Tag Archives: band

Kooza, Cirque du Soleil Premiere, Royal Albert Hall

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Sitting in the great Royal Albert Hall on 8th January with Jeremy Clarkson on my right, Darcy Bussell on my left and Holly Valance (avec Candy Bro Beau) behind,  I felt sure that I had the hottest ticket in London. Next morning I was reassured further by my mother’s reports from the Daily Mail website… celebrities turned up in their masses to the Cirque du Soleil premiere… well why would you turn down a golden ticket to see the greatest circus show in the world?

Kooza is a story of opposites: love and hate, life and death, fear and wonder. Loosely based around the world of a clown, the narrative begins and ends with notions of innocence and trickery. Like most of the Cirque shows, the storyline is enigmatic and rather nonsensical and soon becomes lost. In fact it is impossible to focus on anything logical when your eyes and ears are so involved in the acts on stage, praying silently they’ll survive the next jump.

As ever the production is beautifully realised, perfectly poetic and looks magically surreal from start to finish. They create another world that feels so far removed from everyday life, and gives every audience member a few hours of euphoric escapism. Music is played live on stage by an energetic band of musicians, adding to the dramatic climaxes. The Royal Albert Hall provides an epic canvas for the production and the stage has been customised wonderfully to allow for the extensive set design. Stephane Roy evokes memories of colourful carnivals and circuses of yesteryear, claiming it is “a genuine return to the roots of Cirque du Soleil”.

There is a good mix of talents exhibited in Zooza with the familiar ‘circus’ traditions all displayed through the acts: mind-bogglingly strange contortionists, a daring trapeze artist and miraculous tightrope walkers/ cyclists/ dancers. The clowning around became a little tiresome, especially at the start while we waited for the final arrivals from the red carpet to take their seats. When you consider the virtuosic gymnastics, it is hardly surprising that the comical acts pale in comparison.

The most electrifying act of the show is undoubtedly the huge ‘wheel of death’. A staggering, scary, revolving metal contraption balanced and set in motion by two incredibly brave men. As one runs faster the other jumps, twists and clings to the spinning wheel, seemingly moments away from a distrastrous fall. The crowd gasped and I felt my palms grow sweaty and my throat dry as each turn increased in difficulty and danger. I loved the final Teeterboard act too. A talented group of performers take it in turns to catapult from a giant seesaw, hurtling up into the air, sometimes with precarious stilts attached to their feet, they land immaculately after numerous flips and turns.

Cirque du Soleil continues to push the boundaries of human capability with yet another hit show of fantasy, thrills and breathtaking acrobatics, all whilst creating a display that is visually inspiring and musically exquisite. I never fail to be amazed by this impossibly brilliant company. Bravo.

Kooza continues until 14th February, more information and buy tickets here.

Ragtime, Regent’s Park Open Air Theatre

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There is something enchanting about hearing music in a park, it sends tingles down your spine and is particularly affecting. This passionate and energetic production of Ragtime benefitted enormously from the wide open space… the music flowed freely and the show felt more captivating and inclusive.

This production is revived by Timothy Sheader (who has previously won the Olivier ‘best musical revival’ accolade three years running) – he presents a show that is impressively resolved. Regent’s Park has developed quite a reputation with its musical masterpieces: recently Hello Dolly, Into the Woods and Crazy for You have all received rave reviews on this chameleon stage.

The narrative of the present show, based on the EL Doctorow novel, is not always clear. The story begins at the clearing of a rubbish heap, a boy is tuning a radio until the mellow soft hum of ragtime music begins seeping from the speakers. The next three hours offer an overview of America a decade before the First World War. The spotlight is on three families and their quests for happiness and life satisfaction: an immigrant, Tateh and his daughter, Coalhouse Walker (a Harlem pianist), and an incongruous Wasp family.

I found Stephen Flaherty’s music hauntingly touching, with very human melodies. The sadness of the uneven rhythms and the lurching tunes can’t fail to transport the listener. My favourite moment came with the song ‘Daddy’s Son’ sung by the very able Claudia Kariuki (as Sarah): a dreamy song that seems to resonate through the whole park. The cast, spurred on by the tremendous band, work together as a team and I thought the chorus numbers were particularly strong. Of the lead roles it is Rolan Bell as Coalhouse Walker and John Marquez as Tateh who impress particularly: kind, bold men trying to make their mark on the world. David Birrell is less believable as Father despite giving a great performance as Theseus in the parallel show, A Midsummer Night’s Dream.

