Category Archives: Other Writing

May 7 2014

An Deireadh Seachtaine

Oíche dé hAoine,
Ré don bhóthar,
I mo shuí sa chúl le deartháir agus driofiúr.
Ag imirt “I Spy,”
Ag canadh amhrán,
Máthair ag tabhairt seacláide dúinn.

Deireadh an turais,
Teach sa bhaile mór,
Iompartha isteach i lámha cinéalta athar.
Sceallóga prátaí,
Uncail aoibhiúil,
Boladh Players Uimhir a Sé agus móna.

Lá eile,
I gcistin tí feirme,
Aintín, uncail, col ceathracha agus Seanathair.
In aice leis an sorn
Te agus codlatach,
Ag éisteacht le scéalta faoi daoine anaithnide.

Tráthnóna Dé Domhnaigh,
An filleadh,
Go scoil agus leabhair is obair is baile.
Aistear níos ciúin,
Ag athmhachnamh,
Beidh muid arais an tseachtain seo chugainn.

Máire ní Theimhneáin

 

Mar 3 2014

Open Houses in Hampstead

Hampstead's Village People, Fenton House (courtesy Sam Roberts) 7 Hampstead’s Village People: Portraits of Cultural Icons; Ryan Gander: The Artists have the Keys

On Friday, I payed a visit to two highly contrasting properties in Hampstead, where the National Trust were celebrating the opening of two new exhibitions.

First on the itinerary was Fenton House, which is hosting Hampstead’s Village People: Portraits of Cultural Icons, in partnership with the National Portrait Gallery.  The photographs are tastefully housed in two rooms on the ground floor, and cover a range of artistically influential people from the area over the last 100-plus years.  I was particularly taken by the pictures of Daphne du Maurier and Cecil Beaton, as well as Peter Barkworth, whose writing had previously made a great impression on me.

Then it was on to explore the house.   I was intrigued to learn that 55 of the paintings on permanent display were bequeathed by Peter Barkworth, and there are some wonderful paintings in Fenton House.  There are also rather a lot of harpsichords – on average two per room on the first floor.  Glass cabinets full of china and what I would describe as knick-knacks in each room complete the eclectic collection.

Before leaving, my companion and I took a stroll about the gardens, which are well worth a visit.  Beautifully laid out, on several levels, they seemed to induce a sense of peace and serenity in me, especially seeing the spring flowers just starting to appear.

Ryan Gander at 2 Willow Road (courtesy Sam Roberts) 46Secondly, we visited 2 Willow Road, the home of architect Erno Goldfinger, for Ryan Gander’s The Artists have the Keys.  Gander has been interested in Goldfinger’s work since 2005, and he has approached the current exhibition in an extremely immersive fashion, almost as if he was asking what else might Goldfinger have added to the house himself.  Gander’s art is place amongst other objects in the property, and guest are given a list of which pieces are in which room, but with no other indication as to location.  I enjoyed this mini-challenge, which was similar to a live hidden-object game, at the same time as appreciating the house in it’s totality and all the other art contained within.  Gander’s work is very much in sympathy with the style of the place, which also hosts work by Bridget Reilly and Max Ernst, to name but two.  I particularly enjoyed Things just happen to me, a chess set inspired by components from a Bedford truck circa 1975.

I found the house itself fascinating, from the bed that folded up into a cupboard, to the sliding doors between rooms, to the photographs stuck inside the bathroom cabinet.  A couple of very helpful volunteers were kind enough to share their vast wealth of knowledge about Goldfinger, his wife, and the house with us, and I went away feeling stimulated and informed.  I couldn’t stop myself saying “No, Mr Bond, I expect you to die,” at least once though!

Both Fenton House and 2 Willow road are open from 11am-5pm, Wednesdays to Sundays (last admission 4.30pm), but entry to 2 Willow road prior to 3pm is by tour only.  For more information and admission prices, please visit www.nationaltrust.org.uk or telephone 020 7435 3471 (Fenton House) or 020 7435 6166 (2 Willow Road).

 

Photographs courtesy of Sam Roberts.

Mary Tynan

Feb 22 2014

Short but Sweet

The Fat Man's Wife 5 - courtesy Simon AnnandCanal Cafe Theatre presents The Fat Man’s Wife by Tennessee Williams

It is always intriguing to hear about a “new” play from a celebrated dead playwright.  Although written in 1938, The Fat Man’s Wife remained unproduced throughout Williams’ lifetime, having its first staging in New York in 2004.  This is its first UK production.  Despite the excitement of the new, however, there is also slight suspicion – why would the work of an extremely successful and well-regarded writer be so neglected?  It was therefore with curiosity mixed with apprehension that I arrived at the Canal Cafe on Thursday night.

I had never been to this theatre before, but from previous knowledge I had been expecting an arrangement of tables and chair, café- style.  However, the company had decided to perform in traverse, which was an excellent choice, as it really made the best of the space available.  Incorporating an actual window into the set, rather than covering it up was also a good idea.

I was first drawn to Williams’ work after seeing a film version of The Glass Menagerie, featuring Karen Allen as Laura, and this has remained my favourite of his plays.  The Fat Man’s Wife appears to have many similarities with the story of Shakespeare’s sister, in that they are both slightly gentler than much of the writer’s other work, while still containing the sense of claustrophobia and restriction that characterises the majority of his plays.

All three actors did a wonderful job.  Damien Hughes, as Dennis Merriwether, conveyed the exuberance and indestructibility of youth and the frustration when he realises that eagerness and enthusiasm isn’t going to be enough, in a lively, engaging way.  Emma Taylor (Vera) had our sympathy as the middle-aged woman trapped in a loveless marriage, who nevertheless is too scared, or too realistic, to escape.  We could feel her pain, and, even more, her weariness.  Although his part was small, Richard Stephenson Winter, still managed to portray Joe as a figure to be pitied, a victim of his own appetites, and made Vera’s decision to stay with him believable.  The play was ably directed by Russell Lucas, with assistance from Anne Harris.

