Psycho Live - Review

Dominion Theatre, London

*****

Screenplay by Joseph Stefano

Based on the novel Psycho by Robert Bloch

Directed by Alfred Hitchcock

Orchestral score by Bernard Herrmann

Performed live by Cinematic Sinfonia

Conducted by Anthony Gabriele

Janet Leigh takes a shower in Psycho

It’s been a long long time since the opening bars of a movie’s score have made the hairs on the back of my neck prick up. But sat in the Dominion Theatre, as Psycho’s split-text title lines slid across the screen, to listen to Bernard Herrmann’s strings-only orchestration played by the Cinematic Sinfonia orchestra was to truly experience the magic of the movies.

The likes of Netflix and Apple have gone a long way to neuter the majesty of cinema. Imagery that  was once beautifully photographed for the vast expanse of cinemascope is now routinely streamed to our eponymous tiny telephones and tablets and one can fear for a generation currently growing up, who may well consider a trip to a local cinema’s full sized silver screen to be an unnecessary and expensive chore. So whilst this (partly premium-priced) event may well have been one for the fans, it was worth every penny.

Another feature of the evening was in actually seeing and hearing  the film's music played live, giving rise to a strange sense of witnessing the re-creation of what used to be a fundamental component of any movie’s construction. When any original score was recorded, it would have demanded a conductor facing the screen as he conducts his studio orchestra in time with the action – just the scenario that the Dominion audience were privileged to witness for themselves.

It was of course also a treat to re-visit a movie classic and one can forget quite how groundbreaking Psycho's 1960 release was to prove, shaking up many of the movie-industry’s accepted protocols. Intermingling sex with violence and deviancy – even the opening scene of Janet Leigh, bra-clad and in bed with her unmarried lover pushed the envelope of its time. And the dialogue is just so deliciously dated too. When Leigh’s Marion Crane tells Anthony Perkin’s Norman Bates, who has just explained to her the gruesome yet mundane details of his interest in taxidermy, that “a man should have a hobby”, a comment so simple and genteel and so firmly fixed in a time gone by.

Shot in black and white by Hitchcock's TV series camera crew rather than a feature film unit, the production budget was a squeeze. In fact, so tight were the movie’s finances that Herrmann, who resolutely refused to cut his own fee, was forced to trim his orchestra to strings only. Has necessity ever been proved to have been the mother (no pun intended) of such ultimately rich invention? Some years back The Observer published its list of the 50 film scores. Psycho was ranked #2 and the paper wrote:

Hitchcock, who had originally planned to play the shower sequence without accompaniment, later admitted that '33 per cent of the effect of Psycho was due to the music', and doubled the composer's salary as a reward. Herrmann studiously matched the black and white visuals of Hitch's masterpiece by draining the 'colour' from his orchestrations, stripping away all but the stringed instruments to create a monochrome wall of aural unease.

And remarkably for a film that was to achieve iconic status, amongst that season’s major gongs Psycho was to only pick up a Golden Globe for Leigh, winning nothing at the Oscars. But as the years have proven and as modern-day horror director Eli Roth recently commented, “..time is the only critic that matters”.

Hitchcock’s assessment of the music’s contribution was sage. So much of the story’s drama, and in particular its opening chapters, homing in on Marion’s anxiety after she has stolen the cash from her boss, play out with an absolutely excruciating intensity. The performance and the photography are first class, but it is Herrmann’s relentlessly jarring strings with their harsh minor-key harmonics, that seal the woman’s anguish into our watching psyches. And for a feature film that was to give the world the slasher-movie, Herrmann’s jagged chords as Crane is stabbed to death in the most famous shower scene ever, only heighten that moment’s timeless terror.

Conductor Gabriele knows both movie and score intimately, with this having been the fourth occasion that time he has brandished his baton in time with Bates’ bread knife. Gabriele is one of London’s finest stage-conductors, adept at seamlessly linking an orchestra to the ebb and flow of a live production. But there is no scope for fluid flexibility in conductiong in time to a movie. The imagery and dialog are fixed in time and it is Gabriele’s responsibility to ensure that his musicians maintain pinpoint co-ordination with the screen. It is a massive task and it is a mark of Gabriele’s consummate skill that he makes it look so effortless – and a credit too to the Cinematic Sinfonica orchestra for delivering such an immaculately rehearsed sound. 

