Björk, the Icelandic singer’s Biophilia project incorporates handmade instruments, iPad apps, David Attenborough’s nature films and an album too – and she’s showcasing it all at Manchester international festival.“There will be an album in September, with an app to go with each of the 10 songs“.Extraordinary.This article titled “Björk: ‘Manchester is the prototype’” was written by Alex Needham, for The Guardian on Monday 4th July 2011 19.00 UTCOriginally formulated by scientist Edward O Wilson, the biophilia hypothesis suggests that human beings have an innate affinity with the natural world – plants, animals or even the weather. Yet it’s not biophilia but good old-fashioned fandom that has drawn a small band of Björk obsessives to queue outside Manchester’s Campfield Market Hall since 10am this morning. Not that there’s anything old-fashioned about the woman they are here to see. Biophilia is the Icelandic singer’s new project – the word means “love of living things” – and promises to push the envelope so far you’ll need the Hubble telescope to see it.A collection of journalists have already had a preview at a press conference in the Museum of Science and Industry over the road. Björk is absent, preparing for tonight’s live show, her first in the UK for over three years, which will open the Manchester international festival. Instead, artist and app developer Scott Snibbe, musicologist Nikki Dibben and project co-ordinator James Merry talk through Biophilia’s many layers. There will be an album in September, with an app to go with each of the 10 songs. There will be an education project, designed to teach children about nature, music and technology – some local kids will embark on it next week. There will be a documentary. And then there will be tonight’s show, performed in the round to a 2,000-strong crowd including journalists representing publications from New Scientist to the New York Times, as well as the diehard fans waiting outside. One, 20-year-old Nick from London, is a classical violinist who has loved Björk since the age of 14. “I wasn’t really into pop at all until I heard Medúlla,” he says, citing her most challenging album. “It was like a gateway drug from me liking difficult 20th-century western art music to liking pop.”It’s a journey in the opposite direction from the one most music fans make, and one which speaks volumes about the complexity of Björk’s work. “More classical musicians respect Björk than any other pop star,” he adds.At the museum, Snibbe is demonstrating the apps. The app that goes with the first single, Crystalline, includes a game in which you collect crystals in a tunnel, through which process you alter and customise the music. The app also includes an abstract version of the musical score; and an essay by Dibben that explains, in this case, how the structures of crystals relate to the musical structure of the song. The app for another song, Cosmogony, presents a 3D cosmos you can navigate. Each app has been created by a different – often rival – developer. “To me, it feels like the birth of opera or the birth of cinema,” says Snibbe.Yet Björk didn’t have such lofty aspirations in creating the project. “My main aim is to not get too bored myself,” she says, via email (she rests her voice between shows). “I feel that if I’m curious and excited there is a bigger chance the listener might be. At the end of the day, it’s more about the feeling of an adventure rather than the details of the adventure itself. So in short: whatever turns you on.”That said, the change from a passive to an active listening experience is a radical one. “The apps are mostly made for headphones and a private experience,” says Björk. “What you see live is only us playing our version. You can play a totally different versions at home.” If you’ve no desire to do that, Merry is at pains to point out that Biophilia will still exist as a CD or download – and indeed only those with access to an iPad or iPhone can experience the apps. So far, the project has been too expensive to adapt to other handheld devices.At the show venue, the journalists are being given a tour of the new instruments that have been specially built for the project. One contraption looks like a giant silver mangle decorated with two massive ear trumpets, but is called a sharpsichord. There are two giant pendulums, which have strings plucked by a plectrum as they swing past. There’s a Tesla coil that descends in a cage from the ceiling; two prongs that emit purple flashes of lightning – and, with it, sound. There’s also a celeste, which has been gutted and fitted with the pipes of a gamelan. These fantastical devices are controlled by an iPad. Above the performance space is a circle of screens that show the apps for each new song; moving tectonic plates for Mutual Core; invading pink cells for Virus (“Like a virus needs a body, as soft tissue feeds on blood, I will find you, the urge is here,” go the lyrics).It must be one of the most complex pop shows ever, and according to Björk, it could have been more elaborate still. “Manchester is the prototype,” she says. “We had to leave many things out because of budget and time and stuff.” As it is, the whole project has taken three years and cost so much money she told Rolling Stone that “we’ll be lucky if we earn zero”.Yet, on purely artistic grounds, it’s hard to regard Biophilia as anything other than a success. As the lights go down, Björk’s childhood hero David Attenborough’s unmistakable voice, recorded just that day, fills the room to explain the songs. The show includes Björk’s favourite footage from BBC nature documentaries playing when she