Meltdown Festival / Edvard Munch:The Modern Eye / The Tanks

Three little reviews of a day's worth of activities.

Antony Hegarty's Meltdown Festival has begun, bringing with it a whole host of cultural offerings. I attended the talk with actress Kim Cattrall, director Janet Suzman and SouthBank director Jude Kelly who were discussing the relevance of Cleopatra and the status of modern women in drama and today's society. Fascinating questions were raised about why there is a lack of female roles, why Shakespeare may be seen as a misogynist and how Suzman and Cattrall have interpreted the role and play in their production of Antony and Cleopatra. I highly recommend attending a future Meltdown or some of the later events in this Meltdown which can be viewed here.

The Tanks is a brilliant, industrial new space for the Tate Modern, giving room for more experimental performance and sight-specific pieces of work. Originally disused oil tanks, this exciting and vibrant new space allows for a 15 week festival to take place in the heart of the Tate, finishing on the 28th of October. Great to visit if you are planning a trip to the Tate Modern, The Globe or anything in the surrounding area.

Edvard Munch: The Modern Eye at the Tate Modern is a good exhibition which is highly let down by the inclusion of his photography. Munch's paintings are eerie, creepy, surreal materpieces that really captivate - the reworkings room in the exhibition highlighted this perfectly. However, Munch's photography lacks depth and focuss. Aside from personal preference about apects of his work, the real driving force behing this exhibition is the revealing of the man behind the paintings. Such clarity is given about his life, family and what motivated him. The Modern Eye is worth a visist, especially if you have little or no prior knowledge of Munch's work aside from The Scream. Three stars.

Unrestricted #5

Television: Homeland

Starring Claire Danes and Damien Lewis, Homeland is a terrific piece of American television. Danes plays CIA officer Carrie Mathison who is convinced that a returned prisoner of war, Brody (Lewis), is working for Al-Qaeda. This Golden Globe winning and Emmy nominated series is full of twists, turns and heart stopping performances from Danes and Lewis - Danes gives a beautifully frustrated performance whilst Lewis complements her perfectly. Everything about this show is perfect, from the stellar writing which gives the audience deep characterisation to the directing which is subtle and assured. The final episode of the fist season leaves the door wide open for the second season to be just as good. Believe the hype because this show is one of the best you will see.

Literature: Julian Barnes - The Sense of an Ending

The main theme which swirls throughout last years Man Booker winner is memory; how we remember things, why we remember them and how we, ourselves, can altar our memories. This novella from Julian Barnes is exquisite and tender. Every word is just as meaningful as the last and Barnes' writing is so fluid that we are taken through the life of Tony Webster, our unreliable narrator, with such ease, clarity and pace. The Sense of an Ending is not a romance, comedy, fantasy or a thriller. Instead, Barnes' novella is a timeless tragedy about humanity and how our mind crumbles with age, effortlessly combining genres for it is a combination of genre which makes up our identity.  

She Lay Down Deep Beneath The Sea - Turner Contemporary

Not only is this solo exhibition Tracey Emin's first since her Hayward retrospective, it is also her first major exhibition in her home town in Margate. It seems somewhat fitting, then, that this show should be sombre and serene.

The show starts with an angry exclamation I Said No (the only in the exhibition). This small canvas in unlike Emin's previous work. The colours are seaside whites, blues and greens, thus neutralising the angry omission. To its side is one of Emin's infamous neons - a woman lays bare, green as seaweed and sunk. These works make an intriguing start to what is a different exhibition for Emin.

In the first room the overwhelming colour is blue. Blue nudes adorn the walls; they are seductive, sleek and calm. These nudes lie on the seabed, defeated and watching the world go by. Through these works, Emin is coming to terms with her age, feeling that she has not necessarily given all she has to give, but instead feeling more relaxed with her place in the world. These women, presumably Emin, are not fighting to get to the surface but are lying contented. Sphinx is a white, painted bronze bust of a woman, fluid and deformed. This abstract sculpture reinforces this notion of being contempt.

Sex and sexuality play a big part in the second room, The Vanishing Lake, which has previously been exhibited. A series of tapestries are graphic in their depiction of the female form, much like many pieces in Emin's body of work, however they manage to feel refreshing. The most graphic, Rose Virgin, is alive with colour and meaning - is this the death of Emin's sexuality, or just the start? Maybe the most poignant and telling piece of work in She Lay Down Deep Beneath The Sea is a neon exclaiming I Followed You Into The Water Knowing I Would Never Return. This neon, for me, sums up everything this is exhibition is about; life and death, regeneration and rejuvenation. The journey into the water is the end of life as we know it and is the start of something new and exciting.