This production is not without awe-inspiring tricks… Harry Houdini (Stephane Anelli) escapes from a straight-jacket upside down in the air, and Evelyn Nesbit (played by smiley Katie Brayben) swings high over the stage on a precarious swing. It is a balance of these highs and lows that make this show so appealing, capturing our attention from start to end and teaching us a little history along the way. And despite the melancholy nature of this musical, Sheader ensures the audience leaves the theatre feeling spirited and touched by the tale of Ragtime.

Ragtime continues at Regent’s Park until 8 September, book here.

THOROUGHLY MODERN MAN: The Men, Scala

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While Mr. John Lydon didn’t feel the need this time round to harass the Queen as she messed about on the Thames, something of his punk husbandry was alive and screaming in north-east London last week. Lovers of noise were afforded three opportunities over the Jubilee weekend to witness something as ear-splittingly galvanizing as that set in motion by the musical sea change of thirty five years ago. The purveyors of this racket seemed unsure how to pronounce ‘Jubilee’ in their intro…  perhaps this was because they are Americans, the Brooklyn based post-punk quartet that is The Men.

Their first sonic assault was at Saturday’s Field Day in Victoria Park, Hackney. Despite their daylight outing, a friend commented to me positively by email that they produced “a deafening chaotic sludge. You won’t be disappointed.” On Sunday after all the messing around in boats and rain was over, The Men could be heard to take the Shacklewell Arms (Hackney again) apart with their second aural battery of the weekend. This was the warm-up to Wednesday’s gig supporting Sonic Youth’s Lee Ranaldo. They tore through a thirty-minute set with the brutality of a rushed lobotomy. They smashed and pummeled a grateful moshing crowd with a relentless pounding cacophony. I was not disappointed.

Wednesday’s third maelstrom at the Scala was no less restrained with The Men delivering a flawless showcase of their noise manifesto. The forty-five minute set opened with ‘I saw her face’, a billowing thunderstorm reminiscent of a stomping Neil Young.  New material was aired but it was in the standards from their last two albums, such as ‘Turn it around’ and ‘Open up your Heart’ played back to back in a deafening blitzkrieg, that they showed their strengths. Despite the apparent mindlessness of the bombardment of drums, bass and wailing guitars, they reference a plethora of sub-genres in their headlong rush to oblivion.  Buried deep in the core of their sound is a sensibility that inherently understands and connects with the lyricism of rock and pop way further back than Mr. Butter Ad’s dabblings. These guys, sorry Men, go beyond easy classification – simply put, this was probably the gig of the year…and you missed it.

Written by a Thoroughly Modern Man, Hugh Hamshaw-Thomas.

Rufus Wainwright, Lyceum Theatre

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My family have managed to agree on one thing: a mutual adoration of Rufus Wainwright, the supremely talented Canadian singer-songwriter.

His single concert date at the grand Lyceum Theatre in London was packed out, all his most ardent fans were there including some notable celebrities: I spotted Jonathan Ross on the way out but many more have mentioned attending. We booked our tickets months and months in advance, paid a fortune and still found ourselves seated in the dizzying highest section which in a theatre as big as the Lyceum felt sky high. Teddy Thompson came on first as the support act. A lone minstrel with guitar on the stage, his music felt rather isolated and poignant in the great auditorium. His voice is rich and soulful and some of his songs are very touching, particularly the composition written for his mother.

Then on came Rufus, blasting light and energy onto the stage. Singing numbers from across his repertoire but particularly plugging his new album, ‘Out Of The Game’, he sounded better than ever. On stage he is an extraordinarily intense presence, and yet wiggles about doing his unique dance moves. In his welcome speech he admitted “I’m wearing the world’s cheapest sunglasses and the world’s most expensive shoes,” these came in the form of neon orange slippers and mysterious but silly glasses. In his music he is deep and meaningful and yet in person, on stage he has a frivolous comical attitude.

His music, as ever, showed variety, vision and creativity and he sang superbly throughout. But although I enjoyed his newer, more psychedelic poppy songs, it is the old classics that most satisfy my appetite. ‘The Art Teacher’ and ‘Poses’ were particularly stunning and very memorable.

Everyone got a chance to play and shine from the band and at times the concert seemed a bit like an open mic night, albeit a very good one. His beloved and equally talented sister even made an appearance to give a heart-wrenching performance, her voice is hugely affecting and quite beautiful.

It was an unforgettable night with one of the world’s greatest musicians.

Visit Rufus’ website here for more information.

