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

2014 So Far

This is just to get up to speed on everything I've seen in 2014. Will just write a pithy review for each.

Stephen Ward, Aldwych Theatre: 4/5
Lloyd Webber back to his best with outstanding performances from Hanson and Spencer with a fantastic show. Slightly less exciting second act and the brass section being played on a keyboard annoyed after a while but the quality of the songs and the singers singing them make up for it. Sad to see it go.

Alex Hanson and Charlotte Blackledge in Stephen Ward

Photo by Nobby Clarke

Mojo, Harold Pinter Theatre: 3/5
Great performances by the cast although I do feel sorry for Tom Rhys Harries who must have been bored to death backstage with only a few lines in act 2. It definately was not the laugh out loud comedy that the press claimed but was mildly amusing with a much more serious tone that really came through to me. It was a passable way to spend 140 minutes.

Colin Morgan in Mojo

Photo by Simon Annand

  
The Duchess of Malfi, Sam Wannamaker Playhouse: 5/5
I am a huge fan of the Globe and have seen countless performances over the years so am perhaps slightly biased towards the company but this new space is truly spectacular. The play itself is a masterpiece with the dissent into absolute chaos being a executed masterfully.Gemma Arteton is a great Duchess with her death being truly touching. Would have loved to have seen L' Ormindo there but this performance is something else.

Gemma Arteton, James Garnon and David Dawson in The Duchess of Malfi

Photo from The Express

La Boheme, Royal Albert Hall: 3/5
Puccini is a master at creating that sense of romance and intimacy through his music as well as the grand spectacles. However, both of these aspects were partially lost at opera in the round. The problem is that Act 1 and 4 did not convince me that these people were desperate for money, space and warmth in an exposed stage whilst Act 2 is so crowded you have to strain your eyes to see who is singing. The cast can sing remarkably well for what is ,to put it frankly, 'second- rate opera' and the orchestra sent shivers up my spine in Act 4 at Mimi's demise. This is quite a good performance overall but I would like to see how it compares to the Opera Houses' production in July.

The cast in La Boheme

Merchant of Venice schools production, Shakespeare's Globe: 4/5
It is rare to find cheap tickets and good theatre in London but the Globe manage to offer both. This event, primarily for students was offered to the public for free on two of the shows dates. This makes you think that the production is going to lack quality. However, this is not the case. A great interpretation which appeals to children whilst not being patronizing or compromising the piece. This is the perfect way to show students Shakespeare's work.

The cast of the Merchant of Venice

Copyright Ellie Kurttz

Twelve Angry Men,Garrick Theatre: 4/5
Robert Shaw put in a fantastic performance as juror 8. Whilst the accents occasionally wavered, I found this production to be compelling with a fantastic set. It is scary that I did not notice that the whole table revolved until three quarters of the way through the performance. An impressive performance.

The cast of Twelve Angry Men

Photo by Alaistair Muir

Versailles, Donmar Warehouse: 2/5
The problem with this play is that it has a rather irritating second act. The first and third act  is a reasonably insightful view of the effects of the First World War with an interesting take on relationships but is spoiled by a second act which has a whole section where the situation regarding where the coal would go was discussed. It just didn't capture my imagination enough to deserve any more than two stars.

Gwilym Lee and Tamla Kari in Versailles

Photo by Johan Persson

King Lear, National Theatre: 5/5
Trying to get a ticket to this show was painful but the show totally made up for it. Russell Beale is a sublime Lear with genuine menace. Scarborough's fool is really something else and the rest of the cast is equally first class. Gloucester's eye gouging seen is truly disturbing and the whole idea of a dictatorship reminiscant of Stalin's Soviet Union is expertly pulled of by Mendes and his team. There aren't enough superlatives that could describe this show. Shakespeare at its finest.

Adrian Scarborough and Stanley Townsend in King Lear

Photo by Mark Douet