Nudes from Rodin and Turner also feature in this beautiful exhibition, acting as a source of reference and inspiration for Emin and her new work. These small works add an extra level of clarity and understanding to the exhibition.

She Lay Down Beneath The Sea is a pleasant departure for Emin and it is extremely fitting that it is held in her hometown of Margate. The beauty and simplicity of these derives, as always, from Emin's personal feelings and emotions and makes for breathtaking viewing. The Turner Contemporary is a brilliant exhibition space and has already made such a difference to the seaside town. Emin's new exhibition is not just an exhibition for fans of her work, but is also for people who have been sceptical of her work as I believe this will definitely give them a different perspective on Emin as an artist. Four and a half stars.

6 Week Theatre Challenge: 21 -25

21. What is the most disappointing thing you have seen at the theatre?

Most definitely Michael Grandage's production of King Lear was the most disappointing thing I have seen at the theatre. I suspect that I might have succumbed to the hype before I went to see it which probably didn't help. If I hadn't heard comments like 'the finest King Lear I have ever seen' (Daily Telegraph) this decent production wouldn't have felt like such a let down. Gina McKee, on the other hand, was brilliant as Goneril.

22. Which actor/actress do you wish did more stage work?

I would love to see Gillian Anderson do more stage work, as well as Damian Lewis.

23. Which theatre have you been to most?

The National Theatre due to their huge repertoire and the fact that they can stage numerous productions at the same time. I find there is always something on at the National which I would like to see.

24. Is there a specific theatre you would like to go to more?

I would like to go to more regional theatres more often such as the Liverpool Everyman and Sheffield Crucible.

25. What do you wear when you go to the theatre?

When seeing an opera or ballet I opt for more formal attire (but not too formal), other than that I dress casually.

Unrestricted #4

Film: Election

Election, adapted to screen by Alexander Payne, follows a career minded and determined senior, Tracy Flick (Reese Witherspoon), throughout her student body election campaign. Matthew Broderick brilliant plays Tracy's teacher, Jim, who not only slowly becomes more and more attracted to Tracy, but whose life literally crumbles before your eyes. Although not your run of the mill comedy film, Election is quirky, witty, funny and extremely well written, therefore making it an extremely good film. 

Literature: Margaret Attwood - Oryx and Crake

Mararet Attwood's eleventh novel is fascinating, bleak and gripping all at the same time. Set between a series of flashbacks and 'real-time', we follow the character of Jim as we learn what became of the world and how it got to the state that we can see it in through the eyes of Snowman. The concepts and characters in Attwood's slick dystopia are beautifully rendered and are formed with the up most intelligence. Attwood has stated that she sees this novel as a niece of 'speculative fiction' and not science fiction, and I can see why. Whilst the technology featured may be deemed futuristic, the overarching themes are of humanity and what we are capable of in a society which keeps growing and advancing. This book is stunning, whilst also not over confusing itself and its reader which is easy to do when dealing with this genre. I would not only recomend this book, but I would also rank it as one of the best of the decade.

6 Week Theatre Challenge: 16 -20

16. What is the best use of set you have seen?

The set for Frankenstein was brilliant, imaginative and highly visual.

17. What is your favourite regional theatre?

The Liverpool Everyman is a charming theatre which is currently undergoing a renovation. I really hope that it keeps all its unique qualities and doesn't lose any of its quirkiness.

18. What is the best opera you have seen?

The best opera I have seen is Opera North's staging of Wanger's Die Walkure. You can see my review of it here.

19. What is the most recent thing you have seen at the theatre?

Metamorphosis Titian: 2012 is the most recent thing I have seen. You can view my review here.

20. What is the saddest thing you have seen at the theatre?

I haven't found that many productions highly emotional, however Machina nearly brought a tear to my eye. The end of King Lear always has me feeling glum.

Metamorphosis Titian: 2012 - Review Roundup

I was highly impressed with Metamorphosis Titian: 2012, a collaboration between the Royal Ballet and National Gallery, giving it a full five stars. This is what the critics made of it:

The Independent

Zoe Anderson in The Independent have given Dame Monica Mason's last production as Director of the Royal Ballet four stars. Anderson begins by stating that it is 'a coherent, stylish evening', continuing by commentating that Machina is the 'boldest' of all three works. The robot is described as 'big and delicate' and Acosta and Rojo's duet is called 'alert'. Anderson remarks, however, that Diana and Actaeon is 'weaker' and how the story has 'far too much repetition'.

