MUSIC FOR LENT

MUSIC FOR LENT

Waltham Singers at King Edward VI School Chelmsford

18.03.17

Fauré's wondrous Requiem was the climax of this concert of music for the Lenten Period. Despite the secular surroundings, this was one of the most enthralling performances I've heard of this familiar work, with superb solos from baritone Adam Maxey and treble Angus Benton, and beautiful choral singing – the O Domine in the Offertory, the sensitively shaped Requiem Aeternam in the Agnus Dei and the diminuendo at the end of In Paradisum. In a performance close to what the composer himself might have known, the Singers were accompanied by Ensemble OrQuesta – two horns, harp and strings, with an eloquent solo violin for the Sanctus.

Laurence Lyndon-Jones at the organ accompanied the works in the first part, which included Allegri's Miserere, in a new version by Harry Christophers which aims to trace the evolution of the work from its simple origins to the form we know today. Some spectacular ornamentation from Choir II, in the furthest reaches of the balcony. Two Essex composers were featured: William Byrd with a setting of the Ash Wednesday motet Emendemus in Melius, and Alan Bullard with a new piece, the Penitential Psalms, based around the Ubi Caritas for Maundy Thursday. Impressively sung under the exacting direction of Andrew Fardell: dramatic lower voices for De Profundis, a telling repetition for “in generationem” and a sensitively sustained Amen at the close.

This work was commissioned by the Waltham Singers, using a bequest from my predecessor on the Chelmsford Weekly News, Peter Andrews. It will be heard again later this month in Belgium, as part of the choir's tour of Bruges and beyond.

MISS SAIGON – SCHOOL EDITION

MISS SAIGON – SCHOOL EDITION

King Edward VI Grammar School

24.02.17

Expectations were high after last year's Les Mis. And this is a much more challenging piece: a less familiar sung-through score, and dark, adult themes.

But this outstanding production is every bit as impressive, musically and dramatically - James French the director, Tim Worrall the MD.

The orchestra, wrapped around by the action, produces a full, symphonic sound, the keyboards rightly taking second place to the real instruments. Good to see Declan Hickey's “solo saxophone” given some well-deserved limelight. And vocally the standard is stunningly high, both from the ensemble and the soloists.

Hiya Dhar makes a superb Kim. Her mature voice never falters, her numbers are emotionally charged but never overdone. She's well matched by Joseph Folley's compelling Engineer – a mesmeric presence, and perfectly delivered numbers. A creepy, slippery survivor, he gets what few laughs there are in this hard-hitting story. His American Dream will be hard to forget, I feel – a great production number choreographed by Gavin Wilkinson.

Strong contributions from many others, including Rafee Ahmed's commissar Thuy, Samuel Harper's GI Chris, and Olivia Moul as his wife Ellen.

The staging is simple, with many of the numbers presented on the walk-way surrounding the pit. The helicopter is sketched with sound and animation, the wire fences paint a stark image of despair.

The ensembles are tellingly used – the military, the dancers, the whores. And the junior chorus makes its mark, too, as urchins, refugees, mini-me Uncle Sams, and as the brilliant Bui-Doi choir, making a powerful opening to Act Two with Benjamin Kinder's strongly sung John.

This is musical theatre work of a very high standard, artistically and technically. A cliché, but no less true for that, to say that we forgot that we were in a school hall, and all these actors would be back in the classroom next week – Dreamland, Ho Chi Minh City and the rice fields no more than an imperishable memory.

production photos: Peter Langman Photography

To buy Peter Langman's rehearsal photos, try this direct link with the first password as Saigon1234, which then needs submitting again after you have put your e-mail address in...

http://www.peterlangmanphotography.com/clients.html

THINGS TO COME – WALTHAM SINGERS MUSIC FOR LENT

THINGS TO COME – 

WALTHAM SINGERS MUSIC FOR LENT

Among the most consistently impressive of the local choral societies, Waltham Singers, under Andrew Fardell, increasingly look beyond their parish church, with concerts in Chelmsford Cathedral and overseas touring.
This March they are singing in King Edward VI School: two cornerstones of the choral repertoire, Allegri's Miserere and Fauré's Requiem. Plus the première of a new commission from Essex composer Alan Bullard -  Psalmos Penitentiales, funded by a bequest to the choir from Peter Andrews, much missed critic and patron of the arts, my predecessor at the Chelmsford Weekly News.
They will be joined, amongst others, by Laurence Lyndon Jones from Chelmsford Cathedral, Ensemble OrQuesta and BBC Chorister of the year Angus Benton. 

