Bringing it All Back Home – Online

Welcome to the relaunch of Notes from Xanadu. The next four days will witness the transformation of the site from online magazine to online arts centre.

Our homepage has always said Welcome Home. It’s been a place to come in, take your shoes off and relax with something to read, whether that be fiction, poetry, articles or reviews. We’ve never published a bad review – if we couldn’t find something good to say, then we wouldn’t say anything at all (but that never happened). We reviewed theatre, art, books, opera, film, eateries, and even, on one occassion, a karaoke booth. It was a home from home that gave you ideas about what to do outside the home.

And now many of us are confined to the home. On deciding to relaunch Notes From Xanadu at this point, it was decided to make it into much more than an internet magazine. I personally had a list of ideas for an arts centre, and decided to see how much of it could be implemented online – quite a lot, as it turns out. We have art, music, puppetry and of course writing, much of which explores the theme of staying at home or living online, as well as how the “new normal” is for the people who do go out to work.

For many people, the online way of life has been a reality long before Covid 19. I am thinking in particular of the chronic illness community, of which I am a member. Most of us are severely limited in how much time we can spend out and about; some are completely housebound; some are bedbound. The internet is a place for people to connect, share thoughts and ideas, and even study – for those who are well enough. This is particularly true for people who live alone. Other people may find themselves in the same boat by virtue of living in a remote location. We have always known how to do as much as possible online. The coronavirus has taught others the same skills. There is a lot of talk about the downside of the internet – people being addicted to their phones, not having real-life conversations, preferring the virtual world to the real world. But in reality the lines between the two are blurred.

And so here we are, bringing it all back home – online. Welcome to my world. Welcome to our world. Welcome to Xanadu.

Mary Tynan

All of Me, performed by Autumn Black

“Hi my name is Autumn Black.  I enjoy writing original songs and covering others on guitar.  I love playing guitar because it’s a way I can express myself and it helps me smile when I’m down.”

 

Bravery’s Lullaby, by Laney Rie

Laney Rie is a singer songwriter from Colorado. She has been writing songs since she was 12. Her inspiration comes from her life experiences and the people she has come in contact with. Her musical style is indie pop, with mellow piano and poetic song lyrics. Laney has a soulful sound, especially for her youthful age. She wants her music to impact people in such a way that they don’t feel alone in this world.

We will be featuring more songs by Laney over the launch weekend.  Her EP, Childish Dreams, can be purchased from Apple Music.

Water, by Colin Byford

This is the first of two exhibitions in our gallery by Colin this weekend.  The second, entitled “Bugs” will debut on Monday, 4 May.

“I have had a 4 plus decade relationship with photography mostly as a high level amateur and a couple of years fully professional both in Ireland and back home in New Zealand.  My main commercial work to date has been in family and event photography.

I am fascinated by the technical aspects of photography. I learn the capabilities of the equipment and then push them. When combined with my computing background I can get some pleasing results. Sadly the artistic side is hard to teach but I am told I have a good eye.

I hope you enjoy my images. Prints of all these images are available to buy up to A3 size.  My website is www.byfocal.ie and I am on fotocommunity.com as Colin S Byford.”

Yemeni Exchange

As the elderly Boeing 727 took off from Abu Dhabi and banked around a huge thunderstorm, I realised I was heading somewhere different. In 1998, I was on my way to the port of Aden in Yemen. As the plane approached the airport there, the burned-out hulks of aircraft littered the airfield around the runway. The terminal building itself was gouged out with a huge bomb crater, the scars of a civil war that had ended 4 years previously. We had to enter the arrivals area via the men’s toilets. I was held up by customs who insisted on writing a lengthy note in my passport because I was carrying a (then relatively rare) Toshiba laptop.

I had been sent there by my employers to help commission a telephone exchange. Aden was blisteringly hot as well as being a bustling madhouse, with a good chunk of the city inside a volcanic crater. The base station for our new mobile system sat on top of a ridge at the edge of that crater, over razor sharp lava fields. It was so hot that the 4×4 we used to get there had two air conditioning units. The icy chill of the 4×4’s interior was a huge contrast to the waves of heat radiating from the lava field on which the base station was built.

The telephone exchange was in cooler surroundings, but still extremely hot. A trip to the bathroom involved shooing the rats out from under the toilet! Outside the bathroom was a tented area, at which the faithful prayed several times daily. The calls to prayer from the muezzins were piped over loudspeakers all over the city. It is a sound I will never forget.