performs older songs. Hidden Place is illustrated by a beautiful but disturbing clip from Attenborough’s Life – of a seal’s corpse being devoured by psychedelically coloured worms and starfish. All 10 tracks from the new album are played. Such an onslaught of new material would try the patience of most audiences, but this one is rapt – no one even goes to the bar.Much of this is due to the sensory bombardment of music, images and costumes – not least Björk’s bright orange wig, which a comment on the Guardian’s review says makes her resemble a tamarin monkey. Her decision to ban cameras and other recording equipment from the venue has also played its part. “I feel since everyone has made such an effort to be there all together at the same place and time, we might as well go for it,” she says. “It can be hard to play music for people who are filming you for Twitter or whatever. It’s like going to a restaurant with someone who keeps texting their friends while you are speaking to them – hard to concentrate.”Then there’s Björk’s extraordinary voice, once compared by Bono to an icepick, and still imperishable at 45. “My voice has changed,” she says. “I thought it had gone a little deeper. On my last tour I got nodules [on the vocal cords] but managed to stretch it out with three years of vocal work, so I’m back to my old range now.” Björk “adores” a whole range of singers: “Chaka Khan, Beyoncé, Antony” – the latter being Antony Hegarty, a former collaborator who is here in the audience – though her “favourite singer alive today” is Azerbaijani devotional singer Alim Qasimov. She is accompanied by a 24-piece Icelandic choir she discovered on YouTube.After spending so long meticulously making Biophilia, performance feels liberating. Live shows and making an album are, says Björk, “extreme opposites. After noodling for ever on an album, gathering together the best moments, it’s refreshing and healthy to have to do it all in one whack. Then you sort of have to take real life into it and accept that you only have whatever you have that day – and that is enough.”Right now Björk is at the intersection of music, nature and technology, exploring how the three together might help build a more sustainable future. But is it still pop? “Yes, absolutely!” Björk claims. (Dibben, who wrote a book about Björk, says the singer is wary of having her music hived off into the rarified world of the academy.) “Or perhaps I would rather call it folk music – folk music of our time. I was never too much into Warhol and the whole pop thing – it felt a bit superficial. I prefer folk. People. Humans.”• Bjork plays Manchester international festival on 7, 10, 13 and 16 July. Biophilia is released in September<br /> <a href=”http://oas.guardian.co.uk/RealMedia/ads/click_nx.ads/guardianapis.com/music/oas.html/@Bottom” _mce_href=”http://oas.guardian.co.uk/RealMedia/ads/click_nx.ads/guardianapis.com/music/oas.html/@Bottom” rel=”nofollow”><br /> <img src=”http://oas.guardian.co.uk/RealMedia/ads/adstream_nx.ads/guardianapis.com/music/oas.html/@Bottom” _mce_src=”http://oas.guardian.co.uk/RealMedia/ads/adstream_nx.ads/guardianapis.com/music/oas.html/@Bottom” alt=”Ads by The Guardian”></img><br /> </a><br />guardian.co.uk © Guardian News & Media Limited 2010Published via the Guardian News Feed plugin for WordPress.Thanks for subscribing to Andy Roberts blogBjörk: ‘Manchester is the prototype’Related posts:who is itExclusive Radiohead artwork plus The King of Limbs album streamCanterbury Cathederal
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Björk: ‘Manchester is the prototype’
http://distributedresearch.net/blog/2011/07/05/bjork-manchester-is-the-prototype
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July 5 2011, 8:45am | Comments »
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Red songs ring out in Chinese city’s new cultural revolution
Chinese city Chongqing’s ambitious party boss Bo Xilai has got the population singing red songs such as Road to Revitalisation and Love of the Red Flag
This article titled “Red songs ring out in Chinese city’s new cultural revolution” was written by Tania Branigan in Beijing, for The Guardian on Friday 22nd April 2011 15.46 UTC Road to Revitalisation may not sound like the most catchy name for a tune, but authorities in Chongqing are urging residents to sing along to it – and 35 more carefully selected “red songs”. The south-western Chinese city has launched the musical campaign to mark this year’s 90th anniversary of the Communist party’s birth. Television and radio stations are broadcasting the tunes, newspapers are carrying the scores and officials are arranging public performances of Love of the Red Flag and Good Men Should Become Soldiers. Officials are also urging artists to help train people “to raise a fever of singing red [revolutionary] songs,” according to the People’s Daily website. The initiative is the latest phase in the “red culture movement” launched by the city’s ambitious party boss Bo Xilai. “Red songs won public support because they depicted China’s path in a simple, sincere and vivid way,” Bo said last year. “There’s no need to be artsy-fartsy … only dilettantes prefer enigmatic works.” Chongqing television was recently ordered to drop popular soap operas and sitcoms. Instead, it airs improving material such as classic dramas and red song shows, reportedly leading to a sharp drop in ratings and advertising revenue. Other initiatives include ordering students to work in the countryside and getting cadres to don Red Army uniforms and follow the path of their forebears “to deepen their understanding and experience of hardships”.
