Ennio Morricone In Concert At The O2 - Review

The O2, London


*****

Maestro Ennio Morricone

(Last year Turkish TV channel TRT World broadcast this 6 minute tribute to Morricone - At 2:12 into the clip, I am interviewed about the Maestro)

Ennio Morricone played London for the last time this week, his farewell visit to the capital heralding the gifted composer’s imminent retirement.

But what a spectacular farewell. In an evening that largely revisited the programme of his 60 Years in Music concert  from early 2016, (my review to that gig below) and again with the Czech National Symphony Orchestra, with whom the Maestro recorded his Oscar winning score for The Hateful Eight, for the best part of three hours Morricone conducted a heavenly symphony of instrument and voice. Enchantingly sprinkled with l’italianità, the concert was a unique fusion of cinema, music and passion.

And enchantment is no understatement as to witness this musical genius conducting  the music that he has created is to see a summoning up of spiritual wonder. With more than 200 souls breathing life into his work within the sold-out O2, the Maestro wielded his baton as a sorcerer might wave a wand, delivering an evening of sheer magic and displaying an energy that belied his advanced years.

Hearing Morricone conduct his work live offered a chance, not just to re-enter the ethereal cocoon of his music, but also to observe some of the finer details woven into his compositions: the harp melody incorporated into The Good, The Bad And The Ugly; the fusion of baroque, tribal and sacred that make up On Earth As It Is In Heaven from (what should have been an Oscar winning score) The Mission. The detail that underlies his melodies and orchestrations is breathtaking.

The evening’s programming was inspired too, with the staccato Tarantella seamlessly segueing into Susanna Rigacci’s sublime soprano take on Nostromo. Morricone could almost have written for Rigacci’s voice – her delivery of the the vocal line in The Ecstasy Of Gold proving almost literally, an ecstatic, spine-tingling flourish to what is possibly the Maestro’s signature tune. Dulce Pontes offered a second wave of vocal delight – with no number sung more verve-infused than the lesser known, samba-esque Aboliçao from the 1969 movie Burn!.

The choral background to the evening came from the Crouch End Festival Chorus who, when called upon, were magnificent – with none finer than their own exquisite soprano Rosemary Zolynski who more than deserved her handful of solo moments.

Rigacci and Pontes both returned to the stage for powerful, passionate encores but perhaps the sweetest moment of the encore'd movements came from the delicate beauty of the Cinema Paradiso themes - reducing many in the packed arena to tears.

Now in his tenth decade, while there may have been an aura of mortality to the occasion, there was not a jot of frailty in Morricone’s presence. We may never witness the Maestro perform live in London again - but he has gifted to the world a musical legacy that will live forever.


My review of Ennio Morricone's 2016 Concert  at the O2

Hadestown - Review

National Theatre, London


****


Music, lyrics and book by Anaïs Mitchell
Directed by Rachel Chavkin

Patrick Page

Running at the National Theatre prior to a Broadway opening, Hadestown offers a uniquely folksy and enchanting take on the tragic tale of Orpheus and his love, Euridice. For a potentially grim narrative, the musical is a joy thanks to the transformation of Anaïs Mitchell’s surprising and layered concept album into one of the most refreshing and riotous shows in London.

Rachel Chavkin directs the fascinating tale of human weakness and hope. The story goes that Persephone, wife of Hades lord of the underworld visits the earth bringing with her the seasons of Spring and Summer (and joy and booze). As Hades' jealousy grows, so Persephone’s visits become less frequent, unleashing hunger upon the world’s population including Euridice. An impoverished Orpheus promises Euridice the world, and it is against this backdrop that the musical plays out.

The range of voices that Chavkin has assembled is phenomenal. Reeve Carney’s Orpheus hits notes that would make Freddie Mercury proud while Patrick Page’s Hades occupies yje lower end of the register, bringing a growling, booming bass resonance to Mitchell’s score, the two men proving a perfect juxtaposition to each other. Eva Noblezada’s Euridice’s sweet and perfect Disney-esque voice almost doesn’t match the show's cool although, and again in contrast, Amber Gray offers a gloriously brassy, sassy Persophene. Winged narrator and journey maker Hermes is played by the inimitable André De Shields adding an easy, laidback “how it is” attitude to this sometimes overly fanciful show.

