Tag Archives: theatre

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.

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.

THOROUGHLY MODERN MAN: Top Hat, Aldwych Theatre

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Based on RKO’s motion picture starring Fred Astaire and Ginger Rogers, Top Hat arrives in London’s West End having been adapted for the stage by Matthew White and Howard Jacques.  Irving Berlin’s timeless music and lyrics remain largely unaltered, allowing the show to follow the track beaten out by London’s recent revivals such as Singin’ in the Rain and Crazy For You.  I was pleasantly surprised to discover throughout the evening that this film was the source of many old-time songs, such as ‘Cheek to Cheek’ and ‘Let’s Face the Music and Dance’.

The last show I saw at the Aldwych was a dance spectacle in the form of Dirty Dancing, and it was the dancing that stole the show in this production also, though obviously in a very different style.  I was in awe of the stamina of this singing and dancing cast, particularly that of the protagonists played by Tom Chambers and Summer Strallen.  The story revolves around these two lovebirds; Jerry Travers, the seasoned Broadway singing dancer and Dale Tremont, the sassy socialite who captures the heart of the former.  If I am being completely honest, the singing was not always spot on for my money, but the dancing, which was captivating and graceful throughout, more than made up for it.  All due credit must be ascribed to choreographer Bill Deamer for creating such a visual delight.  Standout comic performances were also given by Vivien Parry, who played the even sassier friend of Dale, and Stephen Boswell, who played Bates, a long-suffering butler who drew roars of laughter from the audience with his line delivery and peculiar costumes.

The staying power of a classic musical, for me, lies in how engaging the plot is.  Unfortunately, for my tastes, this plot swung a little too loosely between the sublime and the ridiculous, and I found it unnecessarily long-winded towards the end.  However, the show is a triumph of classic choreography and ensemble performance, and it certainly ticks all the boxes as far as a family-friendly production is concerned.  If you wish to kick back and reminisce about a golden age of Sunday afternoon films, then this is the show for you.

Opens officially from Wednesday 9 May, book tickets here.

Written by a Thoroughly Modern Man, Mark McCloskey.