We lost Peter Maxwell Davies a few years ago and his legacy is being greatly considered. Whilst most might shy away from the blunt nature of his music, there is an always theatrical skill to it and he truly remained one of a kind.
Prior to Max’s masterpiece, the Mad Song Ensemble presented contemporary music of an impressive degree. Anna Semple and her Pinter inspired After Torcello starts as a counting game for the players, leading to wispy playing. Strings of the violin and cello are massaged not stressed, the keys of the flute dampened with no breath. The end also remained curious, the conductor leaves the stage, as the musicians pull poses as if to play on. To start, this was an evocative opening and had a real moody feel to it.
Within Richard Causton and Phoenix, the main point of reference is very clearly Messiaen and his Quartet for the End of Time. Inspired by the mythical bird, there is an energy and valour within, though the piece might slightly over stay its welcome. Blue-Green Hill from stalwart Judith Weir seems to have been forgotten about after an overture was hastily needed in a tour of India. Scottish folk melodies are the major factor and the work is the middle ground between dance work and dense, some uncanny doubts lingering in it’s undercurrent. There is an ending of plummy British feel, a vibrant cleansing of the palate.
For the big gun’s Maxwell Davies Eight Songs for a Mad King finally was heard after cancellations. There are no prisoners for this 30 minutes assault, detailing the madness of King George III. We hear quotes from his real life, though we can’t always make out the excellent libretto of Randolph Stow. How the king shrieks, grunts, babbles and blathers. This is purely because of the shattering of the words into pure letters and syllables. The king tries to teach birds to sing and other curiosities. Also, note worthy is the sheet music, with one page a birdcage creation, a symbol of the mental health struggles on stage and the birds in the sound world.
Truly a great work about going into the psyche, you need a committed performer to take it on. Benedict Nelson shines in this ludicrous role, arriving on stage with a shirt barely buttoned and socks tucked into his sweat pants. At one point he appears to inhale a tin of fish like a jackal puppy and a paper crown is adorned upon his head for a brief few bars at the starting line. Being in the front row might have been a mistake as you feel being too near a tiger in its cage. A violin is furiously smashed at one point, a metaphor for one of the king’s birds he is teaching to sing.
The players also shines in an incredibly demanding piece, the fitting harpsichord and flurry of random percussion are just some highlights. We of course expected there to be bird whistles and the like, though it is the brief blast of a didgeridoo that proves the work’s hippy period execution. Maestro Joshua Ballance is a young, bright keeper of proceedings and all through the evening he proved a love of experimental music.
Directed by Moss and Armitage ;
Set designed by Bailey ;
Costumes designed by Slade ;
Lighting designed by Deiling ;
at the Malvern Theatres ;
UK tour ;
2021, Marlowe Theatre
Credit: Johan Persson
The age-old nursery rhyme, right? History buff or not, most of us know it, have recited it, skipped and handclapped to it, used it to our advantage in a pub quiz…
But how often do we stop to think that these six words that have been periodically used to sum up the legacy and lives of six remarkable women in history? Six individuals flippantly reduced to six words. Words that ultimately reduce these women to the impact their husband had on them.
Henry VIII and his Six Wives have dominated the school curriculum for decades; a period romanticised by Hollywood, become an inspiration for artists, playwrights, authors… but how much do we really know about the women behind the marriages? The women behind the tyrant.
Time for history to be overthrown, thanks to the feminist fuelled ensemble that is SIX.
Prepare to feel empowered, uplifted, and hit by a wave of strength as these powerful Queens finally get their chance to sing their truths and become named, REAL women – not just one word in a stupid rhyme.
SIX perfects the unbelievably difficult task of towing the line between light-hearted, historical romp, while highlighting the major injustices and abuse faced by women in the Tudor Court. What’s more, the show ingeniously shows the hurdles faced by these women through a modern lens – everything from unachievable beauty standards, harassment, gaslighting and predatory behaviour that could easily paint Henry VIII as the Harvey Weinstein of his day. We quickly come to realise modern day women are still fighting the patriarchy in similar ways to that of our sisters 500 years ago.