While most expect Bo to be included in the top political body, the politburo standing committee, it is not clear what position he might take. His other striking initiatives have included a mass drive to urbanise the population and a campaign against organised crime, which won him plaudits but raised concerns about the manner of the crackdown. “He is a maverick. He has the confidence of his family background,” Bo’s father was a Communist “immortal”, rehabilitated after the Cultural Revolution, in which Bo’s mother died. “Bo’s approach appears to be gaining some traction among some very high-level leaders,” said Beijing-based political analyst Russell Leigh Moses. Several senior figures have visited Chongqing recently, notably Xi Jinping, the vice president expected to take the top job next year, who praised Bo’s cultural drive. Moses said: “Bo’s campaign is multidimensional, but its primary objective seems to be trying to redefine local affairs as mass politics. [It] is not about policy as much as it is about a new communist theology that is nostalgic and not like anyone else’s.” Brady said propaganda had changed so much in content as well as method that comparisons to Maoism were lazy. When Bo invokes Mao Zedong in text messages to residents, instead of references to class struggle he chooses feelgood quotations such as: “The world is ours, we should unite for achievements.” “Some appear to have misunderstood the message in our campaign,” Xu Chao, the official leading the red song drive, told the Global Times. “‘Red’ doesn’t only represent revolution, communism or socialism. It also includes elements that represent happiness, harmony, being positive and healthy. The term is actually quite inclusive.” There are no Mao-era songs on the 36-strong list and many are recent popular hits about loving one’s family or one’s nation. Go China! praises Olympicdiver Guo Jingjing, baseball star Yao Ming and film director Zhang Yimou rather than Communist cadres. “It’s definitely not on-message in terms of what was traditionally regarded as ‘red’,” said Brady. “I think a Cultural Revolution-era propagandist would be appalled.”
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April 24 2011, 4:21am | Comments »
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What to say about … Betty Blue Eyes
http://distributedresearch.net/blog/2011/04/15/what-to-say-about-betty-blue-eyes
A rasher of pocine metaphors breaks out among the theatre critics as a ham-imatronic animal makes a pig of herself in the West End. No porkies. It’s just a theatre review for Betty Blue Eyes.
This article titled “What to say about … Betty Blue Eyes” was written by Patrick Kingsley, for guardian.co.uk on Friday 15th April 2011 14.52 UTC Way back in 2008, when Barack Obama was but the junior senator for Illinois, he was involved in a right rumpus with the then-governor of Alaska, Sarah Palin, about whether one could or could not “put lipstick on a pig”. At the time it seemed a debate into which Britain’s theatre critics were reluctant to wade. But people change. Would they put lipstick on a pig? Almost certainly, at least if that pig were animatronic, had the voice of Kylie Minogue and were on stage at the West End‘s Novello theatre as part of a heartwarming new musical called Betty Blue Eyes, directed by Richard Eyre and produced by Cameron Mackintosh.
“[W]itty, rude, lovable, warm, dramatic, hilarious,” proclaims the Times’s Libby Purves, a writer with more than a few adjectives up her sleeve. “[A] new smash musical is born.” The Telegraph’s Charles Spencer agrees, calling the show “popular entertainment at its very best”. Not for the first time, however, your correspondent was concerned for the safety of those sitting next to him, as the show left him “grunting and snorting with pleasure, and just occasionally snuffling with sentimental tears”.
Part of BBE’s appeal lies in its timely plot, which draws (conveniently enough) on the dual themes of recession and royal matrimony. “How fortuitous that it’s set in 1947,” point out bloggers West End Whingers, “with austerity and recycling paramount and preparations for a royal wedding celebration at full tilt.” It’s against this backdrop that we meet the show’s protagonists, Gilbert (Reece Shearsmith) and Joyce (Sarah Lancashire), the social-climbing Yorkshire couple who steal the pig that’s due to be roasted in honour of those royal lovebirds of yesteryear, Elizabeth and Philip.
It’s a story that, for the Guardian’s Michael Billington, trumps even A Private Function, the 1984 film part-scripted by Alan Bennett from which it is adapted: “The show’s creators [first-timers Ron Cowen and Daniel Lipman] preserve the satire on small-town snobbery, greed and racism from the Alan Bennett-Malcolm Mowbray movie script, while sharpening the storyline and using music genuinely to enhance character”. They’ve done this, notes Paul Raven of West End Theatre, despite being American! “[H]aving a bit of distance from a subject is not a bad thing,” Raven explains, helpfully, “and they’ve written some pacey, witty dialogue that captures the spirit of the times without paying undue reverence to the movie.” But the show-stealer is Betty herself: “an animatronic, blue-eyed and weirdly flirtatious porker with a permanent smile and the singing voice of Kylie Minogue,” writes Henry Hitchings in the Evening Standard. “What a star she proves,” enthuses Spencer, who was particularly captivated by Betty’s “amazing repertoire of grunts, squeaks and, above all, farts”. “It’s a great pig,” Purves confirms. “And I am happy to relate that, despite the usual desperate first-night deadline scuttle, two of us critics remained riveted by the escape door long enough to hear it sing in the final curtain call.” Some of the bloggers weren’t so easily impressed. “By the standards of modern stage wizardry,” complains Peter Brown at London Theatre, “this is not exactly an all-singing, all-dancing kind of mechanical hog.” Ian Foster, blogging at There Ought to Be Clowns, thought the pig “a bit freaky”. Brave man.
Meanwhile, not everyone admits to being fond of the rest of the show. “Some of the humour is clumsy,” says Hitchings, “and some reminiscent of pantomime.” And if you detected a characteristically arch tone in the West End Whingers‘ remarks earlier, give yourself a sausage: they simply didn’t like it. “Sadly, we weren’t smiling much,” whinge the Whingers. “Our (in the) minority report puts Betty on the butcher’s block along with our own necks, yet again.”
