Category Archives: Theatre

Julietta, ENO

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Modern opera often deters me but Julietta makes for a surprisingly enjoyable evening. Designer Antony McDonald has created an enchanting set with a glorious moving accordion which the performers use as a climbing frame for the action.

The story is based on Surrealist play ‘Juliette’ by Georges Neveux. It is a strange but oddly effective narrative… Michel, a Parisian bookseller discovers a small coastal town and slowly becomes aware that the inhabitants have no memory. The world of the present envelops him and he gradually loses his sanity as he realises his own reality is empty and dull. It is his powerful love for Julietta that persuades him to stay in this bizarre dreamland.

The show took a while to warm up… initially the madness feels incongruous with the confident orchestra and beautiful set, the acting just isn’t convincing enough. But as the evening progressed, I felt more absorbed by the crazy surrealist world. Act 2 is particularly captivating as the young couple meet in a nearby forest. While the love scene commences, musicians wander in the background playing instruments nonchalantly. The cast are tight and together… often I get the feeling casts do not enjoy performing more contemporary operatic work, but Julietta seems to spark the ENO chorus. Peter Hoare is exceptional as the lead, Michel Lepic, he sings with clarity of tone and with an affecting passion. I found Julia Sporsen unnerving and scary and her voice soars through the auditorium. Andrew Shore and Henry Waddington impress in the lesser roles.

The orchestra headed up by Edward Gardner seems very comfortable with the quirky modern Martinu score. Despite the obvious dissonances, the music does not lack melody and at times is startlingly beautiful, the ENO orchestra does a commendable job demonstrating its strengths.

Another example of the ENO company producing work that is innovative and creative without losing universal appeal.

Continues until 3 October, book here.

THOROUGHLY MODERN MISS: Mademoiselle Julie, Barbican

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If you thought London theatre was having a Scandi moment – Hedda Gabler at the Old Vic, and now Miss Julie at the Barbican – you’d be wrong. In fact, this Miss Julie is a Mademoiselle Julie, a Festival d’Avignon production which is very, very French.

It was all in the style. Juliet Binoche’s sensual Miss Julie shimmers in floor-length gold sequins (Alber Elbaz for Lanvin, naturally). The fashionably-dressed party guests, who dance to a soundtrack with just the right mix of Blondie and Madcon, embody Gallic cool. Even the one dressed as a giant rabbit (more on this later) manages to look chic.

But the show-stealer is the set. Laurent P Berger has created a white, light-flooded box divided into three slices by sliding glass panels. The slender white birch trunks, which break up the acting space couldn’t be further from the ‘gloomy forest’ of Jean’s nightmares.

On the whole, it worked for me. If it was a bit hard to appreciate the full extent of Julie’s degradation when the lowly kitchen of Strindberg’s play looked like it could plausibly belong to Nigella Lawson, towards the end of the play the set really came into its own as Julie and Jean scurried around like frenzied lab rats under the increasingly bright light.

The transparent set also allowed the party guests to remain onstage, their dancing behind the glass screen getting gradually more languorous and dream-like. That is, until after Julie and Jean’s assignation, when, led by the bunny, they advance menacingly downstage to tribal music. Odd.

The biggest disappointment was the sound. Binoche and Nicolas Bouchard (Jean) wore microphones: fair enough in a theatre the size of the Barbican, but there were occasionally some odd stereo effects and time-lag issues. Worse, when the pair locked in passionate embrace (a frequent enough occurrence in this play), their mics rustled and clunked.

There was lots to admire in this production. Bouchard’s Jean was nicely mercurial, by turns charming and brutal. Binoche played some of Julie’s tantrums for laughs, which came as a welcome relief, but she never became ridiculous. There were moments of real tenderness between the two. But style sometimes threatened to win out over substance in this production.

Continues until 29th September, book here.

Written by a Thoroughly Modern Miss, Lucy Hall.

Cantina, Southbank Centre

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Cantina is a short and eccentric cabaret show headlining at Southbank’s Priceless London Wonderground, in the Udderbelly venue. Fresh from tours of Australia and Europe, the petite cast are gleefully confident on stage, prancing about with no apparent fear.

Chilling and dangerously dark at times, this production will certainly hold your attention. Created specifically for a spiegeltent, this cosy environment suits the production perfectly. It is not your average cabaret, this show is definitely more sultry than sexy. The impressive pain the performers seem to endure is wincingly captivating though scarily disturbing at times. Some acts are better than others, I found the silly baby voice of Chelsea McGuffin, along with the heel stomping and bottle balancing, immensely irritating and unnecessary. It is slender, wide-eyed Finnish contortionist Henna Kaikula who interested and impressed me most, her lyrical movements and secretive nature are alluring to watch.

The acts focus on the precarious relationships between men and women. Some of the choreography is dark and aggressive, balletic dance develops into harsh movements. Whilst this is powerful and entrancing, I wonder quite how necessary the violent abusive insinuations are. I feel particularly pained for David Carberry who endures the brunt of the hostility.

It is a lovely extra to have live music on stage while the acts commence, the lilting melodies and gentle rhythms add an exhilarating energy to the production and gives the proceedings edge. It is well thought through and there are moments of humour although I am not entirely sure about the naked newspaper scene, you’ll have to go to understand this as I’m too embarrassed to explain!

These talented artists twist and contort for our amusement, and judging by the audience reaction their sombre circus is a resounding triumph. I have some reservations but commend the cast on a well composed and perfected piece of dramatic work.

Continues until 30 September, more information here.