Stage Invasion: Angela Topping takes a close look at Pete Bearder’s guide to spoken word poetry and its differences from poetry for the page
performance
Jason Kravits’ cabaret at Crazy Coqs is wildly funny. This singer-entertainer is so dynamic that I would suggest he be prescribed for those with the blues.
A Pink Chair, Tadeusz Kantor, The Wooster Group. Review by Julia Pascal.
Rigoletto,
Composer: Verdi
Producer: Welsh National Opera
One of the main reasons to stay in London in the summer is the Proms. I admit that I am in love with the Royal Albert Hall. There is something about sitting in this circular, wedding cake structure that has an effect on the psyche.
Opera and cabaret singer Melinda Hughes lost her mother in June. Two months on, she has immortalised her in a song and is finding catharsis in a satirical take on the world.
A show that leaves the line “Are you fucking kidding me?” ringing in your ears and delivers a series of morals that include “don’t pressure other people into sex because it doesn’t work” and “don’t judge people by appearances, unless they’re really hot” could cause offence.
What do you do when life gives you lemons? Make lemonade is the wrong answer, says Elf Lyons, who is the product – and that’s not too economic a term – of father Gerard Lyons, former economic advisor to Boris Johnson, artist mother Annette Lyons and the Philippe Gaulier clown school on the outskirts of Paris.
The evening opened with Mozart’s Clarinet Concerto in A Major K622. This is Mozart’s last finished orchestral work. Composed in 1789, it is one of the most exquisite of Mozart’s creations. Annelien Van Wauwe’s interpretation was curiously intimate and delicate.
The title Requiem pour L., if spoken aloud, translates as Requiem for her. Who is the anonymous woman that we see dying onscreen as Mozart’s Requiem in D minor, K. 626, is re-scored?
Low-tech, unforced and innocent, the Chipping Norton panto lives up to the programme note’s promise to provide “an escape from the disposable pop culture that surrounds our children”.
Isadora Duncan (1877-1927) has been re-visioned by Viviana Durante in her new programme Don’t Let Them Tame You.
By Julia Pascal • dance, music, performance, theatre, year 2020 • Tags: dance, Julia Pascal, music, performance, theatre