But hey, at least they’ve got in the spirit with that butcher’s block analogy. For if there’s one thing that unites our reviewers, it’s their utter inability to avoid porcine metaphors. Bacon, for instance, has either already been “brought home” by Mackintosh (Spencer) or it’s in the process of being brought there by Eyre (Purves), or even by the show itself (Billington/Hitchings). It gets worse. For Michael Coveney at the Independent, Betty is “piggy in the muddle, all right”; for Hitchings, the play is no “mere pork scratching”; and Spencer, perhaps the most outrageous of the pigging punners, promises us “I’m telling no porky pies”. Not that I’m immune to hamming it up a touch.
Do say: [Some random aspect of the show] brings home the bacon …
Don’t say: … and [he/she/it] is laughing all the way to the piggy bank.
The reviews reviewed: Pigs can fly. Sometimes. If they’re animatronic.
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April 15 2011, 10:25am | Comments »
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Smash! – review
http://distributedresearch.net/blog/2011/04/02/smash-%E2%80%93-review
A Theatre review of Smash! at the Menier Chocolate Factory Theatre, London
This article titled “Smash! – review” was written by Michael Billington, for The Guardian on Friday 1st April 2011 20.30 UTC “Is there anything that matters less than a musical?” a character irreverently asks in this revival of the late Jack Rosenthal’s 1981 play. It’s not a sentiment one ever expected to hear on the stage of the Menier. But it sums up perfectly the comic anguish at the heart of Rosenthal’s biliously funny piece: a backstage story based on his own nerve-wracking experience of seeing his TV play, Bar Mitzvah Boy, turned into a musical floperoo. The musical, as everyone tells you, is a collaborative form: what Rosenthal captures is the high emotional cost of bringing together so many competing creative egos. In this instance, there is an added cultural clash: a Broadway composer and director find themselves yoked to a British lyricist and librettist under the shaky supervision of an American-Austrian producer. Things look bad from the initial New York encounter, when the veteran composer dismisses the book and its “cardboard, asshole characters”. Matters get even worse in the course of London rehearsals and a Manchester try-out after which the director demands new sets, costumes and rewrites of the rewrites. Yet, in the strange way of showbiz, everyone still believes miracles can be achieved by the time of the West End opening. I wish Rosenthal had defined more clearly the show on which they’re working: we learn its title, Whatever Happened to Tomorrow, and not much else. And, although Rosenthal forgiveably changed the book-writer’s gender to avoid a Twelve Angry Men feeling, it slightly weakens the enterprise’s testosterone-fuelled absurdity. But what he captures perfectly are the shifting loyalties of the team, the oscillations between insane optimism and despair, and the notion that a musical is like some giant, uncontrollable machine with which everyone feels obliged to tinker. As the director claims, in the play’s best single line: “In a musical nothing’s all right until it’s too late to be changed.” Tamara Harvey’s production creates exactly the right sense that everyone, while working for the good of the show, is protecting their own territory. Richard Schiff, of The West Wing fame, makes the composer a figure of wondrously acerbic vanity who prefaces every remark by reminding everyone of his 28 Broadway scores. Cameron Blakely’s director is all elegantly attired bombast masking profound insecurity. And Natalie Walter plausibly makes the writer, clearly representing Rosenthal himself, the still, small voice of sanity in this creative madhouse. But the funniest performance comes from Tom Conti as the producer who seeks to exude avuncular reassurance while secretly aware that the show is under-capitalised. What Rosenthal’s delightful play really proves, however, is that musicals operate in a special way: in conjuring up a world of fantasy, they leave their creators trapped in their own private bubble of preposterous self-delusion.
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April 2 2011, 11:37am | Comments »
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The Rise and Fall of Little Voice – review
http://distributedresearch.net/blog/2011/04/01/the-rise-and-fall-of-little-voice-%E2%80%93-review
The Rise and Fall of Little Voice – a theatre review
This article titled “The Rise and Fall of Little Voice – review” was written by Alfred Hickling, for The Guardian on Friday 1st April 2011 20.45 UTC Jim Cartwright’s 1992 comedy has matured into an enjoyable period piece – just how much so becomes apparent in the first scene when Mari, a noisy northern housewife, is beside herself with excitement over the acquisition of a new phone. It takes two engineers to install it and plug it into the wall. It’s a minor miracle that the play has had any kind of continued production history at all, having specifically been tailored to expose Jane Horrocks’s uncanny ability to impersonate the great popular divas from Gracie Fields to Judy Garland. Yet it was successfully revived in the West End with X-Factor contestant Diana Vickers; and here it is the remarkable Rebecca Hutchinson who proves capable of switching from Bassey to Piaf and back again in a single breath. Cartwright’s drama has an archetypal quality – it’s essentially the Tale of the Ugly Duckling in reverse – and might be said to have invented its own genre of glittery northern realism. Director Amy Leach points out that it’s hard to conceive of Shameless or The Royle Family without it; though Cartwright’s language remains one of a kind. When Eithne Browne’s Mari rhapsodises over a “real pronto lip-lapping snog”, it’s hard not to picture exactly what she means. The downside of such loquacity is that it leaves little room for subtext. It’s a good job Hutchinson’s Little Voice and Sue McCormick’s amiable, roly-poly Sadie are practically mute or else the play would go on all night. Leach’s production is long enough, but the young, Bolton-born director has had an impressive run at the Dukes, suggesting that hers is another significant little voice on the rise.