The sea was as warm as bathwater to swim in, and we went for a dip one evening, right next to the huge desalination plants which supplied freshwater to the city. Swimming was very pleasant, but not effective for cooling down! The food at the hotel we stayed in was excellent, but I made the mistake of sampling a local drug called Qat. Qat is a leaf which, when chewed, is pleasantly sweet and gives a very mild narcotic buzz. A British colleague described it as “chewing a Privet bush.” It was certainly not unpleasant and it was not unusual to see Yemeni men with a wad of Qat shoved in a cheek for chewing.

Unfortunately, in my eagerness to sample local customs, I had forgotten basic food hygiene and cleanliness. As a result of my Qat–chewing, the subsequent stomach upset caused me to rapidly lose 5 kilos over the following week. The rat–infested toilet was a frequent visiting place. It took 15 hour’s unbroken sleep to finally clear the bug and recover some sense of normality.

Yemeni men used to walk around hand-in-hand and Yemeni women invariably wore black abayas with a slit opening for eyes. Underneath their severe outer clothing, however, you could frequently see a colourful and fashionable shoe peeping out. I was lucky to experience how friendly and helpful Yemenis were: I never felt threatened or unsafe there. Whilst, at the time, there was a habit of kidnapping foreigners, they were always well treated. So much so, that a French kidnap victim was presented with an AK47 on his release and wrote a letter of release to his captors. Unfortunately, this friendly practice ended when the government started to shoot kidnappers, a counterproductive practice that resulted in the deaths of several victims. It was surely a sign of future trouble in the country.

After two weeks, the telephone exchange installation was successfully completed. I was able to make mobile telephone calls on the system, always a gratifying experience. Unfortunately, I had less than 12 hours to enjoy the fruits of my labour. At short notice, I was asked to travel to Egypt to talk to customers in Cairo. I had to travel to Sana’a to catch the flight because of an airline strike in Aden. This involved a 400km journey in an aging Peugeot 305 with a Qat-chewing(!) taxi-driver.

The countryside was epic. It rose from dry wadis near the coast through rocky foothills and mountains to an elevation of over 2000 m in Sana’a. We passed through dusty little villages of cube-shaped houses, as the air grew cooler and the countryside greener. There were frequent military checkpoints and, unknown to me, a lot of the rural areas had local chieftains who were the ones kidnapping foreigners.

The taxi-driver, however, was a lunatic. There’s a scene (not that one) in Basic Instinct where Sharon Stone subjects Michael Douglas to a hair-raising high-speed drive along a narrow cliff road, overtaking into oncoming traffic. My driver did the same thing while nonchalantly chewing his Qat (he did offer me some, but I politely declined).

I arrived in Sana’a unscathed. At 10,000 feet altitude, it was lovely and cool, with much more greenery than the coast or inland. A misunderstanding about my hotel destination lead to a lively conversation between my driver and some locals. All were intent on me arriving safely, and I did – just in time for dinner with a Ukrainian colleague, before an early morning departure to Cairo. When I arrived in Amman for a connecting flight, it was a pleasant shock to see the faces of women again.

Arriving in Cairo, my local contact was crestfallen to see I had no business suit. Unfortunately, I had packed for technical work at a telephone exchange, not visiting customers. Interestingly, all the management of the mobile service provider were women, which went slightly against the stereotype of Middle Eastern countries.

Compared to Aden, Cairo was a huge metropolis – but, nevertheless, another bustling madhouse. Nearly every taxi had dented side panels, as driving was regarded as a contact sport. I spent a couple of days there, with one notable dinner by the banks of the Nile. I did see the pyramids briefly from an aeroplane window on my departure.

Simon Woodworth

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

 

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

With Your Hands You Clap Clap Clap!

Co-opera Co presents Hansel and Gretel at John McIntosh Arts Centre

I thought I wasn’t familiar with this opera before last night: as a child studying music. Humperdinck was not one of the composers I learnt about, and I’m afraid I encountered the music of the 1960s Englebert before I realised he was named after an eminent musical predecessor.   However, upon hearing that I was attending Hansel and Gretel that evening, a colleague advised me that I would recognise lots of songs from my childhood.  He was right, the aria which provides the title of this piece being but one of them (I have been singing it all day).  This, of course, added a lovely sense of recognition to my enjoyment of the evening.

The action was initially set in 1950s Britain, but later seemed to move forward in time; with the witch using an overhead projector and a camera vintage 70s or 80s, and marking the contents of her fridge “Best Before 2013.”  The set was broadly based around the mother’s washing business, and some of the garments from the washing line were used as Chinese lanterns at the end of the story to great effect.

Musically, this was of a high standard, starting with the orchestra (conducted by Stephen Higgins), whose overture set the tone for the night, being both beautiful and haunting.  There was no chorus, so the production was the work of only five singers (mother doubling with witch).  All five gave excellent vocal performances, with Rahel Moore’s Sandman being particularly evocative.

