Saturday, October 20, 2012

AURORA VOICES / LA VOLTA TRIO


AURORA VOICES / LA VOLTA TRIO
lunchtime concerts at Chelmsford Cathedral
12-19.10.12

Two excellent chamber music concerts this month.

First, Aurora Voices, with a European journey which took as far as New England [an evocative John Cage piano solo from accompanist Peter Dollimore] and Egypt. The voices of Beverley Lockyer and Lucy Miller-White blended superbly in the Cathedral acoustic, in duets both floral [Lakme] and epistolary [Figaro], and in the famous Pie Jesu of Andrew Lloyd Webber. Baritone Andy Heard joined Lockyer in Venice, for the Barcarolle from Offenbach's Tales of Hoffmann.

Then Trio La Volta, bringing us two full-scale works. An international dimension here too, with a pianist from Australia, violinist from the UK, and cellist from Switzerland.
They began with one of Haydn's many trios, with a particularly eloquent Allegro Finale. Then a rare treasure of the British late Romantic repertoire, Parry's Piano Trio in E minor. Sweet melodies, extrovert string playing and pyrotechnics and impressive passagework for the piano. The lovely Adagio, the emotional heart of the piece, was mellifluous, almost maudlin, but played sincerity and style.
The La Voltas are Joyce Fraser, violin, Felix Buser, cello, and Sally Mays, piano.

The Friday lunchtime concerts continue until the Christmas special on December 7th. If you prefer larger ensembles, then Forest School Big Band on November 9th should prove an antidote to the small-scale charms of Aurora and La Volta.

Friday, October 19, 2012

CHRISTINE THE MUSICAL


CHRISTINE THE MUSICAL
CTM Productions at the Headgate Theatre, Colchester
18.10.12

"My name's Christine" – that title number stays with you, a tuneful reminder of a very impressive little musical.

Little not in terms of ambition or theme but a bijou, boutique chamber work with nothing between the singers and their audience.

That title number did get a reprise at the end, as our call-girl/model poses for that iconic shot, a poignant contrast with the wide-eyed [almost] innocent girl from the Sticks whom we meet at the top of the show.
Laura Wyatt plays her straight, but with a glance and a half-smile skilfully suggests the naiveté and the sexual allure which will ultimately engineer her rise and fall.
A characterization nicely contrasted with Angie Diggens' knowing Mandy; she has one of the best numbers in a strong score – He Would Say That – with the jury as backing vocals and a saucy sax obbligato. The two girls duet deliciously in the witty Famous Like Her.

The other stand-out performance comes from Phillip Wilson as the socialite osteopath Stephen Ward, with his sketch pad and his black polo neck [all the costumes were carefully chosen to evoke those distant swinging sixties]. He too has a great number with Keeler – Style, with top hat and cane, and his tragic downfall is expertly handled.

The colourful characters in this sordid story include Adrian Bolton's genial Pops Murray, Peter Drew's Russian spy, and of course war minister Profumo himself [an eleventh hour stand-in from Roger Hearne] who only appears late in the piece, but has a highly emotional musical mea culpa – "What Man ?".

On this tiny stage even a pocket musical will be a challenge. But we did manage a mirror-ball, and a kick-line, stand-up comedy and a full-scale orgy [all in the best possible taste]. Having the tabs across for every scene change was tedious, but it did enable us to enjoy the inspired device of the Hack [superbly played by Kevin Topple] – chorus to this history. Not only did he fill in the detail of the narrative, but he reminded us that this affair saw the cosy relationship of press and powerful men begin to fall apart.

I liked the unplugged intimacy of this performance – only the Wodka number cried out for a bit more kitsch and a real production number. But I can imagine it having a future with a real band, a bigger chorus and [at the risk of sounding like the sad old men in Murray's cabaret bar] actual topless dancing.

Tony Franchi's musical catches the mood, and the musical idioms, of the Sixties perfectly. It is directed with a sure touch by Lindsay Lloyd [assisted by Vicky Tropman]; John Chillingworth oversees the music from a keyboard in the wings. The book [co-written with Marion Wells] wisely concentrates on the carefree, hedonistic years, when this teenager from Slough gets lucky, then unlucky, and, as the Hack has it, brings down a government before she's even old enough to vote.

Snatches of the numbers, and a synopsis, are available on the show's website.

ARSENIC AND OLD LACE


ARSENIC AND OLD LACE
at the Mercury Theatre, Colchester
18.10.12

The outrageous plot would not come as a shock to most of this matinée audience. They'd remember the Cary Grant movie, and not just from daytime television, but maybe at the old Odeon in Crouch Street, now derelict and earmarked for demolition.

The tale of the two Brewster sisters, and their bad habit, and their three nephews, still has some definite frissons for playgoers, as well as much desperate farce involving slammed doors and dead bodies.

What lifts Tony Casement's production at the Mercury is a superb set [a hint of the 40s sound stage in Dawn Allsop's beautifully dressed design, elephant's foot and all, with a suggestion of the cemetery stage right] and one of the best repertory companies in the country.