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April 1 2011, 5:48pm | Comments »
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The Umbrellas of Cherbourg – review
http://distributedresearch.net/blog/2011/03/23/the-umbrellas-of-cherbourg-review
Theatre breaks review of “The Umbrellas of Cherbourg” by The Guardian’s Michael Billington
This article titled “The Umbrellas of Cherbourg – review” was written by Michael Billington, for The Guardian on Wednesday 23rd March 2011 00.24 UTC “Charmingly attenuated” was how the New Yorker’s Pauline Kael described the original 1964 Jacques Demy movie. Suspiciously thin would be my verdict on this stage version adapted and directed by Emma Rice for Kneehigh. The Michel Legrand score still offers its fitful pleasures, and the bittersweet ending is retained; but it seems an oddly gratuitous translation of a highly successful film into theatrical terms. Rice is faithful to the story: Genevieve, a naive teenager, falling for Guy, a Cherbourg garagiste; and then, when he is drafted into the Algerian war, being ardently wooed by a rich jeweller. But, one has to ask, what exactly is gained by the stage transfer? Rice heightens aspects such as the jealous pangs felt by Genevieve’s mum, who has her own eyes on the jeweller’s assets. Lest we miss the fact this is an essentially French story, Rice has also imported a roguish compere in the shape of a cabaret diva called Meow Meow, and adds a chorus of matelots in striped vests. I suppose we should consider ourselves lucky she stopped short of an itinerant onion seller. What is lost are the very things that made the film so original. One is the way in which the fluid camera movement matched the seamless recitative of the Legrand score: take that away, and you are left with a show that, with the exception of I Will Wait for You, seems strangely lacking in musical or dramatic highlights. The other missing ingredient is the candy-coloured artifice of the film, in which even the wallpaper matched the characters’ costumes. Watching the stage version is like seeing a Technicolor film rendered in black and white: Lez Brotherston’s set, with its partitioned steel structures, seems determined to evoke the reality of Cherbourg, whereas the point of the story is that it is a romantic fairytale. The performances themselves are fine. Carly Bawden conveys Genevieve’s innocence, Andrew Durand shows Guy plausibly embittered by both the war and his lover’s desertion, and Joanna Riding as Genevieve’s mum has the right flighty desperation. Nigel Lilley’s musical direction is tireless. And there are one or two striking images, such as that of a lovelorn Guy marooned in the midst of the Algerian conflict. But when you recall how ingeniously Kneehigh interwove film and live action in Brief Encounter, this seems a strangely prosaic attempt to capture the elusive poetry of the Demy original.
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March 23 2011, 3:04pm | Comments »
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Million Dollar Quartet – review
http://distributedresearch.net/blog/2011/03/03/million-dollar-quartet-theatre-revie
Review for The Million Dollar Quartet a rock musical based on an impromptu jam session at Sun Records studio on 4th December 1956 between Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins.
This article titled “Million Dollar Quartet – review” was written by Michael Billington, for The Guardian on Monday 28th February 2011 22.15 UTC 1956 was a momentous year: the Suez crisis, the Hungarian revolution, Khruschev’s denuniciation of Stalin. But it was also a time of cultural upheaval, and this exuberantly nostalgic show recreates the occasion on 4 December when Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins all converged on the Sun Records studio in Memphis for some impromptu music-making. Sam Phillips, who turned an old radiatior shop into the pioneering Sun studio and who hosts the get-together, is described by one of the group as “the father of rock’n'roll”; and Colin Escott and Floyd Mutrux’s story records the poignant moment at which the sons abandon the father. Elvis has already been sold to RCA and become a Hollywood star, and the others now accept that it is time to move on. But, though the show pinpoints the eclipse of the Sun and the tensions within the group, such as Perkins’s resentment of Presley’s refashioning of Blue Suede Shoes, what we see on stage is a celebration; and, if you’re of a certain generation, it’s a joy to hear once again numbers such as Hound Dog, Great Balls of Fire and I Walk the Line. Obviously, the cast have to compete with our memories of the real thing, but Ben Goddard does a particularly good job of conveying the anarchic wildness of Jerry Lee Lewis. But Michael Malarkey as Elvis, Derek Hagen as Johnny Cash and Robert Britton Lyons, the one authentic American, as Carl Perkins offer substance as well as shadows. Bill Ward as the pathfinding Phillips and Francesca Jackson as Elvis’s squeeze, who offers a notably sultry, microphone-caressing version of Fever, add to the gaiety of a show that taps into all our yesterdays.
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Read more: http://theatrebreaks.co/wiki/Million_Dollar_Quartet#ixzz1FYmxVDDa Thanks for subscribing to Andy Roberts blogMillion Dollar Quartet – review
Related posts:The Wizard of Oz – review Drowning on Dry Land – review The 25th Annual Putnam County Spelling Bee – review
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March 3 2011, 11:54am | Comments »
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I posted to distributedresearch.net
Toto recall: the Wizard of Oz hits the West End
http://distributedresearch.net/blog/2011/02/28/toto-recall-the-wizard-of-oz-hits-the-west-end
A preview for the Wizard of Oz opening soon in London’s West End starring Danielle Hope as Dorothy and Michael Crawford as the Wizard, with Hannah Waddingham as the Wicked Witch of the West.