But this isn’t a show to get you down!
Enough of Henry and his penchant for wedding (and beheading) – SIX shines a literal spotlight on each Queen, allowing the audience to learn more about their individual trials, tribulations and achievements over and above simply being wife. Their stories come to life through a range of girl power-fuelled song and dance numbers that give off a gig-like atmosphere as opposed to that of a traditional musical. The live band on stage, fabulously called The Ladies in Waiting, bring so much vibrance and energy to the show, making it almost impossible to stay still in your seat.
A gloriously diverse and talented cast bring the insanely catchy and clever score to life, with their real strength found when they come together to sing as the ultimate Tudor girl band! You’ll spend long periods of the show taking in the unbelievable detailing of each Queen’s costume, which mix Tudor embellishments with modern day sass – each one is completely different to the other, giving the Queens individual styles and silhouettes on stage. There is lots of funny and heartfelt moments too – the energy is infectious, and it is so obvious the cast are having the time of their lives on stage, which radiates into the audience. Feel good vibes all round!
No longer Divorced, Beheaded Died. Divorced, Beheaded, Survived. They are Catherine of Aragon, Anne Boleyn, Anne of Cleves, Jane Seymour, Katherine Howard, and Catherine Parr: inspirational women in their own right and so much more than who they married.
Too many years lost in history, these six remarkable Queens are finally free to take their crowning glory, so do your royal duty and spend the evening at the most inspiring royal court in HERstory!
SIX is LIVE at the Wales Millennium Centre until 14th of May
Many may associate the cult-classic Little Shop of Horrors with its 1986 film adaptation starring Rick Moranis, Ellen Greene, and Steve Martin to name but a few (even Bill Murray makes a guest appearance!) The film was based on the 1982 off-Broadway musical of the same name and was well received by critics and audiences alike. Of course, most forget the original film which started it all. The Little Shop of Horrors (1960) written by Charles B. Griffith and directed by Roger Corman is a horror movie and farce about an inadequate florist’s assistant who cultivates a plant which feeds on human blood!
Fast forward fifty plus years and the musical is still going strong, attracting audiences across the globe. This time it was the turn of Kent Academy of Musical Theatre (KAMT). Founded by Jo Mason in 2020, KAMT is a part-time musical theatre academy for all ages, from toddlers right up to adults of any age! They currently run classes in Maidstone and Cranbrook with ambitions to branch out across the county. Considering the academy was founded during a worldwide pandemic, it has gone from strength to strength during its first two years, Little Shop of Horrors being the first production presented by the academy’s adults. Founder and director Jo Mason had been inspired by professional performances of the show in London, most recently Regent’s Park’s contemporary adaptation.
Often, it is more of a challenge to put on a production with a group of adults than with a group of children. Adults take part in amateur theatre as a hobby, something they’re passionate about and want to continue improving at, but something which comes alongside potential parenting, full time jobs and just ‘life’ in general, so it’s always a thrill to see a group of adults who are clearly dedicated to their craft and who have worked so hard to pull a piece of theatre together. It is almost unfair to label this production ‘amateur.’ Although the definition is actually ‘someone who engages in a pursuit on an unpaid basis,’ it has come to mean that an individual is incompetent at something. For example, you might say Little Shop of Horrors’ hero Seymour is an ‘amateur florist’! But this production certainly pushed amateur boundaries.
It is great to see an almost full auditorium at the Glassbox Theatre. It is more important now than ever that audiences support local theatre and it is clear that this audience got more than they bargained for, hearing some wonderful comments and fabulous feedback from the crowd in the interval and beyond. It is clear from the get-go, as the piece opens with the well known ‘Little Shop of Horrors’ title song, that the Urchins, the Greek chorus if you will, are extremely strong vocally. Not missing a note, the harmonies work beautifully, and each Urchin performs their ‘sassy’ role to a tee with plenty of attitude! It is clear not all Urchins are completely comfortable with some of the choreography, but this is made up for in style and voice! The Urchins are certainly at their strongest when ‘setting the scene’ vocally, whether it be as a group or scattered around the stage to portray a time or place.