The concert is on March 18 at 7.30 pm in King Edward VI School.

Tickets from James Dace, the choir's website, or on the door.

DOVE, STRAVINSKY, ARNOLD

DOVE, STRAVINSKY, ARNOLD

Waltham Singers at King Edward VI School

12.03.16

Dove, Stravinksy, Arnold.
Names not often seen headlining a choral concert.
The Jonathan Dove was a world première, commissioned by Making Music. A lovely work, accessible for choirs and their audiences, it will surely prove lastingly popular, not least because it uses forces similar to those required by Orff's old war-horse Carmina Burana, including here the superb longfordbrown piano duo and the Percussion Ensemble of London.
It tells the ancient legend of Arion, the Voice winner who is saved from drowning by a passing Dolphin. The women are the chorus, the men the “manly shanty singing” sailors, the children [New Hall's Fibre Optic Choir] are the school of dolphins. Arion himself was sung by counter-tenor Benjamin Williamson; his first swan-song an exquisite duet with the xylophone. The percussion paints pictures together with Alasdair Middleton's witty, literate verse libretto – the sacred silver bell, the prize money, the splash as Arion leaps.
This new piece sounded comfortingly traditional after the other works: Malcolm Arnold's John Clare Cantata a revelation, a dark picture of the natural cycle of the year. Stravinsky's Symphony of Psalms, in an arrangement – not the recently recorded Shostakovich – for two pianos. The choir, conducted by Andrew Fardell, much more prominent – outstanding in the sinewy setting of Psalm 38, and in the Slavic sound of Psalm 150, with its exciting rhythms, its great bell, and some spectacular pianism.
Pianists and percussionists were given solo spots: Michael Parsons' minimalist Rhythm Studies II, and movements from Salzedo's spectacular Concerto for Percussion.
I understand that the Dove was given a simultaneous première down in Dulwich, where they had Robin Blaze and Carmina Burana ...

SPRING CONCERT

SPRING CONCERT

King Edward VI School

10.03.16

KEGS' Spring Concert was ambitious, accessible and very enjoyable.
Kicking off with Shostakovich's flamboyant Festive Overture. For what is basically a chamber orchestra [just ten fiddles] they made a splendid noise – frisky woodwind and fortissimo brass.
Salon forces are just what you need for Saint-Saens Carnival of the Animals, giving some excellent young soloists a chance to shine: clarinet cuckoo, xylophone fossils, strings for asses, double bass for the arthritic elephant. The serene swan, upstream here on the leader's violin, and the piano duet practising scales ready for their cameo in the next work, another of Saint-Saens greatest hits, the Organ Symphony, with William Foster the accomplished soloist at the console. All three orchestral showpieces conducted by Tim Worrall.
Becky Chant took the baton for Fauré's much-loved Requiem, sounding fresh and sincere, with an open tone from the trebles and some dramatic dynamics. No guest soloists here – like the harp and the organ, all members of the Grammar School community. After a beautiful O Domine – women's voices to the fore, with lower strings – the Hostias from Joseph Clark, and a powerful Libera Me from Tom Mitty. The treble soloist in the Pie Jesu was the confident, pure-toned Mark Godley. And the closing In Paradisum had a beautifully controlled, movingly sustained final “Requiem”.

