Category Archives: Theatre

THOROUGHLY MODERN MAN: Hedda Gabler, Old Vic

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Prior to attending the press evening for this production, I had been walking past the Old Vic on an almost daily basis and salivating at the thought of seeing Sheridan Smith taking the reins as the eponymous Hedda Gabler.  On all fronts, the night entirely lived up to my expectations.  At almost two centuries old, the Old Vic Theatre is the perfect establishment to play host to Ibsen’s masterpiece, which dates back to a badly received premiere in Germany in 1891.  A 1901 run on Broadway soon changed opinion, however, and the play continues to be performed on stages across the world.

Entering into the auditorium, one is initially struck by Lez Brotherston’s exquisite set.  While light and ornately furnished, the layout also effectively achievs the growing sense of doom that ultimately traps the protagonist.  Smith’s opening and closing of the drawing room doors is a symbolic and meticulously studied act throughout the performance; regardless of all else that is going on stage –she holds the attention of the house at these junctures.  In addition to the wonderful design, there is the extremely clever use of incidental music to both build and ease tension.  This, in combination with the actors’ perfectly timed dialogue and actions, provides for a very gripping spectacle indeed.

To state the obvious, Smith steals the show in her leading role.  Her portrayal is an intoxicating tour de force that invokes a combination of dislike, admiration, disgust, admiration and ultimately horror.  The crescendo towards the horrific denouement is paced remarkably well as she descends into her frenzied internal inferno.  I could wax lyrical about the entire cast but I will give only a few special mentions to my particular favourites.  Adrian Scarborough as George Tesman very much complimented Smith as the rather cumbersome and tactless oaf with a heart of gold.  That said, he was well able to rev into ‘serious mode’ when the tempo demanded it.  Darrell D’Silva took on the role of Judge Brack, whose relationship with Hedda exposes more of her shortcomings than she would care to be open about.  D’Silva achieved the right balance of an outwardly amicable gent with a tendency towards malice when required; his asides with Smith were some of the most engaging of the evening.  Finally I must commend Anne Reid for her evocation of Juliana Tesman. One of the ‘goodies’ of the cast, Reid’s acting was wonderfully innocent and warm-hearted; a perfect counter-balance to the undercurrent of menace that pervades the play.

I could go on, but I really feel this is a stage sensation that you must experience for yourself.  The run continues for a relatively limited period, ending on the 10 November.  Book now or forever regret missing out!

Written by a Thoroughly Modern Man, Mark McCloskey.

Moulin Rouge, Feerie, Paris

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The Moulin Rouge is an iconic landmark, and a must see Parisian extravaganza of feathers and fluttering lashes, foolery, flirtation and fun. Immortalised by painter Henri de Toulouse-Lautrec and more recently remembered in Baz Luhrman’s famous film makeover, the glittering windmill is an image that we all associate with the glitz and glamour of vintage Paris.

As a wannabe Parisian girl who travels to the ‘city of light’ regularly, it seems bizarre that I have never seen the show at the windmill. The epic cabaret performance has become world famous, a legendary exhibition of beautiful bodies, colourful costumes and awe-inspiring acts.

Shows run twice nightly, at 9pm and 11pm, there is the option to dine beforehand; champagne is an almost compulsory addition to the evening. We stepped off the Eurostar train at 10.19pm exactly, dashing through Gare du Nord in search of a taxi. With no supper in our stomachs and the adrenaline of arriving in a new country keeping us awake, we drove straight to the 11 o’clock Thursday show buzzing. Skipping the queue (always book prior as it is usually sold out), we marched straight through the velvety windmill interior to take our seats in the plush auditorium.

The theatre itself is divinely sensual, circular tables glow with flickering lights and waiters skim the floor offering drinks. There is a hushed romantic feel in the crowded sea of audience and a great sense of friendship amongst visitors as groups share tables, chat and squeal throughout the show. We were sat next to a group of lovely ladies who insisted on topping up our champagne flutes and giggling with us at the daring acts.

The Moulin Rouge’s show, “Feerie” is a whimsical and magical production created by Doris Haug and Ruggero Angeletti. With complex choreography from Bill Goodson and stunning designs by Corrado Collabucci, it is a truly unique spectacle. Feerie aims to fulfil all the audience’s dreams with its four scenes: ‘The Moulin Rouge today and yesterday’, ‘The Pirates’, ‘The Circus’ and‘The Moulin Rouge from 1900 to…’

The show is captivating and utterly divine, polished and beautiful from start to finish. Highlights include an athletic girl swimming underwater with five squirming pythons in an impressive tank, the famous French Cancan, the staggering ‘singing in the rain’ balancing act and the incredible final dance – an explosion of bright pink people all over the stage.

I loved every minute of The Moulin Rouge and understand now why this famous show receives such rapturous applause and appreciation every night of the week, 365 nights a year. At the Moulin Rouge the music, dance and magic never stops.

More information here: http://www.moulinrouge.fr/

THOROUGHLY MODERN MAN: Charles Court Opera present ‘The Pirates of Penzance’, Kings Head Theatre

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Charles Court Opera has returned yet again to Islington’s fringe theatre the King’s Head with its latest Gilbert and Sullivan offering, ‘The Pirates of Penzance’.  This is a G&S stalwart that I have heard much about over the years, yet before Thursday had not had the pleasure of watching in its entirety.  This company continues to blaze a trail in the world of fringe opera, not least because of its special connection with the ferociously talented Eaton-Young Piano Duo.  These pianists arrange the orchestral scores complete for piano four hands or two pianos, thereby allowing performances in venues previously inaccessible for opera, without any detriment, might I add, to the quality of accompaniment.

With a cast comprised of a healthy mix of CCO regulars and new faces, the production was at all times sparky and engaging.  John Savournin has once again combined the roles director, choreographer and performer admirably; his silky bass-baritone and comic timing produced an excellent portrayal of the Pirate King.  Another highlight was the comedic trio of Mabel (Alexandra Hutton), Edith (Charlotte Baptie) and Kate (Nichola Jolley); these ladies really captured the naiveté and pliability of three young maidens.  Hutton in particular was extremely effective in evoking Mabel’s ‘blondeness’, through want of a better term – her bright and clear soprano was effectively employed to achieve the character’s personality.  The men also did a superb job; Matthew Kellett’s Samuel was well thought through and humorously received by the audience.  Ian Jervis as General Stanley certainly won the hearts of the auditorium; particularly in his triumphant number ‘I am the very modern of a modern Major-General’.  My other musical highlight was ‘How beautifully blue the sky’, which simultaneously set up the romance between Mabel and Frederic (Kevin Kyle), while allowing Edith and Kate to tickle the audience with their impressive patter-singing.

An extra word of praise must go to Annie Loach’s set design, which made impressive and innovative use of the small space that is the King’s Head Theatre.

CCO continues to provide an effective bridge between top conservatoire education and the professional opera world, while setting itself apart from the pack in the league of G&S productions.  I urge you not to miss out on what will be a fantastic run of performances – book here.

Written by a Thoroughly Modern Man, Mark McCloskey.