The set is really striking and the scene changes slick with simple but effective changes as the production progresses…a light on here, a dentist’s chair there and of course, the most obvious change being the ever growing, man-eating plant! All puppets are visually outstanding and the shock and laughter from the audience as the plant chomps its first victim is worth the wait! The costumes have been modernised, with the Urchins in khaki green and black, the dentist in ripped jeans and tattoo sleeves and Audrey has a look of Sandra Dee circa 2022!
There are a few directorial choices which really hit the nail on the head in this production. The first happens during ‘Somewhere That’s Green,’ beautifully sung by Laura Shannon as Audrey. As she continues into the song, we see her don an apron, as if travelling into her own daydream, particularly poignant as she undoes her cast from an arm broken by her nasty dentist boyfriend, Orin. A piece of artificial grass is then rolled out in front of her, unintentionally I think, causing a few giggles, but we are transported with her, into her ideal future. Another ‘different’ take on a musical number is spotted during ‘Suddenly Seymour,’ usually put across as a simple, lovey-dovey song. Instead, although still romantic in parts, we see Audrey and Seymour clearly getting a little hot under the collar as he pulls her blouse from off her shoulder and pins her (gently!) against the wall! Although not expected, we see the sexual tension between the two and it somehow works despite being placed in the middle of a romantic duet! Most productions have their plant’s voice offstage, so it was a surprise to see the plant ‘brought to life’ as a female diva, entering through the door of the florists and interacting with Seymour! This worked effectively and made the plant seem somehow even more eerie and domineering, no longer just a plant but something even more ‘alive’ and capable!
This production was extremely well cast and, aside from a few sound issues, it could not be faulted. We were in great hands with Laura Shannon (Audrey), Ivan Collis (Seymour) and Paul McLaren (Mushnik) from the outset with Ivan Collis putting on an outstanding performance as Seymour, a very consistent performer with great comedy timing and a strong voice to boot. All other roles, ensemble and dancers were incredibly strong and certainly weren’t missed in the action.
This was a fantastic production which thoroughly deserved the standing ovation it received and I’m already looking forward to KAMT’s next production, Calendar Girls, which will be performed on Saturday February 11th, 2023, at the Glassbox Theatre.
Fore more information about KAMT and how to get involved please head to https://www.kamt.co.uk/ or find them on Facebook (just search for Kent Academy of Musical Theatre).
Glassbox Theatre, Gillingham Saturday April 9th, 2022 Book & Lyrics: Howard Ashman Music: Alan Menken Director & Producer: Jo Mason Vocal Coach: Fiona Lussier-Foy Choreographer/Dancer: Millie Judd Costumes: Jo Mason Props: Jo Mason Light & Sound Technician: Jack Gschaider Set: Set for the Show Stage Manager: Nick Bower Stage Crew: Emma Sawyer, Darren Coleman Cast Includes: Laura Shannon, Ivan Collis, Paul McLaren, Will Coote, Jenny Soto-Briley, Emma Sackett, Natalie Kitts, Maddie Lambley, Molly Dobson, Georgia Page, Suzanna Byles, Lindsey Simpson, Grace Couch, Eden Moody, Emma Bond
Anyone is this World knows of the story of Romeo and Juliet by William Shakespeare. A tragic love story of “two star crossed lovers” who marry against their enemy family’s wishes but unable to be together, die for true love.
Now… what if that hadn’t happened? What if Juliet got to live on? What would happen next?
& Juliet takes this concept, pumps it with musical numbers, upgrades the costumes and set to meet its traditional roots but tickle the modern fashions and includes some more up to date language, slang, which ol Shakey I’m sure would approve of.
I will start this critical approach out by fully admitting that Musicals are not in my top loves of Theatre. I enjoy, and have grown to love them but I wouldn’t say they are what first interests me and nor is it my own training or practice. However, I appreciate the love of these as well as the popularity of them and the talent it exudes.
