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Irrepressible Verve

Monday, February 15th, 2010

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As 2010′s new acts look to be mainly similar to last year’s – attractive girls with attitude, big hair and a fondness for 80s music – then anyone who is staking out a new furrow should be applauded. Welcome, then, the arrival of The Irrepressibles, a ten-piece mini-orchestra, led by the charismatic and flamboyant Jamie McDermott. Staking out a place in modern music somewhere between Antony and the Johnsons, the Arcade Fire and a sort of male Joanna Newsom, with a smattering of early David Bowie, The Irrepressibles promise to be one of the year’s most striking discoveries.

At the South Bank’s Queen Elizabeth Hall, the collective took Valentine’s Day as a suitable date to launch their first album Mirror, Mirror with a live performance. As you might expect, the theatrical elements of the evening came strongly to the forefront, with the back of the stage being decorated with full-length mirrors, all of which were illuminated by cabaret-style lightbulbs. This glitzily impressive backdrop proved a suitably lavish accompaniment for the band to perform their beautiful, offbeat and strange (in the best sense) music.

While I’m not convinced that this album will establish the band as a mainstream chart-topper – nor was it designed to – there’s a wit and playfulness to many of the songs, such as ‘Anvil’ and ‘My Friend Jo’ that will chime with anyone who likes theatrical and stylised pop music. However it’s the album and set closer ‘In This Shirt’ that hints at greater things still. Over the backing of a mournful organ and an increasingly complex string arrangement, McDermott’s eerily compelling voice soars as he recounts the story of what might be a lost love affair, or simply a paean to his tailor. Either way, it’s one of the most beautiful and stirring pieces of music I’ve heard in the past year. If this is their future, there’s no stopping them.

The album Mirror Mirror is now available. Further details of the band are at www.theirrepressibles.com

Every Good Play Deserves An Audience

Monday, January 18th, 2010

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The National Theatre’s acclaimed revival of Tom Stoppard and Andre Previn’s play-with-orchestra, Every Good Boy Deserves Favour, is now back for a limited run, and promises again to be one of the hottest tickets in town. First staged in 1977, it’s a quintessentially Stoppardian play on paradox and mistaken identity; it concerns two men in a Soviet Union country, both called Ivanov, who find themselves sharing a cell in a mental hospital. The first one is a supposed dissident who is being imprisoned for writing a letter to a paper; the second is a genuine madman who believes that he has constant access to an orchestra. The play’s intriguingly meta-theatrical nature ensures that there is a live orchestra on stage at all times, in this production the Southbank Sinfonia, to illuminate the inner workings of Mad Ivanov’s mind.

While there is the dazzling wordplay and shafts of wit that you would expect from Stoppard, there’s also a more serious undercurrent, as he explores his grim fascination with the repressive politics of the Soviet Union and the way in which language can be perverted and twisted to act as a form of imprisonment in itself. The performances are exemplary, especially Adrian Schiller (best known as the astonishingly versatile actor in the Don’t Drink And Drive adverts) and Julian Bleach as the two Ivanovs. The direction, by Punchdrunk founder Felix Barrett and War Horse co-director Tom Morris is fluid and engaging throughout, using the orchestra as part of the action to surprising and compelling effect, and some (literally) balletic violence towards the end brutally brings home the reality of the harshly repressive world that Stoppard is illuminating.

Until 17 February. National Theatre, South Bank, SE1. www.nationaltheatre.org.uk

Halfway between Heaven and Hell

Thursday, December 10th, 2009

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Camille O’Sullivan, a half-French, half-Irish chanteuse, has enjoyed a meteoric rise to fame over the past couple of years. Reviews regularly attest to her magnetism, wit, astonishing stage presence and striking singing voice, as she performs modern cabaret versions of songs by artists as eclectic as David Bowie, Nick Cave, Jacques Brel and, most memorably of all, Nine Inch Nails, a version of whose ‘Hurt’ she performs and which rivals Johnny Cash’s for passion and drama.

She’s now doing a short run of shows in the West End, as part of her ‘Dark Angel’ performance, and she really is an unmissable live performer, combining old-fashioned allure with breathtaking versatility. Backed by her superb band, she can move between Weimar-era cabaret pomp, unaccompanied and highly moving renditions of heartbreakingly sad ballads and epic widescreen drama, and then get the audience laughing heartily between songs at her witty banter. A well-attended first night performance saw the great and the good, including Russell Brand and Frank Skinner, come to pay homage, but there was no doubt as to who the star attraction is.