LES MISERABLES

LES MISERABLES

King Edward VI School Chelmsford

29.01.16

Not a show for the faint-hearted, Les Mis. The “School Edition” not noticeably less challenging than the full-fat grown-up version.
Director James French, in his first big musical for KEGS, gets 110% from his huge company of urchins, students, convicts, topers, dancers and ladies of the night. The battle of the barricade is stunningly effective, as is the stirring climax to Act One. The choral set-pieces – Turning, At the End of the Day, Look Down – are superbly sung, and the idealistic “schoolboys” are strongly characterized individuals.
The solo voices are excellent, taking the operatic scoring in their stride, led by Joseph Clark's haunted Valjean, Isabelle George's tender Eponine and Joseph Folley's cold, clipped Javert.
Musical Director Tim Worrall keeps everything tightly together, conjuring a satisfying symphonic sound from his prominent pit orchestra.

photographs: Essex Chronicle

Richard Broadway writes for the KEGS Newsletter:

Richard Broadway became the sixth Head Master of KEGS in the year Shakespeare co-founded his Lord Chamberlain's Men. More recently, he has ghost-written appreciations of performances at his old school. This is his last.

Masques in the reign of the Virgin Queen. A Victorian pantomime with songs. Niche shows on the new stage: Smike, Jennings Goes to School, the made-in-house Midas. And more recently the big blockbusters: Oliver!, Joseph, Anything Goes.

This marvellous Les Mis must surely top them all – a huge challenge bravely undertaken and triumphantly met.

House Full notices out, and we make our way into the already crowded hall as, on the extended stage, the convicts are already wearily breaking rocks.

The catwalk encloses the impressive pit band, and is inventively used for many of the scenes, allowing smooth transitions between the big set pieces and the more intimate moments. The powerful end to Act One an outstanding example, with the soloists ranged around in front as the chorus swells on the main stage.

The principal players give confident, engaging performances. And convincing vocal accounts of the challenging Schönberg score.

Not least the youngest actors: Elliot Harding-Smith as a cocky little “top-of-the-class” Gavroche, superbly sung. And what a treat to have such a good voice [Matthew Wadey] for Castle in the Cloud instead of the cute breathiness which has become the norm.

The cast is hugely strong in depth, too, with all the young revolutionaries in the ABC café neatly differentiated, and small roles like the Bishop [Benjamin Russell], or the tipsy Grantaire [Benjamin Kinder], given full weight.

Molly Sun-Wai brings an artless innocence to the tragic Fantine, Charlotte Abbotts as the older Cosette is girlishly charming, an ideal foil for Thomas Mitty's finely nuanced law student revolutionary Marius. Eponine, the first to fall in the uprising, is beautifully sung by Isabella George – her duet with Marius – A Little Fall of Rain – exquisitely done, the trio A Heart Full of Love another musical highlight.

The terrible Thénardiers are given broad-brush characterizations by Benjamin Southern-Thomas, blatantly watering the wine under the nose of his clientèle, and fishwife Hazel Ellender as his frightful missus. Nice to see them resplendently dressed as beggars at the feast.

Harry Clark carries most of the revolutionary fervour as Enjolras, waving the red flag, rallying his doomed troops with style and a strong will.

The legendary role of Jean Valjean is superbly taken by Joseph Clark. Fighting for justice, bearing his guilt, ageing and dying, this is a compelling performance by any standards. His face-off with Javert is an electric moment on front stage. Joseph Folley plays the obsessive Inspector with exemplary precision and panache. A tall, menacing figure, his black-gloved hands firmly behind his back, he draws the eye whenever he appears. Every word is clearly enunciated; his big number – Stars – is given a kneeling climax, a bold move which seems only to accentuate the emotional heft.

Given the inevitable budgetary limitations, the staging is thrillingly effective. On countless occasions, Joseph Thorogood's set design, George Twinn's lighting and James French's groupings form a thrilling fresco – notably at the barricade. The runaway cart – often risibly lightweight – is here, with its load of luggage, a believably weighty burden for Valjean. The scene changes happen seamlessly – the drunkards clear Thénardier's tavern, for instance; the inn – well frequented by underage drinkers – is another great crowd picture, giving opportunities to the colossal chorus; their distant singing behind the final deathbed scene makes another subtle transition.

The twenty-strong pit orchestra – surrounded by the cat-walk fore-stage – produces a stunning sound, generally well balanced with the voices. [Claire Greenwood's oboe heard to touching effect.]

