TIME TO KILL

Phoenix Theatre Group at Christ Church

06.03.08

Time to kill – it's a sort of play on words, isn't it ? These bored housewives spend coffee mornings dreaming up pranks, till one day they tire of japes and set their sights on justice, and a man gets shackled to a patio chair.

Leslie Darbon's improbable play has been popular with amateur groups for nearly thirty years, perhaps because it has four good parts for women. The actors here, though, were too old to convince as sixties swingers, robbing the drama of what little credibility it may have had.

Phoenix's pedestrian production, directed by Reg Peters, did little to convince us that it's a piece worth reviving.

Tricia Childs turned in a confident performance in the demanding role of “prosecutor” (her monologues often had us gripped). Angela Gee was the smirking atheist in the judge's robes, Helen Langley the reluctant witness, Joan Lanario gave good value as the dizzy, dotty Liz, Syd Smith was the Defence Counsel with a guilty secret, and Geoff Hadley played the accused, the suburban Lothario, struggling with leaden dialogue -”meaningless feminine emotionalism” just one example.

Pace, motivation, even characterisation, need to be applied even to this bizarre genre; it may be hard, but you need to rise above the text. Or choose a better play.

I can't remember an evening's theatre I've enjoyed less.

ENVIRON MUSIC LUNCHTIME CONCERT

Joy Ellis and friends at the Cramphorn

05.03.08

A very enjoyable hour in the company of young musicians from the Guildhall's Jazz Performance Masters class of 08. This was lounge jazz: smooth, creamy and warming – all that was missing, thank heavens, was the smoky atmosphere.

The band began with Herby Hancock's Dolphin Dance, then, joined by singer Helen Burnett, a varied set, starting with Delilah, a lovely wordless duet with Liam Byrne's sax. Dai Richards' bass shone in Hoagy Carmichael's Skylark – never too early in the day for a weepy ballad. Helen's most impressive vocal work was in All or Nothing At All, her rubato pulling the line around very effectively. At the piano was Joy Ellis, making a welcome return to these friendly lunchtime sessions. I couldn't work out why the piano was placed with her back to the audience, though.

The concert ended all too soon with Jobim's No More Blues. No encores as these sessions, apparently, perhaps so that skiving office workers can be back at their desks ...

You can join the regular aficionados most Wednesdays at 1 in the Cramphorn – bring your lunch, the music is free – impresario and tireless enthusiast Jeffery Wilson especially recommends Ruth Montgomery on April 9, Susie Self on May 28, and on May 14 the Irish flute of Elmear McGeown, “a frighteningly good musician”.

THE IMPORTANCE OF BEING EARNEST

Middle Ground Theatre at the Civic

A lacklustre production - Wilde's polished wit very tarnished, almost tedious.
Lady Bracknell - a substitute - could only mouth the "handbag" quite a clever idea. Tony Britton can still stand - just - and point a line, though he had little character.
Good solid set, with a nice view of London, and effective music. But not a patch on the Mercury of a couple of years back, either for performance or style.

BOYS WILL BE BOYS, GIRLS, ADULTS ...

Companies of boys at Shakespeare 's Globe

2 March 2008

As part of the Young Shakespeare season, two amateur companies of boys presented scenes from plays, written for boys, by Shakespeare's contemporaries.

Dulwich College gave us the start of Marston's Antonio and Mellida, with a large cast, directed by Matthew Edwards. Lively and full of variety.

King Edward's, Stratford, the Bard's old school, brought the notorious Dutch Courtesan, also by Marston. An amazingly assured performance, notably by Harry Davies as the courtesan.

As Michael Wood, one of several celebrities in the audience, pointed out, the Stratford company was not a children's troupe as it is normally understood. There is some debate amongst scholars about the age of the boys, but even if they were well into their teens, they would not, I think, be the strapping lads we saw here.

Nonetheless, this was a unique opportunity to see, in the intimate Bear Gardens auditorium, the modern successors of Shakespeare's "little eyasses".

25^th ANNIVERSARY CONCERT

Andrew Fardell and the Waltham Singers

01.03.08

Andrew Fardell celebrated twenty-five years as Musical Director of the Waltham Singers last weekend. And the Singers made him a present, not of a carriage clock or cuff links, but of a new work from leading British composer Roxanna Panufnik.

“So Strong Is His Love” sets words, chosen by Andrew, from Psalm 102, and was the impressive climax of a memorable concert of celebration. Panufnik had written to the strengths of the Singers, their open, sustained sound, the big choral panoply. It was a magnificent success and as Andrew said, it represented the choir's famous willingness to try everything, to work with unfamiliar music. They were accompanied by the Maggini Quartet, joint dedicatees of the piece.

The evening began with Mozart's Missa Brevis; again the choral sound was superb, especially perhaps in the final Agnus Dei. Mozart's Ave Verum is a favourite of this choir, and watching Andrew Fardell shaping a cohesive whole from so many committed individuals was a timely reminder of just how this choir achieves its remarkable sound. Roxanna Panufnik's 1996 work “Olivia” was equally successful, with the quartet providing a rhythmically rich accompaniment. The words from Tweflth Night were whispered and worried in a Tavenerish manner - very effective, though.

And as a bonus, the Magginis gave us a marvellous Mozart Quartet [K458, The Hunt], the cordial conversation of the opening leading through the easy elegance of the Menuetto and the restrained emotion of the Adagio to the insistently energetic finale.