Evening Standard

Viv Groskop in the Evening Standard, like me, has awarded Metamorphosis Titian; 2012 five stars. Machina onwards, Groskop explains, showed 'the Royal Ballet at its best'. 'Precise, sinewy movements' is how Groskop describes Watson's dancing, assessing how they 'evoked mechanical grace'. The second ballet, Tresspass, is described as 'episodic', 'haunting' and 'mesmerising', whilst also stating how Marianela Nunez's performance as Diana in the final ballet was 'majestic'.

Financial Times

Clement Crisp in the Financial Times has given the ballet under discussion four stars, commenting how the dances were 'handsome, assured and intruiging'. Machina is described as 'advenurous', the dancing in Tresspass is called 'stunning' and 'ravishing' and the final ballet's score is 'luscious' according to Crisp.

The Telegraph

Mark Monahan in The Telegraph's three star review begins by saying how the ballet is 'one of the most visually arresting dance programmes of recent years'. Diana and Actaeon is called the 'triumph of the evening', whilst differs from the other reviewers by calling Tresspass 'fussily over-the-top'. The robot in Machina is described 'ultimately distracting'.

6 Week Theatre Challenge: 11-15

11. What was the fist thing you saw at the theatre?

Besides from pantomimes and the occasional trip to an Agatha Christie play, I'd have to say the first thing I saw at the theatre was Sean Mathias' production of Waiting for Godot - I'd also have to say that it was this production which really inspired me to see more theatre and go more regularly.

12. What is the worst production you have seen?

I am lucky in the respect that I haven't seen many terrible productions, however, there have been one or two which just haven't clicked with me. The Late Middle Classes at the Donmar, although well acted, was a big disappointment and from the start did not grip me. The fact I left at the interval says it all. More recently Zach Braff's All New People left me feeling cold, completely failing to lift one smile from my face.

13. What is the production you're most looking forward to?

I am very excited to see The Globe's Richard III and Twelfth Night later this year (I am seeing them very late in their runs). Mark Rylance, in my opinion, is the best actor you can possibly see on stage and so hopefully these two productions are just as good as everything else he has been in. The rest of the cast also looks intriguing - Johnny Flynn as Lady Anne and Stephen Fry as Malvolio.

14. Who is your favourite theatre director?

Katie Mitchell hands down is my favourite theatre director. The sheer originality of her work really excites me and you never quite know what she will do with a text, classic or modern.

15. Which play would you most like to see?

Although not specific, I would like to see more of Shakespeare's obscure work (Pericles, Titus Andronicus).  If I had to be specific and pick a non-Shakespeare I would like to see Beckett's A Piece of Monologue performed.

Metamorphosis: Titian 2012 - Royal Opera House

There are a number of reasons why Metamorphosis: Titian 2012 is so special. The first being that it is part of the London 2012 Festival and so brings together artists from across many disciplines to collaborate on one big project. The second is that it marks the end of an era for not just one, but two familiar faces at the Royal Ballet. This production marks the end of Dame Monica Mason's tenure as artistic director of the Royal Ballet, whilst also being the last production principal dancer Tamara Rojo will dance in. The ballet itself comprises of three ballets inspired by three of Titian's works which are currently on display in the National Gallery (Diana and Actaeon, The Death of Actaeon and Diana and Callisto). The three ballets are named Machina, Trespass and Diana and Actaeon. The final reason why this ballet is so spacial is that it is brilliant.

Machina, the first offering of the night, was brought to us by choreographers Wayne McGregor and Kim Brandstrup. Taking the form of a series of lyrical duets on a stark stage, this ballet resonated throughout the evening and for me, Machina is the one to see. The inclusion of an impressively large tripod playing Diana not only added spectacle but also helped define the atmosphere from the outset, creating light throughout and showing her as an omnipotent and omnipresent being. The performances from Tamara Rojo, Carlos Acosta, Edward Watson and Leanne Benjamin showed the dancers at the top of their game. Acosta and Watson danced like their lives depended on it and Rojo and Benjamin gave sensual performances, undulating around their partners. The juxtaposition of music also added another dimension. The robotic sounds from Diana beautifully contrasted with Nico Muhly's music.

The second ballet, Trespass, offered a completely different dimension to Titian's paintings than Machino. In Trespass, we were transported to a winter wonderland with a set which comprised of a cylinder standing tall in the centre of the stage which allowed, at times, light to pass through to create various effects. Although not as stunningly beautiful as the first ballet, Wheeldon presented a unique take on Titian's work which the audience clearly loved. I did, however, think that he might still be stuck in Alice in Wonderland mode as some of the scenes echoed those chaotic ones in Wonderland. As a whole, this was an accomplished piece of dance.