This article titled “Toto recall: the Wizard of Oz hits the West End” was written by Maddy Costa, for The Guardian on Sunday 27th February 2011 21.59 UTC ‘From where I’m sitting,” splutters Jeremy Sams, “I can’t think of anything less safe in the world.” The director seems flabbergasted, wounded even, by my suggestion that his new West End production of The Wizard of Oz seems a surefire hit. After all, it reproduces much of the formula that made Sams’s 2006 staging of The Sound of Music such a triumph: it’s a musical better known as a film; it’s an Andrew Lloyd Webber collaboration; choreographer Arlene Phillips and set designer Robert Jones are back on board; the lead, Danielle Hope, is an unknown who won the part in a reality TV show, Over the Rainbow. “Nothing’s safe,” continues Sams. “Nothing’s safe, and to say safe almost sounds pejorative and derogatory. There are good titles – but if you don’t respect a title, the audience throw shoes at you very quickly.” If contemplating the audience makes Sams nervous, he has no fears about his creative team. “These are all people who have done big shows, so when things get hairy and scary and look massive, they can say we’ve got through this before, we’ll get through it again.” It also helps, says Arlene Phillips, that “we can pick at each other’s work. None of us are precious about anything if, in the bigger scheme of things, it isn’t going to work.” Nor does Sams feel any trepidation about working with a young actor whose only qualifications are a drama A-level and three months of training. “We always wanted a young girl, aged 17 or 18, so whoever we cast, it would have been the same issue,” he says. As far as he is concerned, Hope’s appearance on reality TV has been nothing but advantageous – not, oh cynical reader, because of the attendant publicity, but because “someone who’s got the fearlessness to get through a TV job like that arrives with a certain amount of chutzpah. It’s an audition process and an unbelievably stressful and public one.” Hope is perfect casting, he thinks, because she embodies “the most key thing for Dorothy – not ever to be defeated or downhearted. Even when things are going against her, she has to believe it’s going to be OK.” A few minutes in Hope’s company is enough to see what Sams means: she is radiant with optimism. She is so down-to-earth, you wonder what possessed her to enter Over the Rainbow. “I’d never watched a reality TV programme,” she laughs. “I didn’t know what I was in for.” She only applied because she didn’t think she would be able to afford to go to drama school. Despite her inexperience, Hope talks like a seasoned actor. Asked if she feels burdened by the responsibility of comparing favourably with Judy Garland, she admits that she did initially, but then says firmly: “I’m not going to imitate Judy because no one could and no one should. I made a conscious decision to find out who [Dorothy] was – if you make that as real as possible, an audience should forget about what they’ve seen.” Nonetheless, it’s clear that the fame of the film is as much a curse as a blessing. “There’s no way of replicating it, because how do you put a movie on stage?” asks Sams. “Movies have different logic, different structures, different feel, different tempo.” Yet there is a sense in which it is the movie that audiences come to see – and the creative team respect that. “I’d be mad to reinvent it completely,” says Robert Jones. “Everyone’s got images in their head of what The Wizard of Oz is, and to an extent you’ve got to give them that. But it’s got to be my take.” With another Oz story, Wicked, already attracting huge West End crowds (last year it broke box-office records, earning over £1m in a single week), Sams and Jones know that, to compete, this has to be a lavish show. But it isn’t just that, says Sams: the story demands visual extravagance. “It’s a picaresque with scene after scene after scene in different places, so the show has to be perpetually delivering more things,” he says. The stage for Oz has a triple revolve, with a system of hydraulics that can raise or tilt each section. The models for the design alone took five months to make; and, with 25 scene changes, the building of the set has been “a nightmare”. It has also made the transfer from the rehearsal room – a bog-standard space with a resolutely flat, still floor – problematic. “So much of the movement becomes hit and miss,” says Phillips. “A stage section you thought was going to be smooth has a gap and you can’t ask people in high heels to tread on it. It’s a complicated process.” And then there’s the last-minute work required to tailor the show’s lighting and sound. I spend an afternoon watching rehearsals, and progress is agonisingly slow. I start watching at 2pm, as the projections team screen a just-finished animation of the haunted forest. There is a long lull, then the Wicked Witch’s wrought-iron castle revolves into position, presided over by Hannah Waddingham’s imperious witch and two terrifying monkeys. It looks glorious – but it has taken an hour and 20 minutes to run through barely two minutes of show. The danger, Sams recognises, is that this intense focus on getting the technology working, testing lighting and sound effects, tailoring the choreography to the stage, might swamp the story at the heart of the show. “The trick,” he says, “is to take what we had in the rehearsal room, which is a heartfelt, touching, small thing, and make it small but big.” But despite all his jitters, he’s clearly having the time of his life. “It’s The Wizard of Oz,” he says cheerfully, “and who wouldn’t want to work on The Wizard of Oz?”
