FAURE REQUIEM 

AND THE ROMANTIC TRADITION

The Stondon Singers at St Laurence Blackmore

05.03.11

Christopher Tinker and his admirable singers, with Michael Frith at organ and piano, brought us familiar Fauré and a supporting programme of works from all corners of the Romantic legacy.

The Requiem began with an effectively deliberate Introit, and ended with the exquisite In Paradisum, beautifully sung by the sopranos and altos. The tenors and basses sometimes seemed underpowered for this repertoire, but the climaxes for the whole choir were often impressive - “Exaudi!” for example, or the robust Hosannas. I also admired the transition from the Agnus Dei to the Lux Aeterna. The Pie Jesu was sung, as Fauré intended, by a treble: Brendan Chung of the Brentwood Cathedral choir. A nicely controlled solo, his delivery of “sempiternam” making the prospect of life eternal very seductive.

Brendan also contributed briefly to the challenging Finzi in the first half. We heard four exquisite Bruckner motets: the Locus Iste from the west end, with a beautifully sustained ending. The Singers surrounded us on three sides for the Ave Maria – an interesting, if unbalanced, experience, exposing some individual voices. There was also a charming Berger Alleluia, and, new to me, American composer William Hawley's eight-part unaccompanied My River Runs To Thee, a tender, magical setting of Emily Dickinson, proving that Romantic music is still alive and well – Hawley is younger than most of us in the appreciative audience at the Priory Church.

COMIC POTENTIAL

Writtle Cards at the Village Hall

03.03.09

Well, I would never have guessed it was by Ayckbourn. Miles outside his comfort zone, it's a dark philosophical , romantic comedy which attracted some great reviews a decade ago in the West End and on Broadway.

We're asked to imagine a future when robots [aka actoids] churn out daytime soaps. An idealistic young writer [Ben Fraser], nephew of the studio's owner, is smitten by one such drone [Elaine Reynolds, consistently charming in a huge role], teaches her the double-take and the custard pie, and grooms her for stardom.

The whole thing needs a deal of style to overcome gaps in logic; the second act, despite the frequent scene changes, was more enjoyably farcical.

The most believable character here was the over-the-hill movie director, nicely played by Neil Smith. He was too young for the part, but his rambling reminiscence of his glory days was beautifully done. I liked the two “shrews” who seemed to be the only crew [Sharon Goodwin and Clare Williams], and there were accomplished cameos from Jean Speller as an older actoid and a trollope, and from the talented, always watchable Daniel Curley as waiter, desk clerk and the mute Uncle, with an elegant Michele Moody as his mouthpiece. Andy Millward was an amusing faulty actoid, Shelley Goodwin did what she could with an injured actoid and the boutique assistant, and Liz Curley got the custard pie as man-hungry executive Carla Pepperbloom.

More care could have been taken with the music and the programme, but I liked the pin-ups around the auditorium: Buster Keaton, C3PO, Wall-E …

Overlong, not as confident or snappy as it needed to be, but still an interesting revival of a rare Ayckbourn. It was directed by Sarah Wilson, and produced by Nick Caton.

THE RIVALS

A Mercury Theatre Company Production at the Mercury, Colchester

till Saturday 12 March

for The Public Reviews

Why not treat Sheridan to what Shakespeare has been accustomed to for years, now ? A director-led, concept-driven production to point up the play's relevance to our times.

So this was Gari Jones's Rivals, done as in-your-face Burlesque, with hints of the circus and the catwalk. “Garish, gaudy, cheap and obscene,” as poor Fag sings from the Tiger Lillies' songbook at the top of the show.

Amy Yardley's design was a striking blend of glitzy glamour and almost industrial grimness: the black walls, floor, chairs, setting off the colourful costumes, which were a stylish gallimaufry of cabaret, punk, New Romantic, and, of course Eighteenth Century Bath.

The production boasted a first-rate cast, including many familiar repertory faces. The two major character roles were played by Christine Absalom, as a vulgar but vulnerable Mrs Malaprop, and Ignatius Anthony as a barnstorming, bluff and ruddy Sir Anthony. Both brilliantly characterized, not missing a nuance in this comedy of manners. Marshall Griffin was a fiery Sir Lucius, and I particularly enjoyed Graeme Brookes's Brummy Bob Acres, a cowardly country boy out of his depth in society. Clare Humphrey played a lippy Lucy the maid, with a voice like a foghorn.