The third and final ballet, Diana and Actaeon, was clearly the weak link. Given the most inexperienced choreographers (Scarlett, Tuckett and Watknins) this ballet took place in the wilderness of flowing vines. Compared to the previous two ballets, this offered a much more literal take on the story of Diana and subsequently failed to ignite any passion (the costumes were also horrendous). Saying this, it did round of the evening well and again, gave a different perspective on the paintings.

I believe that we must judge Metamorphosis: Titian 2012 as a complete cross-discipline piece of work. From the great exhibition in the National Gallery to the poems written and now the ballet, this epic event offers an invaluable insight into three of the most treasured works in the art world. As a whole experience I would have to give it five stars. It is the most fitting end to Dame Monica Mason's tenure as I can think of, showcasing talent both old and young - paving the way for new practitioners, artists, dancers and choreographers.

Unrestricted #3

Television: The Walking Dead

Set in present day America, The Walking Dead follows a group of characters as they try to survive in a world torn apart and riddled with the dead. Unlike many zombie films and television shows, The Walking Dead has depth and a good solid story with good solid characters and acting which is just as good as what you'd find anywhere else. The writing is crisp and realistic, never verging on the melodramatic. If you can throw away any preconceived notions of the horror genre before watching this fantastic show, then you will be blown away - not only is this show paced fantastically, it also does not rely on constant action which allows for great characterisation and for the audience to be able to see the interaction and interplay between the characters which is vital for a show which, at its core, is about humanity and our moral and ethical guidelines. Now entering its third season, The Walking Dead is one of the best pieces of drama you will see on television today.

Music: Mogwai

Mogwai are a 5 piece post-rock band formed in the mid 1990's who specialise in instrumentation and distorting effects. So far the band have released 7 studio albums, with the first, Mogwai Young Team, standing out due to the great inventive nature of the sound and its gripping and spellbinding qualities, taking hold of you from its haunting opening to its heavy and disorientating finish. Mogwai really are one of the most original bands out there, with every album possessing its own unique sound and vision.

6 Week Theatre Challenge: 6 - 10

6. What is the best performance you have seen?

The best performance I have ever seen would have to go to Mark Rylance as Johnny 'Rooster' Byron in Jerusalem. Rylance's performance was visceral, raw and electric, whilst also being deeply touching at the same time. It was truly a humbling experience seeing Rylance in this epic role in a equally epic play.

7. What is the best ballet you have seen?

Giselle at the Royal Opera House was a brilliant ballet to have witnessed. Tamara Rojo as the fragile Giselle and Carlos Acosta as the noble prince highly elevated this production so that it became something of a theatrical event. The atmosphere was almost palpable in the final moments and the rapturous applause proved that Giselle was just as brilliant as I hoped it would be.

8. What is your favourite London theatre.

This question is hard due to me having many favourite theatres in London. I have always found the Harold Pinter theatre quirky and full of character, however the National Theatre has everything you would ever want in a theatre. Not only does it show some really quality productions, it also offers three theatres so that the national can offer different types of works. The staff are always nice and the bookshop is a theatre buff's heaven.

9. Is there a production you wish you had seen?

Definitely. Over the years there have been many productions which I wish I had seen. Recently, I would have like to have seen Constellations at the Royal Court (I hope I can catch it when it transfers to the Duke of York's). I would also have liked to see A Doll's House at the Donmar a few years ago which starred Gillian Anderson, Christopher Eccleston and Tara Fitzgerald.

10. What is the best lighting you have seen in a production?

I really loved Bruno Poet's lighting in Frankenstein. The hundreds of lights of the ceiling of the Olivier were beautiful and the rest of the on stage lighting was brilliant - it really added another dimension to the production.