The production is a 101 lesson in modern musical theatre done well. Rachel Hauck’s glorious set twists, turns and expands, segueing intimate scenes into lavish numbers as Bradley King’s lighting transforms the stage, stunningly transforming a New Orleans jazz bar into an infernal labyrinth. 

Hadestown sees the capital graced with yet another sensational piece of new writing. A big, beautiful show with a soundtrack that you’ll want to listen to all the way home.

Runs until 26th January 2019

Reviewed by Heather Deacon

Photo credit: Helen Maybanks

Don Quixote - Review

Garrick Theatre, London


****


Adapted by James Fenton from the novel by Miguel de Cervantes
Directed by Angus Jackson

David Threlfall

In James Fenton’s adaptation of Cervantes’ 17th Century classic, the fabled antics of Knight Errant Don Quixote are given a contemporary understanding that still preserves the original’s richness. 

David Threlfall is the aged Quixote, climbing onto the Garrick stage from the stalls in the first of the show’s many “Fourth Wall” breaches and is, quite simply, magnificent. Robed and biblically bearded, there is something of the Billy Connolly in Threlfall’s appearance which only underlines the tragi-comedy that driving this curious yet also intuitive take on ageing and fantasy. Threlfall captures the essence of Quixote - driven by proud self belief, and yet slowly being deprived of his mental faculties. His is a performance of the utmost sensitivity, perfectly nuanced in both physical presence and emotional magic.

Of course the relationship between Quixote and his manservant Sancho Panza is one of the oldest double-acts in literature, a pairing that might well have inspired the latter day genius of Blackadder and Baldrick.  Rufus Hound plays Panza and his casting is perfect. Amidst scripted and (when the fire alarm sounded on press night following mismanaged onstage pyro effects) ad-libbed audience interactions, Hound provides the perfectly tipped foil to Threlfall’s straight-guy, his common touch bouncing off the elderly would-be patrician. And whilst Panza’s coarseness contrasts with Quixote’s chivalry, Hound skilfully demonstrates that both men share a resolute moral code. Cynical, corpulent and always caring even if often underpaid, Hound’s Panza remains as lovingly loyal, as he is perceptive - with his devotion proving a bittersweet background to the play’s final act.

There is lovely work all round from Jackson’s company. Richard Dempsey’s Duke captures the mildly cruel foppishness of Spain’s aristocracy, while Natasha Magigi as Sancho Panza’s wife Teresa, surrounded by a bevy of wailing (marionette) infants puts in a neatly detailed, even if caricatured, glimpse of the manservant’s background.

Robert Innes Hopkins’ design is unpretentiously clever, with state of the art stagecraft mixed in with deliciously simple, centuries old puppetry. Windmills are cleverly tilted at and sheep are brilliantly battled, and when Quixote finally ascends to the heavens, the charm of his flight lies not in the obviously visible harness - but rather in the simplicity of its gorgeous imagery. The music is delicious too, with Grant Olding’s Latin and flamenco themed compositions (under Tarek Merchant’s baton) only adding to the tapas-like spread of treats that the evening offers.

If the moments of excessive boisterousness make for minor occasional distractions, they are trifling. The RSC’s Don Quixote has well deserved its transfer to the West End - it is poignant, funny, and perfectly played. Brilliant theatre!

Runs until 2nd February 2019

Photo credit: Manuel Harlan

Romeo and Juliet - Review

Barbican Centre, London



****


Written by William Shakespeare
Directed by Erica Whyman

Karen Fishwick and Bally Gill

Romeo and Juliet arrives at the Barbican as part of the Royal Shakespeare Company’s London residency. Directed by Erica Whyman, Shakespeare’s classic story of love and rivalry is given a contemporary makeover that results in an energetic and urgent adaptation.

Although written over four centuries ago, this production feels chillingly relevant, with members of rival families brandish knives and fight on the streets, the bloody consequences of gang warfare brutally highlighted. The tale of the warring Montagues and Capulets is set in Verona, but it is easy to translate this culture to Sadiq Khan’s contemporary London. And yet, despite the tragedy, there proves a surprising amount of comedy interwoven within the drama and heartbreak that makes for an engaging evening.  