Without knowing the background of this play, however, it comes across as the first act of a two act play, with the second act missing.  The ending is abrupt, and it feels as if the characters could have done with a lot more development.  But once you take into account the fact that it was one of Tennessee William’s earlier pieces of writing, and look at it as a sort of rehearsal for his later works, it becomes a fascinating piece of theatre, well worth the price of admission.

The Fat Man’s wife is running Thursday – Sunday at the Canal Cafe Theatre, Little Venice until 2 March, Sundays at 7pm, all other shows at 7.30pm.  For tickets and more information, please visit www.canalcafetheatre.com.  Picture by Simon Annand.

Mary Tynan

Feb 7 2014

From Stage to Page

It's a Desperate Life - cover imageIt’s a Desperate Life by Peter Hammond

I was tempted to call this piece “It’s a Desperate Book,” just for fun.  But it would have been misleading, because it’s not a desperate book, unless you mean desperately good, desperately funny, or desperately hard to put down.

Frankie Flynn, the book’s main character, first appeared in a play called Quare Times.  In its first full production, I was delighted to be cast in the role of Susan, and I happily described the play to anyone who asked as “a Dublin version of Alf Garnett crossed with a lesbian version of Guess Who’s Coming to Dinner, with me playing Sidney Poitier.”  I did not know at the time that Quare Times would be just the first of a series, and that Frankie would go on to have many more adventures.

Peter Hammond, who was at that time the director of the London Irish Centre in Camden, went on to write several more plays in the series, and after the first production, the role of Frankie was always played by Owen Nolan, to whom (along with the author’s father) this book is dedicated.  Owen contributed a lot to the development of the character, and will always be the definitive Frankie Flynn.

What Peter has done with this book is to take the characters and events from these plays, expand them, link them together, and transform them into a well-written comic novel.  The first-person narrative gives an entirely different feel to the main character, and we see the other people in the world of the fictional Dublin district, the Daymo, through his eyes.  All the characters are well delineated, and very funny, in their own right, and the book is full of hilarious lines, such as “Ya’d lick it (beer) off a scabby leg” – Peggy (his wife) talking to Frankie.

The novel has a softer, more relaxed feel than the plays: tending to be slightly less uproarious and more gently amusing.  That said, it also has more of a roller-coaster feel, as the main character plunges from one situation to another.  Hearing the stories through Frankie’s words, and using the through story of a proposed move to the suburbs brings the disparate stories into a coherent whole.  Strangely, I find myself reminded of Keith Waterhouse’s equally charismatic character, Billy Liar.

This is an excellent first novel, which I predict will be but the first of many by this talented writer.  It’d be a desperate shame not to read it.

You can buy It’s a Desperate Life online at http://peterhammondauthor.com, and you can read Frankie Flynn’s blog at http://www.frankieflynn.blogspot.co.uk.

Mary Tynan

 

Nov 30 2013

The Springheel Saga

Wireless Theatre Company have contacted me with the exciting information that Series Two of the popular Springheel Saga, entitled The Legend of Springheel’d Jack, will be released online on 6 December 2013.  In the meantime, here is a review of Series One to whet your appetites.

The Strange Case of Springheel’d Jack

Wireless Theatre Company’s take on the Spring-Heeled Jack story is an atmospheric, exhilarating, beguiling piece of radio drama.  The writers have taken the known facts of the case and expertly weaved them with a story of devil worship that appears to pay homage to “The Daemons” (the Jon Pertwee Doctor Who story from the 1970s).   Doctor Who influences are everywhere, from the opening music (which also strangely reminds me of “Dallas”), to Julian Glover’s participation as Lord Wayland, to the fact that the lead character is called Jonah Smith.  The eagle-eared among you will spot other parallels as you listen, but I wouldn’t want to give everything away!

Gareth Parker and Robert Valentine’s storytelling is excellent.  The dialogue holds your interest and manages to elucidate the plot expertly, whilst simultaneously depicting and delineating the various characters in a sympathetic manner.  The writing is of a very high standard throughout, with some marvellous lines and phrases which stick in the memory – my favourite being “reform bills that pass like ghosts through Parliament’s bladder!”

The writing is greatly assisted by the sound in all three episodes.  Both Francesco Quadraroupolo’s music and Andrew Swann’s sound effects help to build the atmosphere to the point where you can almost see what is going on.  I could easily imagine myself in Victorian London, and the devil worshipping ceremonies were particularly effective.  Of course, this is also largely due to the quality of the acting; the way that everything is edited together (Andrew Swann again) and the overall production values of the serial.

With a cast of 23, it is impossible for me to mention everyone, suffice it to say that all should be extremely proud of their performances.  Christopher Finney and Matthew Jure gave strong, believable, sympathetic performances as Constables Jonah Smith and Toby Hooks respectively, as did Jessica Dennis in the lead female role of Charlotte Fitzrandolph.  All of the female characters were played very well – I particularly like landlady Mrs Bairstow, played in an amusing and entertaining manner by Lizzie Goodall.  Julian Glover was a marvellously nefarious villain, and Jack Bowman did a wonderful job of portraying the evil and menacing Mr Chough.

The Strange Case of Springheel’d Jack is in three episodes: The Ghost of Clapham Common; The Crypt of Evil and The Face of the Fiend.  Each of these can be downloaded free from www.wirelesstheatrecompany.co.uk.  Further episodes are promised, which I, for one, shall certainly be on the lookout for!

Mary Tynan

First published on Blogtor Who.