Beginning with & Juliet, I really liked that how we got nearer the beginning of the show, characters began to pop out on stage, dance and interact with the audience. However, this is a little where my dislike started and made me wonder if I would really enjoy this musical. It felt a little like CBBC; jumping out, waving manically and screaming hello. I did begin to wonder where this would go.
As the production starts, it is strong. Not original songs by any means, this production wraps millennials and 90’s babies in a warm embrace as it brings back the 90’s/00’s boy and girl bands, Britney Spears, and some contemporary popular songs as well. They do a really good job of finding the appropriate songs and fitting them to match the scene. Sometimes, it just made you laugh at the choice and how it fit with the narrative.
Juliet continues her life, finding out that Romeo was a little of a lothario, travels to another city to party and live life, only to end up back in another engagement. But this whole journey and how it ends is all about empowering her as a woman, as an individual and it makes a great point for young females everywhere of breaking out of the patriarchy and being your own person. Points are also touched upon with a gender neutral character; of who they are, who they are becoming and their own love story in between this. It felt contemporary, right and well supported.
They cleverly mirror life with William and his wife, Anne Hathaway – little records exist but it is believed that their marriage was of convenience and so & Juliet aims to bring back some love between this unhappy married couple through the retelling of one of his most famous plays. Anne gets to have a hand, and they break the fourth wall, jumping in and out of scenes to help facilitate. They reconvene and discuss what happened and next steps and we realise that this is a tactic to save their marriage, like a baby or a puppy may be traditionally. Perhaps real life isn’t like Anne and William, or Romeo and Juliet in both the original, real life and this musical, but it makes us believe in love and we can’t help but feel happy leaving the theatre.
However, with the glitz and glamour, the era setting, the choice of pink aesthetic and glitter as well as the hammed up characters, at times, felt more Pantomime than Musical, and for a while it continued to not sit right with me.
Don’t get me wrong – I LOVE a Pantomime. But I came to see a Musical… After a while, this dissipates and you find yourself singing along, laughing at the crude jokes, feeling for the characters and just having a really good time. The campiness is arguably what a Musical is and maybe the choice of this is something other Musicals are lacking. I couldn’t help but whoop and cheer and appreciate the talent, the vocals, the set, the costume, the music and everything in between.
Overall, & Juliet is a less pressured, fun night out. The songs and well performed, there are jokes, dancing and a wholesome feel to what was once a tragic play. You come away dancing, singing and with a smile on your face.
Your first ever trip to the theatre is always a magical experience. It’s a rite of passage, that first step through those doors and into a world of fun and fantasy. What you see on that first trip is something that sticks with you: for many children, that show is Joseph and the Amazing Technicolor Dreamcoat, the first musical by Andrew Lloyd Webber and Tim Rice whose subsequent megahits include Jesus Christ Superstar, Evita, and Cats. Whether you grew up on the Donny Osmond VHS, or watched Jason Donovan, Philip Schofield or Lee Mead don the icon dreamcoat on stage, everyone has their own Joseph story – and local boy Jac Yarrow is now the definitive Joseph for a whole new generation of kids as he returns to his home town for a show like no other.
Our story starts way, way back many centuries ago – not long after the Bible began, in fact. Our hero is Joseph, Jacob’s favourite son. After his father gifts him with the titular dreamcoat, Joseph’s jealous brothers sell him into slavery. While in Egypt, Joseph gets himself thrown in prison over a misunderstanding – but it’s only while he’s locked up that he finally unlocks the secret power of his dreams, and finds himself becoming the right-hand man of the Pharaoh himself.
Directed by Laurence Connor and staged at the London Palladium in 2019 and 2021, this new UK tour brings with it all the glitz and glamour of the West End. As the latest to don the dreamcoat, Yarrow has quite the legacy to live up to – and he does so with ease. It’s hard to believe this is his first role right out of drama school; a belter of a debut that has garnered much deserved praise, including an Olivier Award nomination. Yarrow might have implored us to ‘Close Every Door’ to him but I’m sure many more will be opening in future. His performance of ‘Close Every Door To Me’ is easily one of the best things I’ve ever seen on stage, and is well worth the price of admission alone.