The production’s highlight is the host of standout performances drawn from a talented and diverse cast. Whyman elects to have the Prince of Verona and Mercutio played by women (Beth Cordingly and Charlotte Josephine respectively) and for the most part this works. Though a little over-exaggerated at times, Josephine puts in a fine performance as the spirited Mercutio, who is just as tough and brash as any of the boys and, tragically isn’t afraid to back down from a challenge. 

Elsewhere Andrew French provides a calming presence as Friar Laurence, keen to help the teenage couple but unwittingly setting in motion a wave of calamitous events. Ishia Bennison threatens to steal each scene she’s in as the cheeky, no-nonsense Nurse, a mother figure for Juliet, and at times it feels as if she wouldn’t be out of place in a Victoria Wood sketch, providing most of the comic relief. 

At the heart of the play of course are the star-crossed lovers, played by Bally Gill and Karen Fishwick, exuding chemistry. Gill shines as the lovesick Romeo, trying to keep the peace with his new wife’s family at first, then quick to turn with a dark, underlying temper. Fishwick’s Juliet is endearing, playful and passionate as the teenager struggles with the conflict of her heart’s desire and parental pressures, and it very much becomes her play. Though she is a joy to watch throughout, it is a particularly unnerving scene between Juliet and her bullying father, played by Michael Hodgson, as both actors thrillingly convince. 

Tom Piper’s minimalist urban design, centred by a rotating cube, takes some getting used to but is surprisingly versatile. There is a poignancy in it providing both the setting for Romeo and Juliet’s marital bed and their final resting place. Sophie Cotton’s music highlights the contemporary feel and boundless energy of the play, notably during the Capulets’ masked ball, now a rave. 

While the play isn’t perfect – the opening scene feels out of place, the production drags at times and purists may wish to look away – it is undoubtably a fresh and accessible take on an age-old tale. And much like Baz Luhrmann’s 1996 movie, this inspiring, compelling and youthful adaptation is sure to open Shakespeare’s most famous love story to new audiences.

Runs until 19th January 2019

Reviewed by Kirsty Herrington

Photo credit: Topher McGrillis

Sholom Aleichem In The Old Country - Review

Lion and Unicorn Theatre, London


****


Adapted by Saul Reichlin

Saul Reichlin

There’s a lot to be said for one man who can stand on an unadorned stage and with a few well chosen words, a wrinkled brow and a beady eye, transport an audience away to another time and a place; creating an illusion, for over an hour,  of the Pale of Settlement where the Jews of Eastern Europe once lived.

Unquestionably, Sholom Aleichem was the greatest Yiddish storyteller of the 19th century - some say the Jewish equivalent of Dickens - but here the credit goes to Saul Reichlin for his captivating performance, not only as Aleichem, but also as the twenty characters we meet on his journey.

We are first introduced to Sholom Aleichem as he travels by train to the fictional old town of Kasrilevke where he is taking a short holiday.  Instantly comical, the play opens with writer Aleichem trying to explain to his fellow train passengers how one can make a living from writing. Ach! He must own a bookshop they deduce.

Almost like a guidebook, Reichlin vividly describes the hustle and bustle of the town’s train station. A mirage of images becomes spun into a hilarious adventure that only ends with Aleichem in a flea-ridden hotel, having lunch in a restaurant with no food.

Reichlin's portrayal of the townsfolk captures their self-deprecating humanity; people who amidst all of life's pitfalls and petty resentments, hide loving hearts behind their snarky words and wry smiles. We meet the wise Rabbi who strokes his beard and sucks the end of it, the paupers who grab a free ride on the tram (they have nothing else to do). There is Tevye the milkman (yes, that Teyve) all kvetching and complaining.  Religion is everything to the eponymous dairyman; he looks to the heavens, shaking his fist to God; why does he have so much bad luck and stress in his life?  But he respects God above all else, so there’s always a smile and a joke. This character’s life, like nearly all those we meet in Kasrilevke, may well be hard and heart-breaking but it is heart-warming at the same time.

Sholom Aleichem In The Old Country is at once charming, funny, sad and yet it is ultimately tragic. Not because of any serious disaster that befalls the characters, but rather because it offers up a taste of an innocent time, a small window into the soul of the Jewish people of The Pale, who don’t know it, but who are about to lose everything. Reichlin's and Sholom Aleichem’s characters may be ultimately doomed but their humanity and comedy leaves one feeling incredibly uplifted.