Nov 11 2013

Don’t Let it Pass you By

Arion Productions Ltd presents Passing By by Martin Sherman at the Tristan Bates Theatre

Passing By begins, deceptively, with a one-night stand.  A one-night stand that turns into eight weeks and becomes the substance of the play.  Thrown together by circumstances, the two main characters have intensive intimacy forced upon them, which leads to both comic moments and personal revelations.  It is almost like a bubble of unreality, in which normal life is suspended for a period of time.  Naturally, all such bubbles eventually burst.

Toby and Simon meet at the cinema, and then return to Toby’s apartment.  Simon has just arrived in New York from Miami Beach.  The following morning we hear that Toby is about to leave for Paris, so their relationship seems doomed to be a brief one.  Nevertheless, Simon turns up at Toby’s place of work (a wine shop) several days later, and a subsequent discovery of mutual illness, coupled with the fact that Simon has nowhere else to stay, causes them to nurse each other back to health over the next 8 weeks.

This is a well-written, carefully-structured, balanced play.  It has overtones of the type of New York humour found in Woody Allen or Neil Simon, and the contrast between James Cartwright’s portrayal of Olympic diver Simon, and Rik Makarem’s New York Jew Toby adds to the richness of the mix.  Simon is laid-back, confident, physically fit and has never had a day’s illness in his life (until now), whereas Toby is nervous, neurotic and seemingly hypochondriac at the start of the play.

Both actors filled their roles extremely well.  I couldn’t fault the accents, and James Cartwright’s initially relaxed Simon was a good foil to Rik Makarem’s anxious Toby.  However, it was as the play progressed and the roles reversed that the actors came into their own, and the interplay between them was excellent.  The juxtaposition of characters was what made the play, and, to me, was reminiscent of many wonderful similar stories: The Odd Couple; Prick Up Your Ears and even Ernie and Bert!

The resemblance to both the Joe Orton story and the Sesame Street roommates was enhanced by the set (presumably designed by Philip Lindley).  The majority of the play is set in Toby’s bedroom/kitchenette, which is a very good simulation of a 1970s room, with nylon bedspreads, padded headboards and an old-style black dial telephone.  The only false note was a television remote control of a type not in common use until the early 90s – a bit of an anachronism for 1972.  The three other short scenes – in the wine shop; at the cinema; on a bench – were very cleverly fitted into the main set.

The interesting thing about watching a play which was actually written in the early 70s, rather than one written today looking back at the period, is that there is no benefit of hindsight.  There is no dramatic irony, apart from that which the audience themselves experience, and the writer had no knowledge of the vast changes which were to take place in the lives of gay men in New York and elsewhere over the next couple of decades.  This gives a purity to the piece, almost as if we were looking through a window in time and space, that you just don’t get with retrospective writing.  For this, and for many other reasons, I would recommend you catch this play – as it is passing by.

Passing by is at the Tristan Bates Theatre in Covent Garden until 30th November, nightly at 7.30, tickets £14 (£12 concessions).  For booking or more information visit www.tristanbatestheatre.co.uk or telephone 020 7240 6283.  Photos by Scott Rylander.

Mary Tynan

Sep 23 2013

Provocative and Razor Sharp Fleabag Punches Way Above it’s Apparent Means

Phoebe Waller-Bridges’s Fleabag, from DryWrite Theatre Company at the Soho Theatre, is a confessional stream of consciousness which combines humour and pathos to elicit a powerful effect.

Fleabag tells her story in a way that is both highly entertaining and deeply thought-provoking. Despite the potentially sordid nature of her revelations, the intimacy and blunt honesty engages the audience, both male and female, drawing our reviewers and at least outwardly the majority of audience into identifying with the character and remarkably even being supportive of or at least understanding of her sometimes bizarre and certainly desperate actions. ‘Raise your hand if you would trade 5 years of your life for the so-called ‘perfect body.’ Fleabag and her sister would, but are alone in their opinion in a room of 400 women, in a moment which grabs the audience’s sympathy. She follows through on her intense yearnings with assorted characters including an elderly cockney customer at her café and a stranger met on a train. The power in her performance is apparent in the fact that we feel we understand her desperation. We don’t immediately assume she needs psychiatric care or that the elderly chap she shocks to is heading off to report her to the police. Something in her painful honesty convinces us that she will have touched them similarly. There is nothing comfortable about this piece, and yet the laughter comes from a place of genuine empathy, as does our compassion during the more poignant moments.

This is a one-woman show, which is stripped back to the bare essentials, thus allowing the smallest of movements, gestures and facial expressions to assume significance. Phoebe’s performance was matter of fact, yet moving, and her timing was excellent. She also interacted very naturally with recorded sound. The narrative flowed seamlessly from hilarious beginning to an almost tragic ending. She seemed to be hitting at aspects of the human condition that are normally hidden by social taboos, and the bravery of the performance appeared to be answered by the audience’s response. Waller-Bridges wrote and performed this; maybe that’s why she presents it with exactly the right level of blunt honesty.

Despite the previously mentioned use of recorded voices, Phoebe does voice many of the other characters in the story herself, including her sister, her father and her Australian boss, demonstrating the breadth of her acting range. The play has a multi-media aspect, utilising mobile phones in different and imaginative ways! Sound effects also add to the overall experience.

One small drawback to the evening’s entertainment was the seating at the venue. Sitting at the end of the third row, the visibility was very poor, and constantly moving about on one’s seat and moving one’s head and shoulders about can detract from the enjoyment of a performance. That said, however, this is a very good show, to be highly recommended. If you are looking for an evening of smutty talk, laughter and life affirmation, plus a hearty dose of honesty, this fits the bill.

Fleabag has now finished its run at the Soho Theatre. For more information, visit www.drywrite.com.

Mary Tynan and Ian Macnaughton

Aug 8 2013

Belfast Girl: A Love Story

As it’s now less than two weeks till opening night, I wanted to let everyone know about Belfast Girl: A Love Story, from London Irish Theatre.

