God's property

I went to the Soho Theatre last night to see a new play – God's Property, by Arinze Kene. Nigel, who's one of my regular culture companions, and I had realised we were seeing a lot of Shakespeare and opera, but nothing much that was new, so our visit was the result of that. (In fact, it all started when I read Peter Hall's autobiography a couple of weeks ago. Really interesting, and he was somehow breathtakingly ambitious but low on ego. A local boy, too – when Hall was at Cambridge, his father was station master at Whittlesford, the nearest rail station to here. Anyway, there's a great moment when he's about six weeks into his first job as a director of a London theatre, and the script of Waiting For Godot lands on his desk. His experience with that, and his willingness to innovate, made me realise that my theatre experience had got rather fossilised.)

Last night was remarkable. The theatre is a great space, very like the Young Vic and the Donmar, with long benches and no prescenium arch. Below us was an eighties kitchen, and the first thing that happens is that a black guy comes through the door carrying a bag and some groceries. He goes upstairs to see if his Mum is at home. The door opens again for a younger guy with a guitar, and when he sees the first he pulls out a knife. From that moment, the drama never lets up.

There are some lovely moments of humour, but where the play really works well is in ratcheting up the tension. What struck me most is how beautifully it's constructed; the entry of new characters and the revelations of the plot are perfectly paced. There are no lulls, and no false steps. The dialogue is batted to and fro like a ping-pong ball, and the humour feeds into the drama. We were on the edge of our seats for most of the ninety minutes, and I spent the last ten minutes at least in tears.

None of the actors seemed to miss a beat at any point – all four were utterly believable. The lighter scenes also had me almost in tears, remembering what it was like to be sixteen and in love. Ach.

I'm going to be a regular customer of this place, I think. In the bar afterwards, I heard about at least two other plays and one cabaret act that I've just got to see!

More info at the Soho Theatre site.

Also this week.... I read J K Rowling's The Casual Vacancy, and enjoyed it more than I expected to. I don't get on with Harry Potter: Rowling's world never strikes me as fully realised, and the way some characters are realistic and some farcical, so you can't tell who you're meant to take seriously, makes me uncomfortable. This novel avoided those pitfalls, and made the most of her ability to wind a lot of plot strands together. I thought her range was impressive, too: it's the characters at the bottom of the hierarchy who have stayed with me, and they're the ones who don't get to be in many novels.

Oh, and lastly: go and see Medea at English National Opera: it is bloody amazing. 

A moderate feast, and a silent opera

To the Young Vic last night, to see Feast - reflecting a resolution I made after seeing A Doll's House and Three Sisters there, to go more often. They seem to be doing some great work at the moment.

Feast was a slight disappointment, partly because it seemed a little over-hyped in the reviews. I went expecting to be exhilarated and was only really charmed.

The reviews had somehow led me to expect swirling costumes and beating drums, a whirl of colour - African cliches, perhaps? What was on offer was more thoughtful and measured, but sometimes lost its momentum. Ideas floated - the first actor on stage encouraged audience participation, but this didn't happen again - but then sank.

The evening was a sequence of playlets moving through history. The stage effects were great, the acting convincing, and the dancing excellent, and there were a couple of charismatic narrators, but what it lacked, for me, was a really strong narrative or any really dramatic moments. There was a little bit of everything, but not quite enough to bowl you over. Would I have minded, if I hadn't expected to be overwhelmed? I'm not sure....

Feast reviewed in the Telegraph.

Feast reviewed in the Independent.

And even Michael Billington in the Guardian liked it - which should perhaps have worried me, as he doesn't generally share my taste (he seems to loathe the Globe, for instance).

The friend I went with agreed with all this - but, as he pointed out afterwards, we haven't actually seen anything we disagreed about yet.

Last week I went to see the Silent Opera doing Monteverdi's Orfeo. That was fun as I went along with an acquaintance who's an opera director, so applied a critical, professional eye to the production. He was less than impressed, I'm afraid. For me, it was interesting to see how the gimmick had run away with things. In this case, they had continuo instruments - harpsichord, theorbos, harp - but no strings, brass or wind. The audience were all issued with wireless headphones, and the singers and instruments were miked up, but you only got the effect of the full orchestra if you wore the phones.

But there's something about having headphones clamped on that really distances you from the action - my friend and I spent the production taking them off at every opportunity. Suspicious minds might have seen it as a ruse to save money, since all those sackbuts didn't have to be paid to be there. But the other snag was that if you'd have taken out that element, what was left wasn't quite good enough. The staging was okay but could have done so much more: we'd expected to crawl through tunnels and get trapped in Hades; in the event we simply shuffled into the next room and went up some stairs and then down again – more like being on the tube than anything else. Not knowing the plot, I had no idea at what point we – or Orfeo – were crossing the Styx, and so a lot of the drama passed me by. This seemed a rather basic point not to have made.