X Factor winner Alexandra Burke, is not only a multimillion selling artist and West End star (Sister Act, The Bodyguard, Chess) but is fast proving herself as one of the most talented and versatile performers onstage today. She brings tremendous energy and charm to The Narrator, at ease in every moment whether she’s cheerfully corralling the young cast or playing a half dozen characters – each one more hilarious than the last. With such a dazzling repertoire to her name, when I say this is the best she’s ever been, that’s really saying something.
The whole ensemble is on top form, from the lively young cast to the cracking orchestra directed by John Rigby (who, in a nice touch, conducts music with a Welsh flag in place of a baton!) JoAnn Hunter’s zesty choreography really shines in ‘Go Go Go Joseph’, ‘Jacob and Sons’ and especially ‘One More Angel in Heaven’, which turns into a full-on rootin’ tootin’ hoedown, complete with Seven Brides for Seven Brothers-style gymnastics.
Speaking of brothers, Joseph’s are a blast: from a pitch-perfect Will Hawksworth who leads a riotous rendition of ‘Those Canaan Days’ led by, to Jabari Braham’s top-tier acrobatics, to Shane Antony-Whitely and young castmate Nadini Sharma who bring down the house with ‘Benjamin Calypso’. And as Pharaoh, Bobby Windebank is every inch The King – as a rock ‘n’ roll Pharaoh straight out of Graceland, he leads a rowdy Vegas-style set that leaves no hip thrust or ‘uh huh’ unturned.
Morgan Large’s stage is one big rainbow explosion, a technicolor utopia which gives way to a golden paradise once Joseph gets to the Pharoah’s court. It’s spectacular – and the titular dreamcoat, much like the show itself, is the best it’s ever been. Joseph has been performed for over 50 years in over 80 countries and counting, and it’s easy to see why. It had the whole audience on their feet, dancing and singing along. As Joseph sings that ‘Any Dream Will Do’, but this isn’t just any old dream. Technicolour, transcendent, triumphant, it’s the easiest 5 stars I’ve ever given. It really is the show that dreams are made of: so go, go see Joseph and see for yourself!
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What follows is a syndicated interview with Joseph and the Amazing Technicolor Dreamcoat star Jac Yarrow.
Joseph is such a fun, upbeat musical. Is that what we all need right now? Oh my gosh, 100% yes. When we did it at the London Palladium our favourite shows to do would always be the Saturday or Sunday matinees because we’d get the crowds from all over the UK, not just the London crowds. To be able take this show to the regional theatres that have been closed for so long is just the tonic everybody needs. And particularly this incarnation of Joseph, which is the same production you got at the Palladium. It’s lavish and no-expense-sparred, and it’s really going to lift everyone’s spirits.
You first played the title role in 2019. How did that change your life? It completely changed my life. I was still at drama school when I got the part and it was literally over the course of two or three days that I went from getting the role to it being announced. I went from being a student living in digs dreaming of being in the West End to suddenly living that dream for real.
You returned to the show again last year and now you’re touring in it. What keeps drawing you back? It’s massively to do with the fans of the show. It has such an amazing fanbase and it’s ingrained in people’s DNA in the UK. Everybody knows the music and everybody’s grown up with it, even if they’re not aware of where it comes from. People come along and see the show all the time and go: ‘I didn’t realise that song was in it. I love that song and I used to sing it in school.’ I’m thrilled to keep coming back to it for that reason, plus to pass up the opportunity to take this incredible, up-to-date production that changed my life to people’s hometowns would have been crazy.
The show is a perennial school favourite. Were you in any school productions yourself? I wasn’t in a school production as such but when I was around ten I was in a 30-minute condensed version of Joseph at my Saturday drama school. I did play Joseph himself but I don’t think I had a dreamcoat, just a makeshift little jacket or something. That was my only brush with the show as a kid, although I did see it later when it came to my hometown of Cardiff. I remember really enjoying it and it’s going to be a nice full-circle when I go back to the New Theatre and am on that stage myself.