Set in the aftermath of the Good Friday Agreement, Belfast Girl: A Love Story considers the human dimension of the Northern Ireland question, and uncovers the personal costs of political struggle.  Annie is the Belfast Girl of the title: a working class protestant who grew up during the troubles.  Her marriage to Orangeman Billy is on the rocks, and an unexpected visit from English Catholic Dave, her childhood sweetheart who she hasn’t seen since her teens, brings matters to a head in an explosive manner.  The play is written and directed by John Dunne, and features Mary Tynan (me) as Annie and Ian Macnaughton as Dave.

The story of Dave and Annie has been through several incarnations over the years.  The first, titled Belfast, premiered in the 1990s and featured the couple as teenagers, with Tanya Franks as Annie.  I become involved during the second incarnation, Belfast Boy, which was written to be the second play in a double bill with Geraldine Aron’s A Galway Girl, touring in 2009/10.  This was a two hander, with the older Annie and Dave meeting again after many years.  Belfast Girl followed in the summer of 2010, and I played Annie for the second time in a completely new work which also featured Annie’s brother and husband.  This play has recently had a Belfast run, in which the story was expanded to include two further characters.

Belfast Girl: A Love Story returns to the two-handed format, but with a twist.  There may be only two actors, but there are more than two characters!  I’m really looking forward to playing Annie again, and would like to invite readers of Notes From Xanadu to join the audience.  Previous versions Belfast and A Belfast Boy have both received critical acclaim from the press, and Belfast was a Time Out Critic’s Choice.

“John Dunne’s sensitive squint at the Ulster legacy adapts well to the stage.  What’s impressive about the rapid stucco of tense, bite-sized scenes is that they’re eloquently counterpointed by a driving commitment to character development.”  Time Out

“A sharply realistic play still willing to speak for love, however guarded, as the central human value.” City Limits

 “Fantastically gripping.”  What’s On

 “Moving stories in an Irish odyssey.”  Camden New Journal

Belfast Girl: A Love Story is playing on both sides of the Thames this Summer.  It opens on 20August 2013 at the London Theatre, New Cross, running nightly at 8pm until 24 August, with a Sunday matinee on 25 August at 4pm.  It then runs from 27 to 29 August nightly at 7.30pm at the Babble Jar, Stoke Newington and from 30 August to 1 September at the Precinct Theatre, Islington, with all performances there also at 7.30pm.  Tickets can be bought on the door, from the London Theatre Box Office (www.thelondontheatre.com), and from www.irish-theatre.com .

Belfast Girl: A Love Story

 

Jul 24 2013

Adopt an Orchard

orchardAs someone who loves apples, I was intrigued to hear about Octavia’s Orchard, a new green space commissioned as part of Southbank Centre’s Festival of Neighbourhood.  Inspired by the work of Victorian social reformer and founder of the National Trust, Octavia Hill (1838-1912), it has been  designed by architectural practice What if: projects, in partnership with the National Trust’s London Project and Southbank Centre in order to highlight the continued lack of access to green space in high density housing areas and open up the opportunities these neglected, forgotten and unloved spaces in the city can offer to urban communities.

The orchard is currently located on the Southbank Centre’s Mandela Walk, but, London urban community groups are being invited to take home part of the orchard,  Each of the four inner-city housing estates chosen will take home eight apple trees and one of the benches, to form the nucleus of their own permanent orchards.  The four successful applicants will also be twinned with four of the National Trust properties – Fenton House and Garden, Osterley Park and House, Morden Hall Park, Sutton House and Breakers Yard – and will receive support and training from their expert gardeners.  Planting will take place at the beginning of September.

Interested groups wishing to apply should email octavia@what-if.info.  For more information, visit the What if: website at http://www.what-if.info/Octavias_Orchard.html.

By notesfromxanadu • Posted in Features
0
May 14 2013

Well Worth a Visit

Theatre Collection presents The Visit at The Lord Stanley, Camden

The Visit opens with optimism: the citizens of Gullen are looking forward to the arrival of one of their own and hoping she will spread some of her good fortune around her old town.  But, immediately upon her arrival, it becomes apparent that Claire Zachanassian, the richest woman in the world, is used to always getting what she wants – and what she wants now is murder.

Nicholas Humphrey’s thought-provoking direction builds a sense of menace right from the outset, using sound, movement and, in particular, repetition to contribute to the aura of unavoidable impending doom.  The characters of the blind eunuchs (Christopher Dowling and Carlos Mapano) add to this considerably, as does the slightly unusual use of physical theatre, when the actors’ bodies transform but their faces remain very much in character.

Madlena Nedeva, as Claire, gave a credible portrayal of wealth and world-weariness, and Danny Reyntiens, as her old lover Ill, was consistently watchable throughout, especially approaching the end as he became resigned to his fate.  Fiona Watson’s Teacher was particularly sympathetically played, and I would love to have seen more of Erin Siobhan, whose various parts were short but significant.  For my money, the best female performance came from Penelope Day, who maintained a marvellous contrast between the Police Officer and Matilda Ill.

Although there was comedy in the play from the outset (“my father built those public toilets”), particularly in Clive Alexander’s quirky portrayal of husbands 7, 8 and 9, it was mostly overshadowed by the growing sense of claustrophobia.  The main exception was the scene with the reporters in Act II, where Ian MacNaughton excelled.  In contrast to his serious and slightly macabre portrayal of the ex-judge in Act I, Ian’s reporter was fun and lively in a game-show host way, using vocal range, movement and a brilliantly expressive face to give us the funniest scene in the play – just moments before its sinister denouement.

Overall, this is a very good production.  The tension builds exponentially and ends in a dramatic climax.  Nothing is overdone or overstated, and the audience leaves with plenty to talk about!  Try and catch one of the last three performances if you possibly can.

The Visit is at The Lord Stanley, 51 Camden Park Road, NW1 9BH on 14, 20 and 21 May at 7.30pm.  For tickets visit www.theatrecollection.net or call 07966 597190.