The show was very well choreographed, and the cast’s movement skills were wonderful, especially Carris Jones’ drag queen witch, and Gretel’s jerky puppet steps.  Lone man Stephen John Svanholm played the exuberant, drunken father very well, and Susanne Holmes portrayed Hansel with all the exuberance of boyhood.  With such a tight cast and consistent performance, it is difficult to pick out a favourite, but personally I was particularly impressed by Llio Evans (Gretel).

When an adult woman plays a small child, there is a very real danger of her ending up looking like Baby Jane.  The audience had nothing to worry about on that score, however, as Llio’s physicality perfectly captured that of a little girl.  The way she stood, walked, moved her arms, and her facial expressions were all ideally calculated to convey Gretel’s emotions (her terror in the forest at night is a good example).  Her singing was consistently skilful and accomplised: I especially enjoyed her opening aria of Act II.

All in all, Co-opera Co have done a marvellous job with Hansel and Gretel, and much credit is due to director James Bonas, working with the company for the first time.  As he said when I interviewed him prior to the performance, (Hansel and Gretel is) “an absurdly brilliant opera.  It’s full of music so delicious you want to eat it and it’s joyfully short but densely written so that it’s packed with action.”  The same can be said for this production.

Hansel and Gretel, along with Don Giovanni and The Magic Flute will now go on a nationwide tour.  For more information, please visit www.co-opera-co.org.

Mary Tynan

Twiglets, Cocaine and Formaldehyde

Co-opera Co presents Don Giovanni at John McIntosh Arts Centre

This is the second production of Mozart’s Don Giovanni I have seen this year (I reviewed the production at Heaven back in April  – see One Night in Heaven).  Although Co-opera’s was not as hilariously smutty as the gay offering, it was nevertheless a very sexy, and funny, performance.

Right from the outset the orchestra set the tone – the playing was flawless and evocative throughout the evening, led by conductor Tim Murray.

The standard of acting in this performance was high from the start: David Milner-Pearce played the Don as a dissolute Damien Hirst-type artist to perfection, whilst Yair Polishook (Leporello) made an excellent sidekick.  The opening rape scene was very effective with Lisa Wilson (Donna Anna) playing the victim very well.  Susanna Fairbairn (Donna Elvira) made a good jilted lover, whilst Jerome Knox (Mazetto) gave a solid performance throughout the show, with the stage combat between him and David Milner-Pearce being particularly well executed.

I had been told that the production was to be anything but traditional, and that was certainly the case.  Much of the action was set in the Don’s art gallery where naked shop dummies (with pubic hair) continued the Hirst theme.  There were many amusing and interesting touches such as the Don photographing the dead father on his mobile phone; a smartphone ap (Leporello’s) which keeps a record of all the women the Don has seduced – Yair Polishook singing very well on this aria; the Don singing a serenade to the backing of a ringtone (aptly rendered by the orchestra);  the Don’s lines “I find the working class is only turned on by clothes that come from Primark” and “Since I’m spending so much money, I expect to be amused” as he is eating take away chips and pizza from yellow plastic boxes.  Twiglets and cocaine also make appearances.

Vocally, there were many wonderful moments.  Some of my favourites were Donna Elvira’s “Rip out that Heart with Glee”, the chorus number “Pleasure Tonight”, Robyn Allegra Parton (Zerlina)’s first duet with the Don, Don Ottavio, Donna Anna and Donna Elvira, disguised Ali-G style, singing “Avenge my broken heart,” Don Giovanni and Leporello’s “Glorius I shall return.”  For my money the best male vocal performance was by David Menezes (Don Ottavio), but overall the women outshone the men, with Donna Anna’s solo “The God I cherish will come and grant me rest” being hauntingly beautiful.

The opera finishes with Il Commendatore (Matthew Tomko) returning to the grave to drag the Don down to hell, and this he does in a suitably menacing and eerie manner.  The chorus close by singing “That’s the fate of evil men” as Don Giovanni goes to join his own artistic creations, becoming yet another glass case dummy in a rather Roald Dahl-esque ending.

Don Giovanni’s second night is 24 August 2012, Hansel and Gretel is on 23 and 25 2012, all shows at 7.30pm at John McIntosh Theatre, Seagrove Road, London SW6 1RX.  Tickets are priced between £10-25 and can be purchased online at http://www.ticketweb.co.uk/user/?region=xxx&query=schedule&promoter=co-opera.  The theatre is wheelchair accessible, and free parking is available next to the John McIntosh Arts Centre.  Both operas, along with The Magic Flute, will then go on tour nationwide.  For more information, please visit www.co-opera-co.org.

Mary Tynan