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Posts Tagged ‘Theatre’

Il Trittico

Tuesday, September 27th, 2011

The beginning of the Royal Opera’s new season has been pencilled into aficionado’s diaries for months, with one certainty: Puccini’s Il Trittico – a series of three one-act operas – will send them home happy, kicking off the season in excellent fashion.

The traditional view is that the masterpiece of the work lies in its final part. The comedic Gianni Schicchi, with the aria ‘O mio babbino caro’ is by far the best known of Il Trittico. Il Tabarro makes a slightly shaky part one, while Suor Angelica is a second part with an acquired taste. However, with new staging from Richard Jones and the mastermind of conductor Antonio Pappano, these conventional notions must surely be thrown out of the window.

This is the first Royal Opera performance of the complete trio since 1965, testament to the recently prevalent view that the work deserves to be rethought in a new production. In this case, though, the trio is added to the already popular production of Gianni Schicci, which tells a manic story of deception. The eponymous Schicci – played here by Lucio Gallo -swindles a greedy family out of their inheritance to further the cause of true love.

Here moved from Puccini’s original thirteenth century setting to the 1960s, the performance perfectly captures the joy and comedy of the opera. The cast throw themselves gleefully into the farcical scheming, and their enjoyment is infectious. Never has deception been so much fun.

For the production’s biggest surprise however, we must look towards the middle panel of Puccini’s triptych: the much-maligned Suor Angelica. It is here transformed by innovative production and a fantastic, heart-wrenching performance from Ermonela Jaho as Angelica, the young woman forced into a convent due to the perceived shame her pregnancy brought upon her noble family.

The opera’s traditional finale, a vision of the Virgin Mary and Angelica’s lost son, is usually perceived as the weakness of this piece. Here, however, a subtle shifting of the work is revelatory, bringing a believable tragedy to the story’s end.

As the first part of the evening, Il Tabarro – a story of a tragic love triangle, dark in both setting and theme – is the weakest of the set.

Despite the excellent performances of lovers Giorgetta (Anne-Maria Westbroek) and Luigi (Aleksandrs Antonenko), and Lucio Gallo as the cuckolded husband, it is overshadowed by what follows, not because of its own shortcomings but purely because of the excellence of parts two and three.

This is a fantastic set of performances offering a spectacular evening of opera: humour, murder, deception and suicide combine for an unforgettable experience.

www.roh.org.uk

The World’s A Stage

Friday, July 8th, 2011

Like many English towns, Stratford upon Avon seems to have two separate identities. On a bright summer’s day, you can walk down the river, past Holy Trinity Church (where the town’s most famous son, Shakespeare, is buried) and the new Royal Shakespeare Theatre, and think it quite the most beautiful place in England. If, however, you find yourself scurrying down the medieval streets on a wet evening, then altogether darker thoughts come to mind, and one imagines oneself in a nest of villains something akin to one of the more bloody recesses of Shakespeare’s plays. As studies in contrasts go, it’s really quite impressive.

The most impressive thing to happen to the Shakespeare industry in recent years has been the much-heralded rebuilding and reopening of the Royal Shakespeare Theatre. Occupying a prime position close to the river, it’s home to two different auditoria, the main one and the Swan Theatre. The purpose of the Swan is to show Elizabethan and new drama, whereas the main auditorium specialises in high-quality productions with seriously classy acting and directing. On our visit, Patrick Stewart was starring in Rupert Goold’s much-heralded Las Vegas-set staging of The Merchant Of Venice, which proves that Stratford can still stage some of the world’s best productions in the 21st century.

A visit to the theatre itself, even if you’re not seeing a play, is pretty much obligatory. For starters (sic), the gorgeous new Rooftop Restaurant, situated at the top of the building, offers panoramic views over Stratford, something matched by the food. A sensibly priced and speedily served lunchtime and pre-theatre menu might offer such delights as old spot medallion or Somerset brie and tomato tart for mains, followed by a delicious ginger and pear parkin. You can rely on the wine being good as well; it’s supplied by Berry Bros and Rudd, meaning that even the house selections are head and shoulders above what you’d normally expect.