Mary Tynan

May 12 2013

Pop Goes the Tunnel

Don PasqualePopup Opera Present Don Pasquale at The Brunel Museum, Rotherhithe

If I were the vindictive type, I’d use this review to get revenge for being shot in the eye with a water pistol!  But I’m not and I won’t.  Instead I will say that Popup Opera gave their usual superb performance: something I have come to expect after attending only one of their previous shows.

The company have become adept at adapting to different spaces and maximising the advantages of each situation.  The tunnel shaft at the Brunel Museum is completely unlike the small room in a private club where I watched L’elisir D’amore. Reached by crawling through a hole and climbing down a scaffold, this cathedral-like space with its marvellous acoustics allowed the cast to give full reign to their vocal talents.  Raúl Baglietto gave a solid professional vocal performance as Don Pasquale, and, as the main character, did a wonderful job of holding the show together.  Visually, he portrayed the Don’s emotions in a very realistic manner, despite the overall comic feel of the piece.  Cliff Zammit Stevens’ (Ernesto) tenor was once again piercingly sweet, and his exuberance as the young man in love was able to be expressed fully in this much larger space.  Ricardo Panela’s performance was even more powerful than in L’elisir D’amore, and, as the doctor whose machinations basically create the story, he was both lively and amusing.  Clementine Lovell (Norina) also used the bigger space to put her physical comedy skills to good use, and as the only woman she stole the show vocally.  Her exquisite soprano seemed to soar to the top of tunnel and encircle the audience, like a nightingale’s song suddenly appearing out of the stillness.

The cast utilised the whole of the space to implement their silent-movie comedia style, which was very effective and greatly enhanced by Harry Percival’s slick and witty captions.  This focus on the physical comedy allowed Director Darren Royston to take a much larger role in the proceedings, playing several roles, all hilarious.  We even got to hear him sing as the Notary, albeit only a couple of notes at a time.

I will leave the final words to another audience member who was attending her first ever opera:  “I thought I was going to like it, but I absolutely loved it.  I want to go again soon.  It was amazing!”

You can catch Don Pasquale as it pops up at various venues throughout May, or see the company in their summer tour of Rita/La Serva Padrona.  For more information visit popupopera.co.uk.

Mary Tynan

Don Pasquale

Apr 17 2013

Top of the Pops

Popup Opera present L’elisir D’amore at Blacks, Soho.

image003As operas go, L’elisir D’amore stretches the viewer’s credibility surprisingly little, story-wise.  Donizetti’s opera is a simple story of unrequited love which becomes requited, with merely a love potion, a flour magnate and a wealthy uncle to complicate things, which allows one to concentrate upon the music and the performance, both being worthy of our attention.

Popup Opera specialise in unusual spaces, and this venue (a small room in a private club in Soho) is certainly that.  Reminiscent of Studio 503, where I saw some wonderful Chekhov last year, the performers are almost literally in your lap.  (Ricardo Panela, making his entrance as Belcore, tripped over my feet, looked at me and said “I’m sorry” and then started to sing).  This close up view allows the audience to appreciate much that might go unnoticed in a larger space in terms of emotional acting, and also the ‘comedia’ style, which the company employ to great effect.

A common reviewer’s complaint is that it is difficult to single out individuals for special praise; in this case it is impossible: not because nobody stood out, but because everyone was outstanding.  Cliff Zammit Stevens, as Nemorino (the only tenor role) played the lovesick young man to perfection and gave a piercingly beautiful rendition of Una Furtiva Lagrima (the opera’s most famous aria), despite performing it with a box of man-size tissues in hand.  Ricardo Panela gave a commanding performance as Belcore, the pyramid flour salesman who almost wins the girl.  Thomas Kennedy put his rich baritone and pantomime skills to excellent use as Dulcamara, the patent medicine man.  Penelope Manser is a powerful soprano and talented comic, who really came into her own in the second act.  Clementine Lovell was seemingly effortlessly delightful, charming and compelling both vocally and in terms of stage presence throughout as Adina.  Add to that the fact that Clementine is also the producer (aided by assistant and extremely creative stage manager Fiona Johnston) and founder of the company, and my admiration is guaranteed.

image008It is difficult in a small venue to keep the volume to a comfortable level while still keeping full passion and power in the voice, but all five of the singers managed this brilliantly.  Musical director James Henshaw provided strong musical accompaniment which ranged from highly moving to, at times, having the flavour of a silent comedy movie.  Harry Percival’s quirky captions also contributed greatly to the humour of the piece (they’re funny, yeah?).  Darren Royston did a marvellous job, both as director and MC.

I think this is probably the best opera I’ve ever reviewed.  Go and see for yourself, but be warned: there is audience participation (of a mild and unthreatening sort!)

L’elisir D’amore will be popping up at various venues around London throughout April.  For more information visit popupopera.co.uk.

Mary Tynan

Apr 5 2013

Sun, Sea and Shootings

One of the basics of creating a play is selecting a subject.  When writing about factual events and recent history, this becomes even more important.  Gibraltar is a good choice.  It was a big story at the time – widely discussed and highly controversial – but it was long enough ago to seem fresh to current audiences, some of whom will be too young to remember the events portrayed or the political climate in which they occurred.

In a nutshell, the play is about the shooting – in Gibraltar in 1988 – of three unarmed members of the IRA by the SAS and the legal, political and media discourse in its aftermath concerning the lawfulness, or otherwise, of the killings.

On entering Studio 2 in the Arcola, the first objects to catch the eye are the 1980s-style televisions hanging from the studio on three sides of the stage (presumably the work of AV and Sound Designer Marco Devetek), all showing a still of the Rock of Gibraltar with the play’s title across it in a suitably old-fashioned font: slightly reminiscent of short-lived soap opera Eldora.  These screens were used to good effect throughout the production: enhancing the minimal set; naming the characters (for instance during Geoffrey Howe’s speech) and displaying a test card throughout the interval.  In an amusing touch at the end of the play, the screens were cleverly utilised to display TV-style credits for all involved.