Les Misérables is directed by James French, with the assistance of Elizabeth Hutchinson and Henry Sainsbury; the Musical Director is Tim Worrall, with sound design by Rafee Ahmed.

This huge company, on stage, in the band and behind the scenes, have earned the indelible memories they'll have of this milestone show. And they thoroughly deserve their moment of triumph at the end of Act One, to say nothing of the rapturous roar, the double encore and the standing ovation that greets their last bow. One of the many reasons that the performing arts are so vital in education. As Victor Hugo has it: '“Le beau est aussi utile que l'utile.” Il ajouta après un silence, “Plus, peut-être.”' 'Rien n'est tel que le rêve pour engendrer l'avenir.'

KEGS DRAMA

KEGS DRAMA

A Night at the Musicals and The Machine Gunners

08/09.07.15

James French ended his first year as Director of Drama at King Edward VI School with not one but two summer shows.

The Machine Gunners, a new adaptation of the Robert Westall classic book, was performed with tremendous energy and enthusiasm by students from Year Nine, on an impressively designed cruciform staging which set the audience in amongst the Boys' Own action and gave an intimate insight into the motivations and moral dilemmas of the lads [and one lass] who set up their own machine gun post to defend the North East from the Hun. Smoke, sound effects and some excellent physical acting made for a gripping couple of hours. 

The Music Theatre Society ended their year in style with a rich mix of numbers – some masterpieces, some meretricious – from the musicals, directed and choreographed by Elizabeth Hutchinson. Some superb work: Roxy from Chicago, chorus boys from The Producers, a hilarious trio from Cabaret. Plus the Bad Guys from Bugsy, KEGS' last musical, and generous tasters from next year's offering, Les Misérables. Musically, some of the best things were the simplest – unplugged with just the accomplished piano of Will Foster. But the loudest cheers greeted a contribution by a chorus of unruly teachers in Revolting Children from Matilda, finally called to order by Headmaster Tom “Trunchbull” Carter.

"Richard Broadway" joined the enthusiastic audience on each night ...

A NIGHT AT THE MUSICALS

That old stand-by, songs from the shows, made a pleasant end-of-year treat for KEGS Drama Department. It has a venerable history of musical theatre, and for some performers this was a “last hurrah” before the world of gap year/drama school/university beckons.

No pit orchestra, no auto-tune, no fancy costumes. But this unplugged approach was just what the evening needed, in the lofty but intimate performing space of the Music School. Some of the most successful offerings were the simplest, with Will Foster's piano the only accompaniment. Roxy's Funny Honey – from Chicago – nicely characterized, just one example.

The range was wide, from Oliver to Matilda, from Parade to High School Musical. Mr Broadway reckons to have a pretty good knowledge of the genre [though his name is much older than the Great White Way], but the Tony-awarded, Pulitzer-prized bipolar rock musical Next to Normal was new to me – Gabe's powerfully felt I'm Alive a striking contrast with the campery of the Keep It Gay chorus boys from The Producers or the knees-up production number Consider Yourself from Oliver!.

The amazingly talented young people were joined, briefly but to huge acclaim, by an ad hoc company of KEGS staff members, in a lively, if rough-and-ready Revolting Children.

There was a nod to last year's splurgy, slippery Bugsy Malone with a reprise of Bad Guys, and a look forward to January's production of Les Misérables, with a heart-rending Bring Him Home, a measured I Dreamed A Dream [with lovely piano and chorus accompaniment], and to end, a stirring Red and Black, with Marius flying the flag of freedom,

A Night at the Musicals was directed and choreographed by Elizabeth Hutchinson, who was joined on stage by Matthew Wadey, Joseph Folley, Nikhil Shah, Amy Wang, Benjamin Russell, Dionne O'Brien, Freya Von-Claire, Harry Clark, Hazel Ellender, Isabella George, Molly Sun-Wai, Rebecca Olson, Thomas Mitty, Mark Ellis, Dominic Short and Benjamin Southern-Thomas.

THE MACHINE GUNNERS

Sitting between the arms of a cross, the audience can see children cowering under the stage, slowly crawling out of the shelters to find the world above reduced to a rubble-strewn bomb-site.