Gabriele has a passion for film and music, telling me post-Psycho of plans (and dreams) to conduct future movie scores by the likes of John Williams and Hans Zimmer, as well as other Herrmann offerings. Personally, I long for Ennio Morricone’s work for The Mission and Once Upon A Time In America to be given the Gabriele treatment. Maybe one day…

Until then, the sheer musical excellence of Psycho Live, wedded to Hitchcock’s masterclass in film-making will stay with me for a long time. And in a further thoughtful touch, possibly barely noticed by many in the audience, how considerate of the Dominion to screen the movie in the run up to Mother’s Day!

Anthony Perkins as Norman Bates, missing his mother 

To find out about more Cinematic Sinfonia screenings, follow them on Twitter @cinesinfonia

Cross Purpose - Review

Kings Head Theatre, London

*****

Written by Albert Camus

Directed by Stephen Whitson



Jamie Birkett as Martha

Every now and then, a performance and a production come along, that astound. Cross Purpose, a little known play by Albert Camus is such an event.

Conveniently staged in the now traditional October run-up to Halloween, the premise of the play is a troubling horror story that is at once both visual and psychological. Jamie Birkett is Martha, a woman who together with her mother has run a guest house in the rural wilds of some landlocked European nation. We are told that over the years occasional guests have been robbed and routinely murdered by the couple and how Jan, a handsome young man who has checked in that day, looks like a suitable case for slaughter. Unbeknownst to the hosts, Jan is their long lost son and brother, keen to re-acquaint himself with his family. To say more of the plot would be to spoil, but the understated menace that surrounds the exchanges between man and women, is chillingly played.

Understatement is the watchword of this carefully crafted tale that has been expertly translated by Stuart Gilbert. Birkett is a callow harridan, aged before her time, made up with pale drawn features that are shocking to look at. Her face is that of a woman deprived of the sunlight of love and happiness and when late in the play she says “ No one has kissed my mouth or seen me naked…. and that must be paid for” we get a glimpse in to the hellish furnaces of contempt and jealousy of compassionate humankind that burn within her.  Where Martha is grey faced, Jan’s complexion is tanned and attractive. Early in the story, we see Martha possibly attracted to the visitor ( unaware at that stage that he is a sibling ) , leaving the audience alarmed that a possibly incestuous love could yet unfold in addition to any potentially murderous horrors. In a coincidental echo of Sondheim’s Mrs Lovett from Sweeney Todd, Martha longs to leave her landlocked misery for a life by the sea and indeed this tale chimes with that musical on several occasions, serial killing being undertaken by those angry with a world and a society that has forsaken them.

Horror is challenging enough to portray on screen, requiring the audience’s disbelief to be suspended sufficiently enough to allow natural emotions of fear and anxiety to be stimulated. The requirements for on stage horror to succeed are identical, but even more challenging as the performers are forced to rely almost entirely upon the strengths of their own abilities, rather than gruesome props or special effects. Birkett’s ability to take us on this grim journey is a tour de force, reminiscent of a young Fiona Shaw. The play is entirely dark, though occasional glimmers of wry irony are allowed to pierce the misery and in these moments Birkett’s hotelier performance evokes an infernal concoction of Basil Fawlty, Psycho’s Norman Bates, with just a hint of Les Miserables’ M. Thenadier. An accomplished musical theatre performer to date, this role defines Birkett as a dramatic star of her generation.

The supporting cast are a treat to watch. Christina Thornton delivers an ageing Mother weary of her murderous life and deeply troubled. Like Sondheim’s barber, she evokes both our loathing and also at times our sympathy for her miserable plight. David Lomax is a convincing Jan, wholesome and attractive, with a sincere compassion towards his mother and sister. Making a marvellous cameo as the house’s wise and all seeing Manservant is 86 year-old Leonard Fenton. Famed as EastEnders’ Dr Legg, this veteran actor proves that there is life after Albert Square, just. Mute, until the play’s final scene, his ability to act through an authentically doddery movement and a gimlet eye is a masterclass in performance that adds to the disquieting aura of the isolated setting of the tale.

Stephen Whitson has helmed a well-crafted production. The Kings Head’s stage is small with limited scope for props and scenery and as has been well documented, a convincing horror story depends on skilfully crafted sound. Designer Tim Adnitt achieves ambience and setting, as well as background noise, in a way that is chilling and convincing, but never melodramatic.

This production only runs for ten performances but undoubtedly deserves a larger venue and a longer residency. Dramatic performances rarely come better than this.

Runs until November 11