I was very impressed by Set and Costume Designer Cordelia Chisholm’s attention to detail: the props and costumes were perfectly of the time, even down to the jewellery and hairstyles of the female actors.  The set itself was minimal, which works well for a play of this type with actors playing multiple characters and fast scene changes.  The lighting, by Mike Robertson, was very helpful in this respect.

Particularly in the second half, when the energy seemed to be higher, George Irving, Karina Fernandez, Greer Dale-Foulkes and Billy McColl all gave fascinating performances.  Karina Fernandez for me was the most compelling, especially when transferring between characters with consummate ease.  The play’s direction, by James Robert Carson, showed a lightness of touch with some interesting quirky features: I particularly enjoyed the SAS’s drunken singing.

In their telling of the story, writers Alastair Brett and Sian Evans do not seem to intend to direct the audience’s thoughts or opinions, nor is the direction that way inclined.  My personal interpretation was that Margaret Thatcher and her government had manipulated the press for their own ends, but another viewer could come away with quite a different impression.  For this reason, as well as for all the other persuasive arguments in its favour, I would strongly advise you to see this play and construe the events of 1988 for yourself.

Gibraltar is at the Arcola theatre until Saturday, 20 April, at 8pm nightly, with 3pm matinees on Saturdays.  For more information visit http://www.arcolatheatre.com.

Mary Tynan

Mar 17 2013

Mirror in the Bathroom

Keir Charles and Phoebe Waller-Bridge in Mydidae, Soho Theatre, 5 December 2012 (courtesy of Simon Annand) 14Mydidae was written as the result of a dare:  Writer Jack Thorne was challenged by DryWrite Theatre Company to write a play about a man and a woman set in their shared domestic bathroom.  The artistic directors wished to explore themes of privacy and intimacy, and the bathroom is an ideal device, bringing to mind somewhat Willy Russell’s use of ladies’ and gents’ toilets in Stags and Hens.

The play feels rather like a painting, in that a lot of the detail needs to be inferred by the audience.  Marian and David have obviously been living together long enough to have had a child, but still seem to know relatively little about each other on a deeper level.  The couple talk incessantly, but never, it appears, about what they really care about.  What seems like light-hearted banter to begin with quickly reveals underlying tensions.  These build to a climactic head during the shared bath, which is where the intimacy theme is explored, but in an inconclusive manner.  The ending raises more questions than it answers, and overall we are left with far more insight into David’s feelings than Marian’s, even though, ironically, it is she who does most of the talking.

Both Phoebe Waller-Bridge (Marian) and Keir Charles (David) were believably quirky and portrayed the complicated relationship very well.  Phoebe allowed the subtext to come through in a genuine way below the banter, and Kier played David’s sometimes inarticulate frustration in a credible manner.  He also used physical humour to good effect in the earlier part of the play.

The set was simple but effective and fitted well in the space.  The bath creates a natural division for the characters to play around, and the use of the part of the fourth wall as a bathroom mirror was very convincing.  Director Vicky Jones played the comedy card to good use in the early scenes, as well as building tension nicely, although some of the pauses could have been cut slightly while still retaining the aura of uneasiness.  The lighting was simple but impressive.

On the whole, the experiment definitely paid off, although one feels that there is a lot more to be told of David and Marian’s story.  Audiences prepared to use their imagination will be rewarded for the shared effort.

Photograph courtesy of Simon Annand.  Mydidae is at Trafalgar Studios until 30 March at 7.45pm nightly, with 3pm matinees on Thursdays and Saturdays.  For more information visit www.atgtickets.com or www.drywrite.com.

Mary Tynan and Emma-Lee Adams

Feb 26 2013

Relaxed Dining in Balham

On a bitterly cold, February evening, we made our way from Balham station to Harrison’s restaurant and cocktail bar, which re-opened this month.  Unfortunately, we were walking in the wrong direction, but a glance at the door numbers soon made us realise our mistake, and before too long we were at our destination.  We were welcomed into a spacious, airy and yet delightfully warm space with an open kitchen and bar, and ushered into a comfortable banquette by friendly, attentive staff, who gave us time to digest the table-mat style menus, which are updated daily to include three specials.

Mary enjoyed her starter of Baby Gem, Pear, Watercress & Pomegranate Salad which she found both refreshing and warming, as the sweetness of the fruit was tempered by the zing of the house honey and mustard dressing.  Jon loved his piping hot Smoked Haddock & Slab Bacon Chowder, and found the small chunks of potato added a novel texture to the dish.

Mary chose from the menu for her main course: her Pithivier consisted of a glazed puff pastry crust stuffed with ricotta, wild mushroom and spinach, served on a bed of curly kale.  It was divine: warm comforting food which melts in the mouth in a perfectly sized portion.  Jon, having turned to the Specials menu for the Crab Meat, Chilli & Garlic Linguine was slightly disappointed to be served spaghetti instead and for it to be under-spiced.  A request for chilli oil brought a small bowl of oil and sliced chillies which helped to increase the spiciness.  The dish was pleasant enough, but failed to surpass the starter.

Neither of your reviewers are regular desert eaters, but Jon found the prospect of Salted Caramel ice cream too good to pass up, and, along with the Chocolate Fondant (with sprinklings of toasted pistachios) which accompanied it, it was.  Mary’s Strawberry Ice Cream was bursting with fruit, thirst quenching and creamy, and it certainly says something for the warm atmosphere of the restaurant that we were both ready for something cooler on such a cold evening.

After our meal, our charming hostess Agatha showed us around the rest of the space, which includes an elegant private dining room, seating 14 with comfort, as well as a cosy basement cocktail bar (closed Sundays and Mondays).