Lydia Languish, longing for a romantic elopement, was beautifully done by Katherine Manners, like a delicate doll in her palest pink dress; her Captain Jack was Will Norris – his energetic performance kept the intrigue moving. The other pair of lovers were Nadia Morgan's Julia and her Faulkland, played with subtle comedy and some pathos by David Tarkenter.

Roger Delves-Broughton caught the style nicely as the servant Fag – almost an Auguste in this circus.

Hard to describe the overall effect of the production. A Fellini dream, maybe, with more than a little Luhrmann. I wasn't entirely persuaded by the programme note. The songs – Avarice, Send in the Clowns [!] - were often a distraction, and of course made a long show even longer. Though I did think the two numbers either side of the interval – Joy Division's Love Will Tear Us Apart, and Evelyn Evelyn's pastiche Have You Seen My Sister – worked real show-business magic.

I felt somewhat battered by the end – the bright lights, the top—of-the-voice delivery. And it was noticeable that most of the laughs came in the more traditional moments when Sheridan was left to speak for himself.

But nobody walked out, much less threw apples. The applause at the end was enthusiastic. This is a young man's piece, after all, and I hope audiences of all ages will find it a refreshing re-working of an old favourite. We are fortunate to have a regional stage ready to take risks with a production which, like it or not, makes superb use of limited resources, and showcases the best of this enterprising company.


this piece first appeared on The Public Reviews

ALI BABA 

AND THE FORTY THIEVES

SAYF at Sandon Village Hall

22.02.11

Once upon a time, youth clubs did amateur theatricals along with table-tennis and trips to the sea-side.

Sandon is a proud survivor from those distant days, and this year's Ali Baba, with its seven thieves and Nativity Play ethos, had all the strengths and weaknesses we've grown used to over the years.

Too many prompts, lighting by luck, noisy scene changes. But gorgeous costumes and scenery, great musical support, and a warm community spirit [sponsored by Asda].

A large cast – the youngest just seven years old – had dependable dame Laurence Green as Fatima, and Sophie Cooper [Mustapha] relishing her one-liners and the inevitable sing-along. Some fine classical acting from Sebastian Pountney [Asbad] and an impressive double from Nicola Mori as the Prince and the evil Alsatia, half of a David-and-Goliath struggle with good feline fairy Caterina [Sarah Diwell].

Jade Cooper had a strong presence in the title role, and there were promising performances from Poppy Quy Watkins as the Sultan, Matt Diwell and Emily Flack as the scoundrels, and Maddie Warner-Lodge as a poised Princess Jasmine.

James Tovey's music included Happy Talk and Comedy Tonight, as well as Eastern panto favourites like Supermarket in Old Peking and the Old Bazaar in Cairo.

Alan P Frayn's original script is awash with ancient jokes and puns, enjoyed by players and punters alike.

Ali Baba was produced and directed by Peter Ellis.

THE BARBER OF SEVILLE

Swansea Opera at the Civic Theatre

24.02.11

Swansea City Opera undertake tours that would have terrified Carl Rosa.

Last week saw them bring their Barber of Seville to Stevenage, Yeovil and Pitlochry – and to the Civic in Chelmsford.

It's a vanilla production: nicely sung, with some clever comedy moments, lovely traditional costumes, and a striking set design [by Gary McCann] which recreates Spain with cartoon etchings.

Christine Sjolander was a fittingly flirtatious Rosina. I liked the way she played her own continuo on the on-stage spinet. Her words were crystal clear – this was a new English version – though her big arias lacked vocal fire, I felt. Arthur Swan was her Almaviva/Lindoro/Alonso; he had a strong voice, and relished all three roles, though his first romantic outpouring risked running out of steam before the end.

Simon Lobelson made a stylish Figaro, rushing around on his natty red heels, and there were assured character cameos from Paul Hudson as Basilio and Artistic Director Brendan Wheatley as Bartolo – his party trick was delivering a faultless patter song with a paintbrush clamped between his teeth.

Fraser Goulding was in the pit with a chamber ensemble – a good idea to leave the overture for the scene change in the middle of the first half. But this Barber, though easy on the eye and the ear, never really aspired to much more than a routine, respectful treatment of Rossini's best-loved opera.