Can you relate to Joseph in any way? Yes, especially when I first started. There was the naivety and moving from the home comforts of Cardiff myself and Egypt in his case. It was like somebody flipped a switch and everything turned Technicolor. [Laughs] But my family isn’t as big as his and they certainly treat me a lot nicer.
Do you hit the gym to make sure you look good in the shirtless scenes? Doing eight shows a week where I’m constantly running around keeps me in pretty good shape but I go to the gym, I eat well and I drink a lot of water – but that’s the stuff you have to do anyway when you’re doing such a full-on show as this.
Jason Donovan, who now stars as Pharaoh, played Joseph in 1991. How is it following in his footsteps? It’s great. From day one Jason has been the most supportive person. I was terrified when I had to sing Close Every Door in front of him at rehearsal but he’s been amazing. He was the first person to throw his arms around me, congratulate me and give me the boost that I needed early on. Now we have such a laugh. He’s such a fun guy and he’s another reason why I wanted to go on tour with the show, because who better to do that with than Jason Donovan?
Might you play Pharaoh yourself one day? This is the joke we always make. You could do Joseph forever because you could graduate from Joseph himself to Pharaoh and then you could finally move on to Jacob.
The West End production was one of the first to open to full capacity after social-distancing restrictions. What was the atmosphere like? It was unbelievable. The atmosphere at Joseph is amazing anyway because of the fans and the way the Palladium is figured it’s such an intimate space, even though it’s huge. Then when the restrictions were lifted and we had full houses it was unbelievable. It’s such a tonic and, as I say, just the kind of show people want to see to lift their spirits. We were all emotional and it was quite overwhelming.
Joseph has been going strong since the early 70s. Why do you think audiences still love it? I think it’s just timeless and, as Jason always says, it’s a very simple story. What you see is what you get and what you get is a really good time. It’s a wholesome tale about a boy overcoming adversity and it encourages you to follow your dreams. The message is so uplifting and it’s one of those shows that continues from generation to generation. We get people at the stage door saying to Jason ‘You were my Joseph when I was a kid’ and then I meet kids at the stage door and their mums say ‘This is their first time seeing it’ so I’m their Joseph. And it’s such a famous show that it’s kind of ingrained in everybody. It’s a huge part of our theatrical culture in the UK.
The Andrew Lloyd Webber/Tim Rice score is full of great songs. Do you have a favourite to perform? Definitely Close Every Door and I love Go, Go, Go Joseph because we have an amazing cast and they’re all on stage for that one. It’s a huge production number and I think that’s what is so exciting about taking this particular incarnation of Joseph around the country because it’s like we’re taking the West End production to everyone.
What have been your other favourite in-between-Joseph stage roles? I’ve been lucky to have taken part in some concerts and some TV stuff as well, and I’ve loved doing panto. My first panto was in Birmingham in 2019, then I was in panto at the Palladium this Christmas just gone with another Joseph, namely Donny Osmond. I love doing panto for the same reason I love doing Joseph, because you get an amazing audience response and it’s such fun and so entertaining.
Is this your first big tour and what are you most looking forward to about taking Joseph around the country? It’s my first tour ever. I’ve never toured before and I’m really looking forward to it because I actually haven’t visited that many towns and cities in the UK and Ireland. It will be amazing to see all these new places, get to know them better and sink my teeth into the role even more. We did it for ten weeks in 2019 and just shy of ten weeks at the Palladium last year, and it almost felt like that as soon as we were getting into the groove the run was over. Now we’re doing eight months on the road and it will be so rewarding to throw myself into it for all that time.
Are there any stops on the tour that are dear to your heart? I did panto at the Birmingham Hippodrome so I’m looking forward to being back there. I was there in Snow White in 2019 and I love the people, the Hippodrome is beautiful and the audiences go wild. There are a lot of places I’m excited to see, like Blackpool and Glasgow. We’re closing the tour in Edinburgh and I’ve heard the theatre there is amazing. It’s also going to be really interesting to see how different audiences respond to the show in different places.