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The Wizard of Oz opens at the London Palladium on Tuesday March 1st, St David’s Day Thanks for subscribing to Andy Roberts blogToto recall: the Wizard of Oz hits the West End
Related posts:West Is West – review West End Shows London West Ham win delivers Olympic Stadium option nobody wanted
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February 27 2011, 6:06pm | Comments »
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I posted to distributedresearch.net
Legally Blonde and Wicked dominate Whatsonstage.com awards
Legally Blonde, Wicked, Les Miserables, Love Never Dies mentioned. This article titled “Legally Blonde and Wicked dominate Whatsonstage.com awards” was written by Mark Brown, for The Guardian on Sunday 20th February 2011 19.00 UTC They are both West End productions which appeal to teenage girls and young women and they were both crowned big winners at the only major theatre awards voted on exclusively by the public. The 11th Whatsonstage.com awards were handed out in central London with Legally Blonde the Musical winning the most. The feelgood show, about a pink-obsessed society girl who astounds and dazzles everybody at law school, won four prizes including best new musical and best choreography. Sheridan Smith, who co-hosted the ceremony, was named best actress in a musical for her portrayal of Elle Woods and Jill Halfpenny, the one time Geordie police officer turned nail salon owner in EastEnders, won best supporting actress in a musical for her role as a sassy hairdresser, Paulette. Wicked the Musical, with its enormous social networking savvy fanbase, always does well in any public vote and it won best West End show for the second year running. It has been dropped from this year’s Olivier prize public vote to give someone else a chance. Rachel Tucker also won best takeover in a role for her performance as green witch Elphaba. Andrew Lloyd Webber’s musical Love Never Dies, which got off to a rocky critical start but this month extended its run into 2012, won two prizes for best actor (Ramin Karimloo) and best supporting actor (Joseph Millson). Les Miserables’ 25th birthday celebrations were celebrated. The anniversary concert at the O2 was event of the year and best ensemble performance and the production at its first home, the Barbican, was best musical revival. In the straight play categories, the all-black cast Cat on a Hot Tin Roof won best play revival, Howard Brenton’s Anne Boleyn at Shakespeare’s Globe was best new play, Yes, Prime Minister was best new comedy and the National Theatre’s Hamlet was named best Shakespearean production. Zoe Wanamaker and David Suchet were named best actress and actor in a play for All My Sons, with Tamsin Greig named best supporting actress for The Little Dog Laughed and Nigel Lindsay best supporting actor for Broken Glass at the Tricycle. Glee star Jonathan Groff was named newcomer of the year for Deathtrap. Terri Paddock, whatsonstage.com’s editorial director, said the awards were different to the Oliviers, where theatres such as the Donmar Warehouse and Royal Court routinely dominated. “Our 45,000-plus theatregoer votes have instead, once again, concentrated their accolades on the strong work produced by the commercial sector. “It’s fantastic to see crowd-pleasers like Legally Blonde, Les Miserables and Yes, Prime Minister receive the recognition they deserve, alongside smaller but equally worthwhile productions like Broken Glass and Anne Boleyn.”
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Book Theatre Breaks Online Thanks for subscribing to Andy Roberts blogLegally Blonde and Wicked dominate Whatsonstage.com awards
Related posts:The Third Annual Satin Pajama Awards 2006 Edublog awards – classroom displays blog nominated Folk Awards 2007
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February 23 2011, 5:46am | Comments »
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I posted to distributedresearch.net
The 25th Annual Putnam County Spelling Bee – review
http://distributedresearch.net/blog/2011/02/23/spelling-bee-theatrebreaks
A new addition to the range of musicals on offer for London theatre breaks The Donmar Warehouse has announced full casting for its British premiere production of The 25th Annual County Spelling Bee, beginning performances February 11th 2011, with an official opening on February 21st, for a run through until April 2nd 2011. “If you win the Spelling Bee, one’s life improves from A to Z.” Music & Lyrics by William Finn. Book by Rachel Sheinkin 11 February – 2 April 2011 Only those blessed with an extraordinary ability and love of language qualify for the Putnam County Spelling Bee. But there can only be one winner and with a place in the national final at stake, emotions run high, hopes are quashed and dreams are broken. Dust off your dictionary and prepare yourselves for the spelling challenge of a lifetime in William Finn and Rachel Sheinkin’s hilarious Tony Award-winning musical. This riotous musical comedy is guaranteed to have you cachinnating (use it in a sentence, request a definition?). The Spelling Bee cast will feature Chris Carswell (as Leaf Coneybear/Carl Dad), David Flynn (William Barfee), Hayley Gallivan (Olive Ostrovksy), Harry Hepple (Chip Tolentino/Jesus), Katherine Kingsley (Rona Lisa Perretti/Olive’s Mum), Maria Lawson (Marcy Park), Ako Mitchell (Mitch Mahoney/Dan Dad/Olive’s Dad), Steve Pemberton (Vice Principal Douglas Panch) and Iris Roberts (Logainne Schwatzandgrubenniere), under the direction of Jamie Lloyd. Read more: http://theatrebreaks.co/wiki/The_25th_Annual_Putnam_County_Spelling_Bee
“Like Grease and Legally Blonde, it has a vaguely academic context.”