Overall, Harrison’s is well-designed, with good food (the menu would benefit from a couple more vegetarian choices, but what there was was delicious); affable, solicitous staff and a cosy, relaxed atmosphere.  If you live in the area, or even if you don’t, I recommend paying them a visit to see for yourself!

For more information, or to make a booking, visit http://www.harrisonsbalham.co.uk/.

Mary Tynan and Jon Axford

Feb 11 2013

The Crime of the Century

Whenever Dylan Mohan Gray, the director of Fire in the Blood, is asked what the film is about, these are the words he uses: “the crime of the century.” This impressive and highly-engrossing film tells the story of big pharma, patent law, and how profit is placed before human life.
The film tells the story of the struggle to enable access to medicine for AIDS victims in Sub-Saharan Africa, who were still dying in their millions for many years after antiretroviral drugs had transformed HIV into a treatable condition in the West. 10 million or more people died preventable deaths as a direct result of Western pharmaceutical companies and governments blocking access to affordable, available generic medicine.

The documentary puts a human face on the issue, with many memorable contributions both from well-known names and from ordinary Africans affected by the virus. HIV-positive Human rights activist Zackie Achmat refused to take antiretroviral treatment, despite rapidly failing health, until the South African government publicly funded the medicines for all. Yusuf Hamied, the chairman of Indian generic drug company CIPLA, turned the tide when he offered to supply the AIDS drugs for less than $1 a day to developing countries, and to share the technological knowledge necessary for production. Lisa Kalolo, a South-African child faced a bleak future, but thanks to ART she is now attending school and living a normal life.

However, although the AIDS situation appears to be solved, we are warned that those currently taking “first-line” ARVs will, in the future, have to change to more complex ARVs which are not, and are unlikely to be, available in generic form. Director Dylan Mohan Gray also points out that AIDS in the developing world is only part of the scandal of big pharma and patent regulation: almost 50% of Americans are unable to afford their prescriptions, and approximately 33% of deaths worldwide each year are caused by treatable and preventable diseases. This situation looks set to disimprove significantly as American and European trade measures continue to cut off the supply of affordable drugs from India.

This is an important film about a significant matter which is of relevance to anyone. The implications for the world from this issue are wide ranging, and it almost feels as if Fire in the Blood should just be the first of a series of documentaries that explores the future of access to affordable medicine. This affects us all. Please watch this film.

For more information, or to find a screening near you, visit www.fireintheblood.com.

Mary Tynan

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Feb 8 2013

A Brief History of Time

David Breuer-Weil’s Project 4 is an underground voyage through eternity.  The show seems to chart the ascent of man from the depths of the remote past, through the present, and forward into the far future, in parallel journeys of physical and spiritual evolution.

Walking down the steps to the graffiti-covered underpass, one is surprised by the almost club-like entrance to the exhibit.  Thankfully we were both on the guest list and over 18, and so duly proceeded into the Vaults, where we were greeted by professional, welcoming staff who directed us to the cloakroom, where it was a relief to give up our coats and umbrellas.

Once fortified with champagne, we started our journey of discovery in the Aspiration room.  Aspiration means both hope and breath, and this sentiment is embodied by the sculpture Emergence rising out of the earth like the birth of man, paralleling the consumerist growth of modernism – depicted in several of the room’s paintings by terraced houses accompanied by their paraphernalia of sofas, lamps, pianos, etc.

Birth, 2008, oil on canvasThe second space, Community, charts pivotal moments in the concept of oneself and one’s surroundings, as in Birth, which shows small groups of people coming up out of water in their own community unit bubbles.  Individuals inspired both reviewers, with one seeing a roadway turned sideways to symbolise a tunnel out of the earth, while the other (with a degree in Art History) was impressed by what she called “gooey plop!”

Commodification, on two levels, represents two dimensions in three.  Downstairs a giant foot (of God?) awakens Neanderthal consciousness, whilst on the upper level heads within heads explode from inside each other, with Interior resembling a bird’s nest of baby heads.  Back on the lower floor, Translations is the embodiment of being part of a book, and of how literacy contributed to the development of humanity.

Translation, 2008, oil on canvasMoving into Itinerancy, Origin shows the earth as a womb cracking open to spread mankind over its surface.  Frame symbolises the industrialisation of nature, whilst expressing a sense of serenity and beauty that is in contrast to the dynamism of many other pictures in the exhibition.

Continuity continues the human story into the future, with the 6 Orbit Panels echoing the Age of Aquarius.  Orbit 2 (Interiors) is the culmination of the isolation of modern humankind – individuals in rooms with only technology for company – the ultimate extrapolation of the bubble in Birth.  We move forward as man makes his way into space, with Milky-Way being the highlight of the show for both reviewers.  This is a sensitive representation of a beautiful celestial event, with the artist cleverly dropping in humans to float around the nebula.

Milky-Way, 2012, acrylic on canvasIn the final room, the exhibition appears to culminate in our own destruction, with exodus, fire and destruction characterising the paintings with titles such as Mortals and Afterlife 2.  After travelling through time, we watched a video of the making of David Breuer-Weil’s guide to the galaxy, with one reviewer finding the sight of the artist spreading paint across the canvas to be both erotic and inspiring.

Project 4 is an amazing and awe-inspiring exhibition, which cannot be recommended highly enough.  We were there for an hour, but could happily have stayed for three times as long.  A wonderful show in a sympathetic environment: it is not to be missed.

Project 4 is at  The Vaults, Arch 233, Leake Street, London SE1 7NN until Saturday 24 March 2013, open Monday-Saturday, 10am – 6pm and Sunday 12 – 4pm.  Admission is free.  For more information visit http://www.davidbreuerweil.com.