Choreographed by Jack Philp, OPTO NANO is a unique collaboration of dance, digital art and electronic music inspired by academic Professor Paola Borri’s research in biophysics. In the most recent version, adapted and performed within CULTVR LAB’s dome, we were guided through the journey that brought OPTO NANO to fruition through documentary style footage projected onto the dome’s interior.
Contrary to what one might expect from a dance piece inspired by science, Philp’s choreography isn’t clinical or soulless, it flows continuously in endless spirals and looks ‘at home’ within the dancers’ bodies, all of which are gifted movers. The choreography is particularly impactful through the lens of a moving camera and is complemented beautifully by the digital projections which follow, created by visual artists Uncharted Limbo Collective.
As enthralling as the show was so far, I couldn’t help but quietly hope for some live dance, so when Gaia Cicolani purposefully strode out into the space and treated us to some dancing, I was particularly pleased. It’s no wonder she is something of a muse to Philp; Gaia, a virtuosic and engaging dancer, performed Philp’s choreography with conviction and ease whilst also maintaining a degree of playfulness by occasionally making eye contact with us or by pulling our focus towards the hypnotic projections overhead. She lunged and spun in circular sequences, interrupted occasionally by delicate repetitive hand gestures and rippling body movements, hinting at vulnerability and introspection.
The live dance worked excellently in the round but was sometimes lacking a clear relationship to the digital art within the dome, not necessarily conceptually but more by design as it’s physically difficult to enjoy taking in both simultaneously having to choose one over the other in any given moment. However, the ominous electronic sound score by Welsh composer, R.SEILIOG was the glue between both dance and digital elements. Feeling the vibration of the beat pulsating through our bodies as we reclined to admire these elements dancing with one another was a mesmeric and unifying experience I shan’t forget.
If you have never seen Flamenco dance, they you are surely missing out. A mixture of intense, fast paced and yet graceful movement takes your breath away and yet you feel the intensity in your own blood.
Paco Peña, one of the most formidable of Flamenco guitarists and composers, rejoins with director Jude Kelly, to bring a production comparing and contrasting young and mature performers, both musically and physically. It showcases the traditional dance, and how it drips down through generations, bringing new life to the old dance style.
The first half is actually quite the surprise. In their comfies, skivvies, whatever you call them, we feel as if we have walked into a Spanish bar; the ones you see in tiny Spanish towns or slightly more glamourised on TV and film, where the older musicians are tinkering their beautiful music on the guitar, there’s a make shift drum set, and the vocalising of the locals who have impeccable singing voices. Then, while clearly not ad hoc in this case, the local Flamenco dancers jump into the middle and perform with what they feel in the soul and through their veins.
The staging is minimal – it looks as if we have stumbled on the backstage of a set. This all together is super effective and, despite being in such a large Theatre, feels intimate. However, the novelty unfortunately begins to wear off, especially when the tempo of all the songs chosen for this section have the same slow beat; it soon becomes hard to pay attention to and keep interest. While the dancing is of course extraordinary, the music beautiful, it just wasn’t enough to keep my attention going.
The second half became more of a theatrical production – matching costumes, theatrical lights highlighting pockets of the stage with either a dancer or musician. The same Flamenco style of Spanish guitar and improvised and impressive vocals, this second half is very different – the tempo is interchangeable, from something very poised and slow to fast paced and fun. While I’m sure the theatrical elements added in this half help with its impression, the mixture of tempos and approaches to the dance kept us more on our toes and waiting for the next act.
Paco Peña – Solera is a great introduction to Flamenco. To see where it comes from in tradition to the more heightened modernity. It unfortunately needs a little shake up with the dances and music they put next to one another.
The most recent instalment of TJ Klune’s Tales From Verania series hit this week. I had it on pre-order once I’d realised how quickly this book had snuck up on me. I wasn’t sure exactly what to expect; I knew there would be more on my reading of the last book in the series, Fairytales from Verania, and I knew that the point of view was set to shift from Sam (who the main series has as it’s point of view) to Prince Justin (a character greatly involved in the main story – in the main cast, but a side character of the main cast). This was something I initially felt a little unsure of – although this is something TJ Klune has done before in his Green Creek series, something about a series so firmly set in one characters eyes for four (and a bit) books, the jump felt a little out of left field, and I was left wondering if it would feel too different to cohesively flow. But, luckily, the writing is as seamless as ever; the dialogue continues to be a fun twist of modern and sharp, playfully funny, and honestly genuine.