THOROUGHLY MODERN MAN: The Supreme Fabulettes, Madame JoJos Nightclub

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Meet Miss Vicki Vivacious, Miss Mary Mac and Miss Vanilla Lush.  These three fierce divas make up the latest entertainment act to smash the London scene, the Supreme Fabulettes.  I was lucky enough to be able to attend one of their series of launch performances across London, this particular one being staged in the heart of Soho, in Madame JoJos nightclub.  I was promised a night of revolutionary cabaret, and it did not disappoint.  Luckily I had a cabaret-savvy guest (www.ameliasings.com) on hand to help as well!

The night started as all great launch parties should, with a glass of champagne and canapés (delicious chicken and vegetable skewers).  This put the audience in the right mood to whoop and clap their way through what proved to be a groundbreaking performance.  I could scarcely believe it when the three ladies stormed the stage dressed in outfits that revved up the glitz and glamour and belting out the classic ‘Ain’t No Mountain’.  The unexpected twist was that these were in fact men dressed as women – the unprecedented fusion across cabaret and drag acting that followed made for a thrilling performance and a great night all round.  The singing was incredibly powerful and the harmonies were right on the money.  Some of the more spine-tingling numbers for me were Amy Winehouse’s Back to Black, and mash-ups of The Supremes’ Stop in the Name of Love with Girls Aloud’s The Promise and Adele’s Rolling in the Deep combined with Tina Turner’s Proud Mary.  Their stagecraft and hilarious interludes and skits are also to be commended; showing that they are an act of longevity who will reach out to their audience beyond merely singing.

Top marks to the team working behind the scenes on this innovative new creation.  The musical and vocal arrangements by John Themis and Terry Ronald respectively, were completely genius, drawing gasps and sing-a-longs from the audience throughout.  Stevie Stewart’s costume design twinned with Eleanor Robyn Thomson’s wig styling is a highlight of the entire production and kudos to the singers also for some lightning quick changes!

Bravo all round to those involved in getting this project to press.  It was an exhilarating evening that left the crowd buzzing.  Keep an eye out for the wonderful Supreme Fabulettes!

More information here: www.supremefabulettes.com

Written by a Thoroughly Modern Man, Mark McCloskey.

A Midsummer Night’s Dream, Lyric Hammersmith

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I am always intrigued about what makes people laugh at the theatre. Fantastically funny productions are currently excelling on the London stages, ‘One Man, Two Guvnors’ and ‘Noises Off’ are just two examples.

The current production of ‘A Midsummer Night’s Dream’ at the Lyric Hammersmith is anything but conventional. Quirky, alternative and fun, I found it hilarious, as did much of the audience on press night, but my friend didn’t and it made me wonder what makes a show funny. I thought this interpretation had it all: slapstick, chaotic comedy and more subtle, intelligent wit. It is a magical collaboration between Filter theatre company, director Sean Holmes and original members from The London Snorkelling Team band; together they present a wacky reworking Shakespeare’s classic play.

We began the night with funny man Ed Gaughan nervously stepping on stage to announce to us all that the evening, unfortunately would be a waste of time, and we may as well go home. We didn’t of course, instead the audience watched intrigued as the story (and madness) unfolded. Most of the beauty of this production is caused by unexpected jokes and clever innuendo so I don’t feel it is wise to give away too much in this review. The group of musicians and actors tell the basic story breaking for outbursts of original music, and short comic interludes. Pianist, Chris Branch and drummer, Alan Pagan provide most of the musical accompaniment, showing expertise and charisma in one corner of the stage, while having to contend with actors jumping over and around their instruments. The score is rather cheesy but uplifting – we hear love songs, fairy twinkles and all kinds of other enchanting sounds.

The design by Linsbury prizewinner Hyemi Shin is spectacular, seemingly simple but miraculous in its transformation. The action crashes through the walls, floor and ceiling, quite literally, as various parts are made only from brown paper. The male actors reign – Ferdy Roberts who plays Puck, John Lightbody as Lysander and best of all Jonathan Broadbent as Oberon/ Theseus. All three manage to be serious while acting ridiculously silly, and give 100 percent commitment to their roles. The actors seem to revel in the practical jokes that fill the script, the ideas are endless… you are left thinking: ‘why didn’t I think of that?’

All in all it is a marvellous rendition of A Midsummer Night’s Dream… I’m sorry I can’t tell you more, I fear it really will spoil the delight of seeing this production yourself.

Continues until March 17, book here, now.