Until January 16 2010. Apollo Shaftesbury Avenue, London W1. www.camilleosullivan.com

Epic passion meets epic tunes

Wednesday, November 18th, 2009

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Turandot was Puccini’s final opera, and was actually finished by the otherwise little-known Franco Alfano. Telling the story of the cold-hearted Princess Turandot, who offers those of royal blood either her hand in marriage or death if they answer three questions, it is regarded by many as his most successful opera. It contains probably his most famous aria, ‘Nessun Dorma’, which has been popularized by its legendary performance by Pavarotti.

The ENO’s new production has attracted a great deal of interest due to its hiring of the wunderkind young director Rupert Goold (currently having stunning success with his staging of Enron at the Royal Court) to stage it. Conservative critics have cried foul, due in no small part to Goold relocating the action from Imperial Peking to a Chinese restaurant populated with Marilyn Manson and Elvis lookalikes.

Certainly, Goold’s signature bold visual flourishes are simultaneously eye-popping and distracting, but there’s no denying that the production moves at a fair pace and that the singing (by Kirsten Blanck as Turandot and Gwyn Hughes Jones as her would-be suitor Calaf) and conducting (by Edward Gardner) are both highly impressive. And, as you’d expect, ‘Nessun Dorma’ is a highlight.

Until Dec 12. ENO, St Martin’s Lane, WC2. http://www.eno.org/

Ronnie Scott’s celebrates 50 years of jazz

Thursday, November 12th, 2009

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Ronnie Scott’s is the most famous jazz club in London, if not the world, and it’s celebrating its 50th anniversary this year. Whenever I’ve been there, there are lots of things that never fail to impress – whether it’s the performances by some fabulous A-list acts in this most intimate of intimate spaces (recently Van Morrison and Jeff Beck) or the showstopping debut appearances by confident new acts who are destined for greatness. I still remember watching an incredibly charismatic young man who used his piano as a kind of percussion instrument; strange to think that a few short years later Jamie Cullum would end up an internationally renowned musician, and engaged to Sophie Dahl to boot.

An evening at Ronnie’s is always a pleasure, because it’s about more than just the music. There’s one of the best bars in Soho upstairs, serving fabulous cocktails and moreish bar snacks while often featuring some stunning live music. The food is always excellent too, whether you’re into simple but delicious sandwiches or more elaborate meals, such as fillet of bream or beef.

While it’s open to the public, it’s members of Ronnie Scott’s who get the best deal. For £165 a year, benefits include 2 free tickets to a show, free entrance to the bar and club (after certain times), the chance to pre-book space in the bar and even a bottle of champagne if you introduce a new member, and much else. It’s pretty hard to argue with any of that. See you there!

47 Frith Street, London W1 www.ronniescotts.co.uk

Will this particular Apple fall from the tree?

Friday, November 6th, 2009

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The media attention surrounding the Beatles no-show on iTunes continues to hit the headlines in the music industry, and you’ve got to wonder whether they should just bite the bullet and finally come to an agreement with the music giant Apple to sell their music in a legal format. As recently as this afternoon, the Bluebeat website has been ordered to remove music from its website which it claimed was not original content but rather had been re-recorded using ‘psycho-acoustic simulation’. What that means we certainly couldn’t say, but it hasn’t convinced the record label either.

Websites such as Bluebeat have been acting in this way to sate the appetite of music fans who for years have been deprived of (legally) downloading the Beatles’ iconic tracks onto their MP3 players on account of a long-running feud between the Beatles’ record label, Apple Corporation and Apple Inc. of music and computer fame. As though in reaction to these illegal sources of content- although to us it feels more like a shameless media stunt- EMI are launching a 16GB USB stick in the contentious shape of an apple to finally offer fans a chance to own the 14 recently re-mastered albums from the Beatles on this novelty limited edition item.

In total, only 30,000 of the green USB devices will be produced for sale and each one will be priced GBP 200, arguably a somewhat unjustifiable price which may only seem desirable to fanatical fans who doubtless already possess the (cheaper) re-mastered CD collection which was released in September. Whilst the object will almost certainly become an essential part of any devotee’s collection, one really does have to question whether this is any more than a shameless money grabbing stunt to add further fuel to the Apple-Apple debate?

The limited edition USB stick is released in the UK on December 7th and the US on December 8th.
www.thebeatles.com

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