The story itself is full of twists and turns; a seed of doubt blossoming and the aftermath of the “main” series concluding neatly, which I liked to see. I went into this book quite blind as, I’ve found, TJ Klune does an excellent job at saving the cliff-hanger for the next book to the very, very last moment, so I had nothing bracing me for the story of this book. Which made it great fun as it unfolded before my eyes. I read it in about two days, absolutely enamoured by the way the cast dynamics were shifting, and the story that was before me. I don’t want to write about any spoilers (especially since the book only came out this week, so that wouldn’t be fair, and I think it’s better to go in with the rest of the series strapped to your back, rather than jumping into this one and being blindsided entirely).
I feel as though once you start a TJ Klune series, there is a comfortable air of “sameness” that begins to gather around you. This cast of characters was familiar to me, to a point where I could start to guess their reactions to events in the story – I usually don’t enjoy this, but with a series of books I find it just different enough for me to forgive. I’ve spent countless hours reading these stories and getting familiar with the characters to the point where I am entrenched in the world, and I feel better every day for having decided to read this series. TJ Klune’s writing, while always excellent, is beginning to feel homely and safe, which I genuinely appreciate in a world of shock-death-endings or abrupt cancellations. So, when the tense “final battle” of this book began (and tense it was!) I found that I wasn’t nervous – I didn’t have a coil of disappointment ready to spring in my gut, because it simply wasn’t there. TJ’s storytelling is a great skill of his, but I find his openness with his audience something far more remarkable.
The Tales From Verania series is an excellent (albeit, not a child-friendly one) story of love and hardship, friendship and connection. This book pushes that even further, now with the invitation to further lands in the fictional world which will, I’m sure, draw more characters into the wide circle of the main cast. And I am excited to meet every single one that shows its face.
When seeing the Royal Philharmonic there is always a mood in the air. Most certainly one of the finest orchestra’s on earth, any visitation to Cardiff is always welcome.
There was no collar-pulling with the presence of Vasily Petrenko, who has right denounced titles in Russian roles he has held. What is their loss, is the rest of the peaceful world’s gain, with a hawk eyed conductor with some showy gesturing and buzzing physicality. Walton’s Johannesburg Festival Overture is a new discovery for me, this brief starter for the 70th anniversary of the namesake city’s formation. It’s a romp, with strident dance motifs and a seething celebratory nature. Note worthy is the percussion including maracas and claves, adding to the sun kissed vibe. I would say I’d be down to hear that live again.
Another Russian exile would be Boris Giltburg, who on piano passed us by with Beethoven’s Fifth Piano Concerto. Known as the Emperor, this has many recognisable themes, the soloist having more subtle phases than the clamour the composer is usually known for. Boris grinds the piano, dizzying in his warm, rampant strides. Where the piece goes wrong is with a lot of time spent with the orchestra and not the piano, perhaps the biggest flaw of the piece. You do get those earthy, manic moments from Ludvig and they are forever embedded into classical music. Boris blessed us with a Rachmaninov prelude as an encore. It is easy to fall for Boris in moments such as these.
Vaughn Williams’ Second Symphony would end proceedings. Given the nickname “London” it’s easy to think of your own time spent in The Big Fog. The sweeping, large work is a love letter to the city, even with the fatigue one can feel from the place. The love-hate relationship feel is here, moments of jovial carnivals can be jarring and overblown. Vaughn Williams’ mastery over the English idyll still features here, some green spaces traversed sparingly. The fabric of the music might conjure up a soundtrack feel, images not always defined by a location. A harp clearly mimics the bells of a clock (perhaps Big Ben), though it does not complete the melody associated with the time and ends at what would state quarter to the hour. Contemporaries such as Holst and Walton offer shared harmonies and chords, the piece not always sounding as English as the composer if often accredited with. Quite charming.
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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