Of course, a new theatre needs a new upmarket hotel for visitors as a suitable base, and there are few places more fitting than The Arden, a stylish boutique establishment literally opposite the theatre. Even if I never quite managed to work out which was the most logical way in and out of the hotel, there’s no denying that it offers a gorgeously comfortable stay, with well-appointed rooms and luxuriously large beds, bathrooms that are a good deal larger than anyone can reasonably expect, friendly and accommodating staff and a relaxed, intimate feel that makes this a pleasure to spend time in. It also boasts a superb establishment called The Waterside Brasserie, which offers either excellent breakfasts with local produce or equally high-class dinners that give the Rooftop a run for their pre-theatre money, or a more leisurely a la carte.

Talking of dining, serious gourmands won’t want to miss out on a visit to the Arden’s sister establishment, Mallory Court. A dozen miles up the road, it’s a gorgeous Lutyens-styled manor house with extraordinarily beautiful gardens and spacious public rooms. It’s the oak-panelled main dining room that’s the real draw for many though, with Simon Haigh’s deservedly Michelin-starred cooking offering unusual and quirky twists on French-British cuisine. Thus lunch might consist of crab bisque and ravioli to start, followed by fillet of beef with oxtail, and a sublime apple and elderflower soufflé to finish, all of which is of the absolute highest calibre. As you’d expect, the wine list is stupendous and comprehensive, but there are several very accessible and reasonably priced options by the glass.

As Shakespeare wrote, ‘Let me not to the marriage of true minds admit impediments.’ A visit to Stratford, preferably in clement and seasonable weather, is an enormous pleasure, and whether your interests are historic, culinary or cultural, there’s going to be something beguiling and enjoyable for you to appreciate here.

Backing the Winning Horse

Monday, June 13th, 2011

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London Pride

Thursday, June 2nd, 2011

If you wanted to define ‘Quintessentially British’, then sooner or later after you’d been through the usual suspects (Beefeaters, cups of tea, endless Jordan autobiographies) you’d soon come to Noel Coward. Famous for some of the wittiest plays ever written, including Private Lives, Blithe Spirit and Design For Living, he was also a fairly considerable singer-songwriter, responsible for such standards as Someday I’ll Find You, Mad Dogs and Englishmen and London Pride.

Yet perhaps because he’s seen as ‘old-fashioned’, his work isn’t performed nearly as often as it ought to be. Therefore, we should all welcome the return of the revue Cowardy Custard, which was first staged in 1972. Of course, portmanteau shows of this nature are quite common now, but this one is infinitely classier and more subtle than the norm, as well as much, much funnier, thanks to the performers, Dillie Keane from Fascinating Aida and the wonderfully witty piano-playing duo Kit and the Widow. It promises to be a stirring, hilarious and even moving romp through Coward’s enviable career.

Kit Hesketh, of Kit and the Widow, says: “The show is such a fantastic introduction to Coward because he was such a rich and varied songwriter and covered everything from heartbreak to really funny stuff. Coward was just brilliant and I don’t think there has been his equal before or since. It was not just a case of combining his talents as an actor and playwright, but he was also a composer, lyricist, spy, man about town and a brilliant diarist. People said that his was a typical upper class, right-wing, out-of-date Englishness, but in fact he was a lower-middle class boy from Teddington who kept his finger on the pulse – and that can be seen in songs like London pride which he wrote in the war. He knew how people felt.”

It’s nearly finished a hugely successful tour across England, but there’s a final chance for those living in London to see it, as it’s coming to the Richmond Theatre for a very brief appearance from June 2-4. So get your cravat out of the cupboard and head down (to what is, coincidentally, one of the country’s loveliest Frank Matcham theatres) for what promises to be a splendid, and highly civilised, evening’s entertainment.

The Green, Richmond, TW9. www.ambassadortickets.com/

A Walk In The Park

Friday, February 18th, 2011

‘The most hilarious play you’ll see all year!’ the ads breathlessly proclaim. ‘Essential….unmissable…a once-in-a-lifetime experience.’ If there was an Olivier award for best hyperbole, Bruce Norris’ new play Clybourne Park would be the frontrunner. Ever since its triumphant opening at the Royal Court last summer, it has become a cause celebre, and now its much-heralded transfer to the Wyndham’s Theatre in the West End allows audiences to judge it for themselves. Is it the timeless masterpiece the critics suggest, a triumph of hype over substance, or, as is more usual, something in between?