It also meant that the chap I thought was Pluto was really Charon, though he did get the lion's share of the music - which was a shame as the singer wasn't up to it, simply ghosting the low notes. I happened to know the bass who sang Pluto, but my friend (who didn't) agreed that he'd have swapped the two singers. Pluto had a lot of groping, snogging and fumbling to do; there was rather a lot of That Kind of Thing, in fact, with a whole lot of dancers whose only function was to writhe on scaffolding. Which is fine if you want set-dressing, but you could have paid to have the sackbuts there instead. Not just for the ethics of it – having recorded musicians when you could have live isn't polite - but for the energy they bring: I really missed the visual aspect you get from string playing: the energy and rhythm of all those bowing arms, and the visual drama of sackbuts, which are beautiful things.

What I assumed should have been the pivotal moment – when Orfeo loses everything in a moment by looking back at Eurydice – was also oddly fudged. I thought I'd missed it: then Eurydice didn't seem terribly keen to stay anyway. It was all a little odd - whether it didn't go as planned or the effects were misjudged, I wasn't quite sure. The moments of really effective drama were mostly driven, come to think of it, by the quality of the music and the singing. The messenger who brings news of Eurydice's death to the wedding party sang her part beautifully: that was the one moment that brought tears to my eyes. And Orfeo's final raging, right across the audience, was very effective. A word for Musica, too, who had a lovely voice that rang out in her solos and also shone through the choruses.

On reflection, losing the mikes, the headphones and the ranks of mixing desks, and focusing on using the space effectively (considering what a schlep it was to find the place, we'd expected something more unusual), might have paid off better. I wondered if the problem with this kind of endeavour is that it's easy, once they're completed, to watch the finished product and point out exactly how they could have been improved. But there were a few terribly trendy elements to the  production which seemed to demonstrate that the gimmick was rather the point, and that the desire to be fashionable might have taken precedence anyway.

Doctor Atomic

A really splendid first night of John Adams (the Nixon in China man)'s new opera, Doctor Atomic. Fabulous singing, especially from the glorious Gerald Finley. The first-half closer was a solo setting for him of Donne's sonnet 'Batter my heart, three-person'd God', and it was a show-stopper. Donne is a devil to set as it's such twisty, complex stuff: I've never heard a convincing setting, and often you just wish you could get rid of the music. But this was stunning music.

There had been a lull in the middle of the first half, as the bedroom scene with the Oppenhemers didn't work terribly well. The libretto was so abstruse that you couldn't take it seriously as a conversation, and it wasn't clear what anyone was talking about. Beautiful singing, though, from Finley again - god, he's good - and Sasha Cooke as Kitty Oppenheimer. One member of the cast was a last-minute substitution, and I didn't catch who, but it was impossible to tell. Everyone's diction was lovely, and they got the accents spot on, I thought. Good naturalistic pronunciation, too - none of that 'pronounce the words as they are spelt, not how a normal person would say them' rubbish, except from the alto Meredith Arwady, resolutely enunciating 'moun-TAYNS' when everyone else sang 'mountins'. Her part was a bit of a drag, to be honest: she was a sort of ethnic voice of conscience.

The second half - all one and half hours of it - hardly flagged. Adams really built up the tension, but he used touches of humour to release it as effectively as Shakespeare does: they were very nicely judged. Almost at the end, there were two minutes of near silence: brilliant. The final moments had the perfect focus on individual anguish. After the end, there was a silence you could almost feel - until the inevitable over-eager idiot felt they had to start clapping: a great pity.

The chorus work was very effective: for once having everyone in their own little box seemed appropriate to the subject matter. The choruses were all, I think, all homophonic - no: what's it called when everyone sings different notes but at the same time? - which made a few ragged edges obvious. Mostly excellent, though. The staging worked very well, with the bomb dangling ahead for much of the time, and the weather effects were good too. As in Candide, the touches of video and graphics were beautifully judged, eschewing gimmickry.

The whole thing was surprisingly affecting: I cried for the first time ever at an opera, having sat dry-eyed through Madame Butterfly, Tosca, and so on. It's really not at all an odd subject for an opera when you consider it.

Top marks all round - do go and see it! Day seats in the balcony are only £10 and you just phone the box office after 1230 to get one.

Fritter

Well, I've been dissipating my creative energies on Facebook, as everyone warned me I would. But like everyone else, I'm finding that the initial thrill wears off pretty quickly, and you're left constantly infuriated that Scrabulous only succeeds in loading once in twenty attempts.

So much I meant to write about... Most recent first. We went to see The Turn of the Screw at ENO. The balcony seats were smaller than I remembered, and I realised that the price of day seats has quadrupled since I started going -- weren't they £3 not very long ago? The opera was splendidly sung: Rebecca Evans as the governess was terrific, and the boy playing Miles (sorry not to remember his name) was astonishing. It was all rather gloomy -- dark sets, black clothes, lots of fretting, and things didn't (I don't suppose this counts as a spoiler) turn out well. But then there aren't that many cheerful operas.

But life has been hectic: I'm now back at work two days a week, and one of them in London. And this week Sasha has had a bronchial infection which led to an alarmingly high temperature and a lot of wheezing, plus a cough that woke all of us up through the night. Then there was last week's carol concert, which went really well -- even my debut as a conductor -- but was a huge amount of work. And photocopying (legal copies only - Company of Musicians policy!). So I am shattered. But it's good to be busy and doing stuff. I haven't had time to look at Facebook.