece live for nearly ten years, though it loses little impact. I saw some people in the audience with their mouths open in shock or disbelief. The lady sat next to met knew not of the piece and amazed when it was over. Much love to the players of the virbraphone, keyed glockenspiel and celeste who all featured at the front, behind Donohoe. I heard their colours well thanks for being sat near to them, the battery of percussion is also noteworthy for their bravado and skill. All the players deserves credit here, I’ll give them that. What a thrill to was to hear this with Rattle agian. I found my whole body shaking and tears abound, in the all consuming nature of Messiaen music.
This will be a concert I’ll cherish forever.
This concert will be aired for future broadcast on Marquee TV & Mezzo.
The concert will also be aired for future broadcast on BBC Radio 3.
The Southbank would simply Meltdown from the heat. This year’s fest sees Christina and the Qeens platforming an array of lush artistic activity. Our warm up for Johnny Jewel was Zola Jesus.
Zola arrived on stage, vamp and punk and I was in love. She said she rarely uses piano and was treated to a concert grand, she couldn’t believe her luck. With wild operatic vocal and an easy pop aura, I found myself taken unawares. Her own songs were introspective and honest. I never expect to hear Dido’s Lament by Purcell. Folk songs were also offered from Ukraine and Armenia. She has this extasic quality about her. Most certainly the discovery of the festival. I’d love to hear more feverish opera!
The main event was Johnny Jewel, best known for his work on the new Twin Peaks from David Lynch. His set used clips from the films he worked on, Lost River, Bronson and Drive aside old horror including The Nude Vampire and A Bay of Blood. It’s the piercing synths and all round heightened flair that Johnny brings to his sound world. Tell Me a stunningly touching song with vocals from Saoirse Ronan was heard near the end and I’m so glad it was. The spine tingling saxophone solo for his Windswept in Twin Peaks The Return was a real highlight, with video from the whole of the show’s run. His bow at the end appeard to have broken him, back bent for a durational period.
What an utter thrill to hear live. Won’t you come back, Jonnhy?
Meltdown runs till 18th June 2023
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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