The Mormons were out in force for GAVIN CREEL, the latest of my Singular Sensations to grace the Charing X Theatre on Easter Sunday.
Anyone who has seen him on stage will know what a born performer he is and for me, sharing the stage with him, the real thrill of the occasion came not … [Read More]
These days it almost goes without saying that something extraordinary is happening at the Young Vic. There hasn’t been a show I have seen there over the last two years that didn’t challenge and excite my theatrical imagination. But Ivo van Hove’s staging of Arthur Miller’s A View from the Bridge is something else. It … [Read More]
Sir Adrian Boult laid the foundations for its revival, more recently Sir Mark Elder found astonishing illumination within it, and now a third knight of the realm – Sir Andrew Davis (the latest recipient of the Elgar Medal) – chivalrously stamps his authority on it and brings it in from the cold. Elgar’s The Apostles… [Read More]
Some performances evolve so naturally, so inevitably, that they feel – bespoke. Andrew Davis has a long history with both the BBC Symphony Orchestra (who gave him his first big break) and Elgar’s The Dream of Gerontius and from that moment in the Prelude where the cellos intimate some eternal lullaby to the ebbing arpeggios … [Read More]
In my debut on CLASSIC FM I’ll be popping up regularly on Charlotte Green’s Culture Club – Sunday 3-5pm – with selective tips for all that’s best in live Classical Music, Opera, and Musical Theatre. Short and sweet but hopefully lively and informative, too. Expect the odd anecdote.
http://www.classicfm.com/radio/shows/charlotte-greens-culture-club/… [Read More]
The “fantasy” Riviera conjured by designer Peter McKintosh for the West End premiere of Dirty Rotten Scoundrels - the Musical is pretty much an extension of the Savoy Theatre’s shining Art Deco auditorium, its sleek angular segments gliding into position like they too have been choreographed by director/choreographer Jerry Mitchell. So it looks devilishly good … [Read More]
The names have been changed to protect the guilty but half the fun of I Can’t Sing! – the so-called X-Factor musical – lies in the relentless spoofing of a show we love to hate and a format so unremittingly predictable that its contestants, judges, and host now read like characters from, well, a musical. … [Read More]
Die Frau ohne Schatten is an opera awash with high-flown symbolism and dubious, if not downright dodgy, sub-Freudian psychology. It peddles ludicrous notions about the inherent conflict between spiritual and physical love, frowning at the sex that does not lead to results – i.e. procreation – and worst of all daring to suggest that a … [Read More]
The most ambitious musicals spring from the most unlikely sources – you need go no further than Stephen Sondheim to establish that – but turning those musicals from novelty into living, breathing, involving experiences requires very special talent. Back to Mr. Sondheim. Everyone who writes in this medium owes him a huge debt of gratitude … [Read More]
Vasily Petrenko used his baton like a piratical rapier to galvanise the London Philharmonic violins in their flourishes of derring-do at the start of Berlioz’ Overture Le Corsaire. And the brilliance was in the quicksilver contrasts, the lightness and wit of inflection which lent a piquancy to the panache of this great concert opener. … [Read More]