Mary Tynan and Fay Ryder

Nov 16 2012

Re-examination Pays Dividends

New Possibilities: Abstract Paintings from the Seventies at the Piper Gallery

This exhibition presents the work of artists whose work became less fashionable during the 1970s with the rise of conceptual and performance art.  While these artists are still working today, most of the work on display is from this period.  This is a very diverse exhibition: all of the artists have very individual styles.  However, a common feature is an attention to craft, precision and formal values in painting.

The range of approaches is very clear when you compare the work of Tess Jaray and Frank Bowling.  Tess’ Alhambra (1979) is deceptively simple at first glance, but closer examination draws the viewer in and reveals the surprising complexity hidden in what you believe to be predictable pattern.  What at first appears to be a repetitive motif, on closer observation shows itself to have complex variation in colour, form and scale.  Frank Bowling’s Rush Green (1977) seems to be more the sum of its parts.  His deployment of paint by pouring it directly onto the canvas and utilising flow may seem haphazard, but on inspection the result is more mysterious.  There appears to be an equivalence with art from the past – for example, Monet’s paintings of the garden at Giverney – sustained attention is rewarded.

William Henderson and Barrie Cook both use a particular vocabulary to produce very different results.  Henderson’s Funky, Blackand Catch Me (1978) creates a feeling of depth and jaggedness, with a definite sense of illusionistic space, reminding one of the microscopic world when magnified.  Cook’s Blue, Red and Yellow Grid (1977) is an optical work which plays with the eyes.  It is reminiscent of cathode ray tubes warming up in a old-fashioned television.  There is a richness in the fact that the two paintings, both using repetitive linear forms, can produce such varied results.

Other highlights of the exhibition include Gary Wragg’s Carnival (1977-79), which is driven by the process of drawing; Patricia Poullain’s Untitled (1973), which has a lightness and openness whose accessibility reminds one of a childhood telescope; and finally, Trevor Sutton’s measured, well proportioned That Swing.4.K (1979) combines electric blue and black, demarcated by a delicate green line.  The piece is poised and balanced and seems to be very much of its time.

If you like your paintings to repay prolonged attention, then New Possibilities at the Piper Gallery is definitely worth a visit.

New Possibilities: Abstract Paintings from the Seventies is at The Piper Gallery, 18 Newman Street, W1T 1PE from 16 November to 21 December

Mary Tynan and Ian MacNaughton

(Pictures courtesy of the artists and The Piper Gallery)

Oct 29 2012

A Tale of two Cities

Good Vibrations and Spike Island at the London Film Festival

I had great plans for the London film festival, with many press screenings marked out on my diary.  Unfortunately timing was against me, as it turned out to be a very busy period in my other two jobs (acting and teaching), and apart from “A Liar’s Autobiography,” which got cancelled (read the article here), I actually only ended up at two screenings.  But they were good ones.

Good Vibrations

My regular readers (if there are such people) will be aware that I enjoy a bit of music from the 1980s, so I was in a positive frame of mind when I turned up to see Good Vibrations – The Story of Terri Hooley.

For every Richard Branson, there are probably hundreds of Terri Hooleys.  Known as the Godfather of Ulster Punk, Terri was the owner of Good Vibrations record shop and label, was responsible for discovering the Undertones, and encouraged punk and alternative music to flourish during a dark time in Northern Ireland’s history.  I imagine that there were people like him in towns and cities all over the UK and Ireland during the 70s and 80s; running record shops, managing and/or playing in bands, and organising events.  Do these people ever make a profit in the long run or do their charming mix of naivety and idealism work against them in the end?  Good Vibrations never released a top 40 record, and Terri sold the rights to “Teenage Kicks” for £500 and a signed photo of The Shangri Las (which he never got.)  But that isn’t the point, as this film shows: Terri Hooley made a lot of people very happy, which was in itself no mean feat in Belfast at the height of the troubles.

This was a highly enjoyable film from start to finish.  Richard Dormer made an excellent Terri, and I particularly enjoyed Jodie Whittaker’s performance as his wife.  It’s hard to pick out anyone else as cast lists are not given out at press screening, but everyone performed very well.  It would have been nice to have a few more female characters – maybe some girls who hung around the record shop for instance – but apart from that I completely loved it.  One particularly memorable scene is when an RUC officer is hassling a girl in a bar for suspected underage drinking and Terri comes over and tells him he’d like to report a civil war.  Scenes like these show the bravery of the character as well as the naivety and idealism.

Of course, being a film about music, the soundtrack is a major part of the experience.  Set in a fertile time for Northern Irish music, the tracks chosen add to the energy and exuberance of the story, as obviously does the setting with its air of menace just under the surface.

Go and see this if you’re interested in music, Belfast, or just plain enjoy a good film.

Spike Island

Good Vibrations is a true story about a real man, with a real record shop/label, and the punk scene in Belfast, whereas Spike Island, my second choice of film, is a coming of age drama set in Manchester in the 1990s with the music of the Stone Roses providing more of a secondary theme.  As such it worked well, and the soundtrack (a mix of the Roses and the characters own band, Shadow Caster) added greatly to the ambience and power of the film.  The characters did seem to blend into each other a bit at points, and some of what could have been more potent moments could have been better explained (I was never sure why one boy joined the army for instance).  Having more female characters would have added more variety, and this film does not have the excuse of being a true story as a reason for not doing so.  Teenagers since the 1960s or 1970s onwards generally tend to hang around in groups of both sexes (I did) and the whole male bonding theme seemed to me a little old-fashioned.

That said, the music really lifts everything up, and the festival atmosphere of Spike Island and young love is captured perfectly (leaving aside the dubious morality of deserting your father on his deathbed to go to a Stone Roses concert that you don’t even have tickets for!)

Once again, I am hampered by a lack of a cast list, however everyone concerned gave a very competent performance, with Emilia Clarke standing out in particular.

Go and see this film if you enjoy a good coming of age drama with an excellent soundtrack, or want to recapture your youth!

Mary Tynan