Runs until 25th November

Reviewed by Jodie Sinyor

A Very Very Very Dark Matter - Review

Bridge Theatre, London


****


Written by Martin McDonagh
Directed by Matthew Dunster

Phil Daniels and Jim Broadbent

With a running time of just 90 minutes and Tom Waits as The Narrator, what’s not to like about A Very Very Very Dark Matter, the first seasonal show to be offered at London’s newest venue, the Bridge? In an alternative take on the typically seasonal, richly fruited and Victoriana-laced Christmas fairy tales, Martin McDonagh’s new play is set in Copenhagen and London, gorging itself on gothic grand-guignol and arguing a fantastic premise that both Denmark’s Hans Christian Andersen and Charles Dickens enjoyed a morbid fascination with African pygmy women.

McDonagh never misses an opportunity to let his politics get in the way of what might otherwise be a good story and so it is here, his narrative heavily laced with furrowed brow punditry upon the Congo’s complexities and exploitation. But don’t see this slightly troubled drama for its hobbled historical spiel on geo-politics. See it rather for McDonagh’s most fertile, febrile of imaginations putting on a theatrical treat that is played out by a magnificent cast.

Jim Broadbent is Andersen who, aside from a minor wig malfunction, puts in an assured turn portraying the weaver of legendary fairy tales as a racist, doddery misogynist who, in an intriguing conceit, was barely literate and whose stories were actually penned by Marjory, an African pygmy who he kept confined in a wooden box.  Broadbent’s timing and delivery is unsurpassed, but when he’s placed into a dining-table exchange with Phil Daniels’ exasperated Dickens - who has had to endure the unwelcome Dane as a house guest for five weeks - the exchanges are eye-wateringly brilliant. McDonagh captures the essence of The Two Ronnies, crossed with Derek and Clive - and in the hands of these two immaculate actors, there’s no finer double act in town.

The writer and his director Matthew Dunster offer up a sprinkling of nods towards Tarantino’s more wittier moments too, while alongside Broadbent and Daniels who both play scumbags of the highest order, there is standout work from Johnetta Eula'Mae Ackles as Marjory and a cleverly comic cameo from Elizabeth Berrington as Dickens’ much put upon wife Catherine. Anna Fleischle’s designs are as lavish as they are creepy, and for those who like their horror served bloody, the play does not disappoint.

Make no mistake, the evening’s imagery and language are the foulest, and whilst there may be a handful of talented kids in the cast, this is far from festive family fayre.

Worth catching though - much of this new writing is stunning.

Runs until 6th January 2019

Photo credit: Manuel Harlan

Honour - Review

Park Theatre, London


***


Written by Joanna Murray-Smith
Directed by Paul Robinson

Imogen Stubbs and Henry Goodman

'There’s no fool like an old fool’ an adage that sums up much of Honour now playing at the Park Theatre. The play introduces Henry Goodman and Imogen Stubbs as married couple George and Honour. She is a writer who gave up her career to support their thirty-two year old union, while he is a famed intellectual their lives being such that it is almost as if a slice of Hampstead’s intelligentsia has come rolling down Highgate Hill. When the much younger Claudia, an aspiring author who’s profiling George for a book that she’s writing, breezes into their lives, his middle aged mid-life testosterone kicks in and with barely a second thought he succumbs to her attraction, walking out on his wife. 

If the narrative wasn't so ineffably predictable, this might have made for a far more stimulating evening. As it is, as the drama hops from cliché to cliché with the production’s only redeeming feature being Stubbs’ interpretation of a woman in scorned and scorching agony. Hers is a wronged, devoted, heart that bleeds throughout a stunning performance, leaving the audience moved at her pain and cheering her on as faltering, she starts to find a path out of her misery.

Katie Brayben’s triangle-completing Claudia delivers all that the flawed script asks of her - but her encounters with both Honour and Sophie, the couple’s daughter barely a few years her junior, fail to convince. Likewise with Goodman who is forced to wade through interminable melodrama. There is a glimpse of his genius late in act two, after he has been inevitably spurned and rejected by Claudia for a more exciting lover where, Lear-like, he recognises the folly of his deeds. But by then it is too little, too late to redeem an otherwise disappointing turn.

Runs until 24th November
Photo credit: Alex Brenner