Inspired staging for Robert Westall's classic story of bravery and bonding, in which war games become real for the Caporetto gang.

This is the new adaptation done by Ali Taylor for the Imperial War Museum.

Smoke and sound adds atmosphere to the story, and the physical approach gives some stunning stage pictures – the Heinkel gunned down and its pilot thrown clear, his capture with the weapon projected on screen. James French's vision enables the aircraft, the playground, the secret base at the bottom of the garden to be created in the boys' imagination and ours, in a powerful piece of theatre. The staging of the fights, and the panic and chaos of the climactic bombing raid, are especially effective.

Music and projected images help establish the period; rubble and a china tea-cup among the few actual props. Costumes evoke the period well, but perhaps the next fund-raiser might provide some stage chairs – seeing auditorium seats in the spotlight is one of Mr Broadway's pet hates.

Stirling performances from an excellent ensemble, though the nature of the staging means that not all the dialogue is easily audible.

Max Clifford holds the stage brilliantly as Chas McGill, leader of the pack and proud possessor of the second-best collection of war souvenirs in Garmouth. No mere token girl in the lads' gang, Harry Walton's Audrey is a subtly drawn character, wanting a fair fight, showing common sense and moving sympathy for the German pilot. Nicky is something of an outsider, with his posh house and musical mother – an outstanding performance from Kristoff Ahlner, whose moment in the pets' cemetery, and scenes with Joseph Penny's convincing Rudi are amongst the most moving of the evening.

Director James French was assisted by Saqib Ahmad, Nikhil Shah and Henry Sainsbury, and the performers were Max Clifford, Max Bawtree, Harry Walton. Eliott Bunch, Kristoff Ahlner, Dharma-Dev Morzaria, Ben Metzger, Jasper Tatum, Edward Robb, Jonathan Marshak, Joseph Penny, Adam Heath, Robert Perone, Conor Hemingway, Ryan Seal and Rohan Odedra.

images by Aaron Crowe

THINGS TO COME - BAROQUE TREASURES

Heinrich Ignaz Franz Biber died three centuries ago, in 1704. He was born in a town in Bohemia in 1644, and like Mozart much later, he became closely associated with musical life in Salzburg through appointments for that city's archbishop. His Requiem in F minor is one of the Baroque Treasures unearthed by the Waltham Singers, with King Edward VI School standing in for Salzburg Cathedral, and the Singers supported by the renowned Meridian Sinfonia.
There's Vivaldi, too, and a Mass by the lesser known Zelanka, an 18^th century Czech composer at the court of Dresden.

7.30 on March 14 – tickets from Dace's – more details on

http://www.walthamsingers.org.uk/

Heinrich Biber, from a study by Preman Sotomayor

OUR COUNTRY'S GOOD

OUR COUNTRY'S GOOD

KEGS Drama at King Edward VI School, Chelmsford

29.01.15

This powerful play about the redemptive power of theatre is a brilliant choice for a school drama department.

And you couldn't hope to see it better done than by this talented company of sixth form students under the firm direction of James French.

There are many outstanding performances: Ross Moncrieff's Ralph, the officer who sees the potential for dramatic performance in the convict colony. Matthew Cassettari's Robbie Ross, the bullying Scotsman who opposes the idea. Joe Richards is excellent as Wisehammer, the literate jew; Dominic Short makes a lively Sideway, who's in love with the theatre and seizes the chance to shine. Mary Brenham, subtly drawn by Elizabeth Hutchinson, is the shy girl dragged along to audition by her extrovert friend Dabby [Freya Von-Claire]. Perhaps most poignant of all, the tormented Harry Brewer – a wonderfully compelling performance from Max Purkiss – painfully possessive of his young Duckling, Jennifer Lamb, so moving as she cradles Harry's dying body and confesses her love. And Hazel Ellender is totally convincing as the troublesome Morden, whose death sentence casts a shadow over rehearsals.

But this is an ensemble piece, the carefully devised staging – all of the characters remain in the performance area throughout – providing a frame for the emotional adventures of convicts and Royal Marines in Sydney Cove.