The play takes place in two time zones. The first, set in 1959 Chicago, sees a traumatised couple, Russ and Bev, preparing to sell their house. Their neighbours, good Rotarians all, are not-so-secretly appalled to find that the potential vendors are a black family. In the second, in 2009 Chicago, the roles are reversed; another couple, Lindsey and Steve want to demolish the house, now in a predominantly black area and build their dream home. Again, they meet with local opposition, this time buried under a thin veneer of liberal sensibility.

Norris’ play asks many interesting questions about issues of race, society and property in both contemporary and recent historic America (One wonders in passing what the play would have been like if it had been set in 1909 and 2009, or even 2109). It’s certainly as relevant to Britain as it is to America, with countless neighbourhoods changing and gentrifying all over the country. And the already justly infamous scene at the end of the second act, where the couples are goaded into telling ever more outrageous racist jokes against one another, is hilarious yet horrifying.

Dominic Cooke’s vivid and fast-moving production grabs the attention and makes for an enjoyable evening out. Performances across the board are excellent, especially from Stephen Campbell Moore (replacing Martin Freeman, in New Zealand on Hobbit duty), Sophie Thompson in a dual role as a trembling housewife and an ignorant lawyer, and Lorna Brown as a ‘yes ma’am, no ma’am’ maid and a cynical contemporary woman. It seems destined to become a talking-point drama so you’d be well advised to see it.

Until 7 May. Wyndham’s Theatre, W1. www.clybournepark.co.uk

Regards Of The Season

Thursday, December 23rd, 2010

Ah, Christmas. Season of peace, prosperity and goodwill to all men, right? Hardly. My own experience of the days between 24th and 31st December tend to be a mixture of extreme mind-numbing boredom, interspersed with too much eating and drinking (cue hangovers and indigestion), and, if you’re very unlucky, some apocalyptic family rows to shake things up in between the endless repeats of old films and unfunny festive specials of ‘comedies’.

Thankfully, the National’s top-flight staging of Alan Ayckbourn’s 1980 comedy Season’s Greetings comes as a pleasant alternative to pantomimes. Superbly directed by Marianne Elliott (whose 2006 RSC Much Ado About Nothing was a particular favourite of mine), the top-flight cast raises what would otherwise be an enjoyable but unexceptional piece of festive biliousness into the realms of comic bliss.

The set-up is straightforward. Neville and Belinda Bunker (Neil Stuke and Catherine Tate) are holding a festive party for people including Neville’s former colleague Eddie (Marc Wootton) and his pregnant wife Pattie (Katherine Parkinson). Meanwhile, incompetent doctor Bernard (Mark Gatiss) is preparing his annual puppet show, much to everyone’s dread, his drunken wife Phyllis (Jenna Russell) is on the sauce and a young novelist (Oliver Chris) is getting hormones flying. Oh, and psychotic Uncle Harvey (David Troughton) has a gun and a knife strapped to his leg…

Obviously, things go very, very badly wrong indeed, to frequently hilarious effect. The scene that made me laugh hardest was when Chris’ earnest young novelist tries to explain to Phyllis that he isn’t gay, and that novelists are no more likely to be homosexual ‘than train drivers, for instance’, which leads to much beautifully acted and articulated confusion. There’s an undercurrent of pain, rejection and suffering that makes this a far more enticing prospect than many similar works, as when Parkinson’s character looks down at her drunken husband, passed out, and says ‘I had to fight for that’, but most of the appeal comes from very talented comic actors bringing splendid nuance to their roles, even if Gatiss’ hapless simpering does seem to recall The League Of Gentlemen’s Dr Chinnery slightly too much for comfort.

Nevertheless, a highly enjoyable evening, and one that will hopefully retain its mix of punch and poignancy until the end of its run in March.

Until 13 March. National Theatre, SE1 www.nationaltheatre.org.uk

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