Tavener Supernatural Songs, Brighton Festival ****

Hilliard Ensemble

As I have an uncle that, like me, is a fan of the more 'out there' classical music, he jumped at the chance to go to the Brighton Festival to hear Tavener's supernatural songs as well as Bryars and Avo Pärt. The church in which the concert was held was the ideal space for the choral repertoire and, whilst the pews did not give an ideal view, the performance itself was breath-taking. 

First of all, the supernatural songs were truly euphoric. Whilst not pleasing to ear, it was musically stimulating and, with a first class mezzo soprano at the helm, the first half was a true delight.

The second half started with a piece by Gavin Bryars composed for and sung by the Hiliard ensemble, who are in their last year as a group. Their voices are still at the top of their game after such a long time together and this piece was just right for them. 

Then started Arvo Pärt's work. His first piece slightly dropped the magic created by Tavener and Bryars with a slightly out of place violin solo that seemed out of step with the choral work that preceded it. Whilst the actual performance was performed spotlessly by Alexandra Wood and the City of London Sinforia lead by Stephen Layton, it just did not seem right for this particular event. This was more than made up, however, by the Hiliard ensemble leading the Brighton Festival Chorus in Pärt's Litany. This finale truly topped all that preceded it. The chorus was truly spectacular in a well orchestrated piece. It was a perfect end in an almost spotless evening. I wish the Hiliard ensemble well as they move towards the end of their career as a group as they are one of the best groups in the country in regards to classical music.

Visit www.brightonfestival.org to find events ranging from live music to theatre to debates.

Sam Mendes on King Lear, National Theatre (Olivier)

This is the first Q and A session I have been to in regards to the theatre and what a start it is. Founder of The Donmar and director of successes such as Skyfall and Charlie and the Chocolate Factory Sam Mendes was being asked questions by Mark Leipacher, who studied Mendes' partnership with Simon Russel Beale in Catching the Light, about how this production came about, what the rehearsal process was like and his views on certain aspects of the play. This was fantastically enlightening having seen this production to hear from the director himself. One particularly memorable aspect of the platform is how the opening scene, instead of being a huge political statement, almost was a family dinner where the division of his kingdom was a joke devised by the males to play on the three daughters, emphasizing the male domination in Lear's kingdom. The whole concept of these platforms is utterly thrilling and I can't wait to go to another one.

Go to www.nationaltheatre.org.uk for a full list of Platforms
King Lear is on at the Olivier Theatre at the National until 2nd July

Much Ado About Nothing, Shakespeare's Globe ***

The Cast of Much Ado About Nothing

Copyright Bronwen Sharp

The Globe has always been known to play up the comedic elements of the bard's play, sometimes falling flat on its face as a result (interesting to see whether the revival of the touring King Lear can drop that painful attempt at comedy this year). This means that this production of Much Ado has everything going for it especially with everyone's favourite Bell Boy Sam Philips from Hotel Trubble as Claudio. 

The cast, as expected is superb with Emma Pallant putting in an especially notable performance as Beatrice. The chemistry with Simon Bubb's Benedick is only spoilt by Shakespeare not exploiting the plot device enough before delving into sloppy romance. Dogsberry and his watchmen also made even the foreign students, forced against their will to see something they didn't want to enjoy, chuckle. Being drenched in water with typical Globe interaction was also another highlight.

However, what lets this show down is it's production values. They just cannot get the clothing right in these touring production. The 1950s feel is good enough but it does make it seem somewhat 'amateurish' in style. It just doesn't quite feel like a Globe production. 

Overall, stunningly good performances in a unpleasing production. 

Much Ado About Nothing is Touring around the UK and Europe
For dates and venues, go to: 
http://www.shakespearesglobe.com/theatre/whats-on/globe-theatre/much-ado-about-nothing-2014

Privacy, Donmar Warehouse ****

 Joshua McGuire and Paul Chahidi in Privacy

Photo by Johan Pearson

The Donmar has always been the centre for great, new pieces so it was no surprise to see this piece at this venue. However, it was a surprise being given an instruction sheet when entering the space as well as being encouraged to keep my phone on. And with a researcher counting us in, I was feeling apprehensive.

I needn't have worried as the show was spell bounding from start to finish. More of a presentation than a theatrical piece, Graham portrays himself as 'the writer' (played remarkably well by Joshua McGuire) being pressured by 'the director' (based on the real life director Josie Rourke and characterized beautifully by Michelle Terry) to conduct interviews with a host of interesting people whose parts are shared amongst the cast.

Whilst some say that it does not tackle the issue properly, I think that that is not what they want to do. The purpose of this is to shock and it certainly does that. It shows us the dangers that the internet has and it's audience participation hammers home how scary the internet can be. The ending also proves a huge shock comparable to The Mousetrap.

A special mention goes out to Paul Chahidi who is superb throughout the play and has recently been nominated for a Tony award for his spot- on performance as Maria in Twelth Night as well as winning several other awards for the part. He is equally pleasing in this.

Overall, whilst next year the play will be out of date, This piece is the most revelatory piece I have seen for a very long time.

Privacy is on at the Donmar Warehouse until May 31st