This article titled “The 25th Annual Putnam County Spelling Bee – review” was written by Michael Billington, for The Guardian on Tuesday 22nd February 2011 02.09 UTC Given the Donmar’s exemplary musical track record, it is a bit of a shock to find them importing this flimsy, vacuous diversion. Like Grease and Legally Blonde, it has a vaguely academic context. But William Finn’s music and lyrics and Rachel Sheinkin’s book have little of the brio of those shows and seem unsure whether they are satirising or celebrating a peculiarly American institution. The pretence is that we are in a high school gym watching a competitive spelling bee. To add verisimilitude we are asked to stand and recite the pledge of allegiance and four audience members are invited to join the contest. It says much for the bravery of my colleague, the Evening Standard’s Henry Hitchings, that he agreed to participate and he acquitted himself with dignity and style. But much of the spontaneity and fun goes out of the proceedings when the four volunteers are eliminated and all we are left with is a remorseless whittling away of the survivors: it’s a bit like The Weakest Link without the laughs. I presume the intention is to show that spelling bees are a way for American kids to shed their hangups by exhibiting their verbal prowess. So we have the unloved fat boy, the disconsolate over-achiever, the poor kid pining for her mum on a spiritual trek to India and the guy with uncontrollable lusts who at one point sings “my unfortunate protuberance seems to have its own exuberance”. But the highly forgettable songs seem to be imposed on the action rather than arising organically from it and many of the jokes are just as arbitrary. In a heavily American show, that assumes we know the difference between the Red Sox and the Yankees, it seems implausible for a high school kid to tell us that “Nick Clegg is after the alternative vote – but what about the straights?” The best one can say is that the cast in Jamie Lloyd’s production works with unremitting energy. Katherine Kingsley, who made a big impression in Aspects of Love, lends the contest’s co-host a honey blonde vivacity and Steve Pemberton as her colleague has the fake omniscience of the smug quizmaster. And, among the contestants, David Fynn as the bumptious know-all, Hayley Gallivan as a lovelorn loser and Harry Hepple as the guy with the erectile issues make their mark. But it’s hard to warm to a show that, for all its would-be scholasticism, embodies the progressive infantilising of the American musical. And, when Christ appears in a vision to one of the struggling contestants and declares “this isn’t the kind of thing I care about”, he speaks for a good many of us.
guardian.co.uk © Guardian News & Media Limited 2010 Published via the Guardian News Feed plugin for WordPress.
Book London Theatre Breaks Thanks for subscribing to Andy Roberts blogThe 25th Annual Putnam County Spelling Bee – review
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February 23 2011, 5:24am | Comments »
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I posted to distributedresearch.net
Love Never Dies London Theatre Breaks
http://distributedresearch.net/blog/2010/10/08/loveneverdies-londontheatrebreaks
Love Never Dies By the time many people read this the free tickets competition will be over, so I’ll write about why I think you might like to consider Love Never Dies theatre breaks anyway. I guess you may have already seen The Phantom of The Opera ? The most successful piece of live entertainment ever, it’s been on long enough. Or maybe your parents enjoyed it thirty years ago when Michael Crawford played the Phantom. Well Love Never Dies is a continuation of the story, but with completely new twists. The scene is set ten years after the incident at the Paris Opera House, and the Phantom is now presiding over a huge entertainment complex at Coney Island, New York. He manages to manipulate Christine and Raoul into sailing across the Atlantic and into his lair. But there’s much more than that…
Some of the music in Love Never Dies comes from the operetta genre, some from light entertainment and some even from a rock background. This is the fusion which Andrew Lloyd Webber does so well. The staging, sets and costumes are magnificent, so you really do see a big musical theatre event up there on the big stage. This is certainly not one of your small cast and minimalist aesthetics plays, like many even in the West End, not that there’s anything wrong with that. Ramin Karimloo and Sierra Boggess are both star quality singers in the lead roles and it’s nice to hear the full orchestra getting a proper work out. Did I mention the free tickets? Love Never Dies Tickets Competition One pair of top price tickets have been donated. That’s worth around £180 normally. Now, you’d need to be able to get to the London Adelphi Theatre for tomorrow night, Saturday 9th October 2010. So if you are in London anyway, and can clear out all of your prior engagements to be free then you’d do well to nip over and quickly enter the simple competition on the Love Never Dies blog. The odds are not against you! Here’s the link again… http://www.loveneverdiesphantom.co.uk Love Never Dies Theatre Breaks If you don’t have easy access to the capital then buying London theatre breaks packages with the tickets and convenient hotel room plus optional discount rail travel is nearly always the best way to go.
Other London Theatre Breaks to see West End Musicals
Theatre Breaks The Wizard of Oz The Phantom Of The Opera Les Miserables Ghost
Thanks for subscribing to Andy Roberts blogLove Never Dies London Theatre Breaks
Related posts:7 Best London Theatre Breaks Theatre breaks in London Theatre Breaks
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October 8 2010, 11:00am | Comments »
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I posted to flickr.com
Hair the american tribal rock musical
http://www.flickr.com/photos/aroberts/4546238540/
AndyRob
Hair the american tribal rock musical
April 23 2010, 11:59am | Comments »
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