The Aunties were lovingly done by Christine Absalom and Liz Crowther. Their nephews were all impressively portrayed. Tim Treslove was Teddy [Roosevelt], mad as a hatter, charging upstairs and digging Panama down in the cellar. Ignatius Anthony, Frankenstein foreheaded, was the chillingly creepy long lost Jonathan and Boris Karloff lookalike [Karloff created the role on stage, apparently]. And matinée idol Ian Kirkby was the only sane one, a dyspeptic critic, showing a superb sense of the period style – helped by a well-cut suit and perfect physical comedy. His love interest was an impeccably presented Hester Arden.

A large cast also featured mixed doubles from repertory regulars David Tarkenter and Roger Delves-Broughton.

Very enjoyable, if predictable, stuff, with plenty of references to the theatre – Murder Will Out, Pirandello, Strindberg and Duck Soup. And a line to cherish: "Please don't think too harshly of Mortimer because he's a dramatic critic."

I don't do a restaurant blog [no, really, I haven't the time and there's no such thing as a free lunch …] but I should mention that I tried out the new Food @ The Mercury, the built-in eaterie now taken back in-house.
Very impressed with the simple décor, and attentive staff and reasonably priced pre-theatre supper. I had a [very peppery] spinach and nutmeg soup with artisan bread, a tasty salmon steak atop a timbale of smashed new potatoes and baby leaf salad, and a Malteser cheesecake which was as silly and sinful as its name suggests. A nice glass of red, and Earl Grey to finish, all for twenty quid.


Thursday, October 18, 2012

A STUDY IN FEAR


A STUDY IN FEAR
Rumpus Theatre Company at the Civic Theatre
10.10.12

"Life with Sherlock Holmes is never dull." So says Ian Sharrock's benign, bumbling, occasionally blustery old duffer Dr John Watson, friend and confidant to the great detective, who of course is striving to "rid the world of an evil too wicked to speak of".

John Goodrum's Study in Fear, however, like Watson's wardrobe, is almost entirely lacking in style, with a flat set, poorly lit, and the most ineffective steam train and hansom cab I've seen on any stage.

The story is based loosely on The Final Problem, so we have no Baker Street, but a journey from Kensington via Canterbury and Strasbourg to Reichenbach's fatal falls. Whitechapel and "Louis Stevenson" are name-checked too, setting up the original twist in the tail.

Nicholas Briggs makes a genial, convincing detective, though hardly a master of disguise, but the dialogue, and bridging narration, lack spirit or sparkle. David Martin played everyone else, including Colonel Moran, drafted in from a later story, and made a good job of describing the torrent and its tremendous abyss.

If you were expecting "the most nerve-jangling experience of your life", something like The Woman in Black, or perhaps something like The 39 Steps, then you might find A Study In Fear tame stuff, "an altogether different tale".

THEY CAME TO A CITY


THEY CAME TO A CITY
Phoenix Theatre Company at Christ Church
12.10.12

Social Justice is not a fashionable concept these days, but in the darkest years of the last war, our greatest writers were keen to visualize what utopia might rise from the ashes.

In Priestley's intriguing period piece, nine characters from all ranks of 1940s society, with their jealousies, frustrations and disappointments, are shown a shining city; they may choose to stay or return to their earthly lives. The capitalist and the aristocrat are amongst those who leave, the char and the heiress amongst those who remain.

In Angela Gee's production, the nobility were less convincing generally than the plebs. Fine character work from Syd Smith and Tricia Childs as a henpecked banker and his domineering wife, and from Helen Langley as the salt-of-the-earth char.

What Priestley is advocating, of course, is that we take the vision of the city where "men don't work for machines and money" back to our imperfect world, building a new Jerusalem in place of the dark Satanic mills. And it is left to mechanic Joe [well portrayed by Andy Millward] and shopgirl Alice [the Googie Withers role excellently done by Jean Speller] to leave us on that optimistic note.

But despite the NHS and the Welfare State and Comprehensive Education, I suspect that, seventy years on, Joe and Alice have still much work to do to make Whitman's Great City a reality.

The Great City
by Walt Whitman (1819-1892)
The place where a great city stands is not the place of stretch'd wharves, docks, manufactures, deposits of produce merely,
Nor the place of ceaseless salutes of new-comers or the anchor-lifters of the departing,
Nor the place of the tallest and costliest buildings or shops selling goods from the rest of the earth,
Nor the place of the best libraries and schools, nor the place where money is plentiest,
Nor the place of the most numerous population.
Where the city stands with the brawniest breed of orators and bards,
Where the city stands that is belov'd by these, and loves them in return and understands them,
Where no monuments exist to heroes but in the common words and deeds,
Where thrift is in its place, and prudence is in its place,
Where the men and women think lightly of the laws,
Where the slave ceases, and the master of slaves ceases,
Where the populace rise at once against the never-ending audacity of elected persons,
Where fierce men and women pour forth as the sea to the whistle of death pours its sweeping and unript waves,
Where outside authority enters always after the precedence of inside authority,
Where the citizen is always the head and ideal, and President, Mayor, Governor and what not, are agents for pay,
Where children are taught to be laws to themselves, and to depend on themselves,
Where equanimity is illustrated in affairs,
Where speculations on the soul are encouraged,
Where women walk in public processions in the streets the same as the men,
Where they enter the public assembly and take places the same as the men;
Where the city of the faithfulest friends stands,
Where the city of the cleanliness of the sexes stands,
Where the city of the healthiest fathers stands,
Where the city of the best-bodied mothers stands,
There the great city stands.