The Physicists - Donmar Warehouse

When Josie Rourke announced her first season as Artistic Director of the Donmar, Freidrich Durrenmatt's absurdest play The Physicists caught my attention for a number of reasons. Both playwright and play I was unfamiliar with and the premise sounded intriguing - three physicists locked in a sanatorium with a political backdrop of the cold war and a murder. What more could you want from a play (especially when housed in a small theatre like the Donmar)?
The premise is simple enough to start. Without giving too much away, the play opens with a bang as we are greeted with the dead body of a nurse, dressed in all white to match the clinical feel of the set. From here we are introduced to many characters, both sane and insane.
My main problem with Rourke's production was not the play (albeit some lines felt out of place), nor was it any of the technicals, instead my main problem was with John Heffernan as Mobias. As what is arguably the main role I would have expected a more solid performance, one which did not feel strained and out of place like Heffernan's did. In one particular scene in the first act, Heffernan as Mobias goes insane and accordingly frantically falls about the set - his acting in this scene seemed highly forced and awkward, never did I believe that what I was seeing was anything more than just a piece of acting in a play. However, the other performances were truly great such as Sophie Thompson as the frightful Doctor and Justin Salinger as Newton.
The play takes many interesting twists and turns, thus keeping the audience engaged and there are also some very funny moments. The ending is a real visual treat and the play to me felt relevant in light of recent scientific advancement, although it did feel more like a piece of fun theatre than anything else which left me leaving slighly underwhelmed.
The Physicists definitely deservs three stars as it is a good piece of theatre which is well directed, visualised and performed (except Heffernan). Four stars feels like a slight push for something which may slip into the back of my mind soon, although I would reccomend it to those who enjoy a good, solid production.

Unrestricted #2

Film: Melancholia

Lars von Trier's most recent film, Melancholia, is a study of two characters: Justine and Claire. With an impending collision with a planet named Melancholia, von Trier studies depression and what we, as humans, would do in out last moments alive. Textured, haunting and unforgettable are just a few ways to describe this terrific film. Kirstin Dunst gives the performance of her career as the frail bride-to-be Justine and Charlotte Gainsbourg, as always, delivers a nuanced, touching and highly commendable performance as Justine's troubled sister, Claire. The cinematography is beautiful and the use of Wagner's prelude to Tristan and Isolde serves to compliment the imagery perfectly in the opening and closing moments of this cinematic tour de force. Like many of von Trier's previous films, the use of hand held camerawork makes the action that bit more personal and intimate. Melancholia ranks as one of the best films of 2011 and deserves to be seen.

Literature: Joan Didion - Blue Nights

Although Joan Didion's most recent work may be seen as a follow up to her most famous memoir, The Year of Magical Thinking, Didion again manages to weave a web emroided and rife with emotion without straying too close to her previous work. Didion's work has always felt cathartic, and this does not change with Blue Nights - a novel about her daughter's death - as Didion seems to use words to challenge herself, making herself come to terms with events that have shaken her. Albeit Blue Nights can feel repetitive in parts and somewhat frustrating as Didion appears to not want to tackle the very difficult parts of her daughter's life, it is an interesting read which, as the reader, I could only find myself respecting and admiring.

6 Week Theatre Challenge: 1 - 5

Instead of doing a 30 day theatre challenge and subsequently having it completely take over my blog, I thought I would do 5 days all at once every 5 days, thus making it a 6 week challenge. I couldn't find a list for theatre, therefore I have constructed the questions myself...

1. What is the best production you have seen?

Controversially, I will have to go for Katie Mitchell's production of A Woman Killed with Kindness which was staged at the National Theatre last year. Hated by many, this production really hit a chord with me and to this day it has stayed with me. Being in the audience, I found this production refreshingly original, fast paced and highly enjoyable - I had never seen anything quite like it. I confess I do love a production which splits an audience, however this provocative revival would certainly get a full five stars from me.

2. What is the most frustrating production you have seen?

Michael Grandage's production of King Lear and the Donmar had me musing over it for days and days. Did I love it or did I hate it? Something just wasn't quite right and so I not only found it highly frustrating, but I also found myself eventually loathing the production which in all fairness was really quite good. After a whole year of deliberating I found the weak link to be Derek Jacobi who played Lear. For me, Jacobi's performance was just a bit too camp and safe whilst Greg Hicks' performance of Lear at the RSC really hit the spot.

3. Which play have you seen the most?

I don't tend to get the chance to see multiple productions of plays (except Shakespeare) due to there not being the opportunity too frequently. However, I have seen King Lear three times, once at the RSC and twice at the Donmar (the most frustrating production I have seen).

4. What is the most experimental production you have seen?

I haven't seen that many experimental productions so I would have to go with DV8's Can We Talk About This? Albeit not massively experimental and more controversial, this production really did examine some difficult questions through the medium of physical theatre and dance which was highly thought provoking.

5. Who is your favourite playwright?

My favourite playwright would have to be Samuel Beckett. The mix of absurdism, comedy and tragedy is beautifully handled by Beckett, therefore providing us with some of the best plays every written. There is nothing better than seeing a brilliant production of a Beckett play.

                                                       

Theatre Announcements

As many of you will already know, there have been a fare few exciting theatre announcements as of late. I am going to take you few my picks of the upcoming shows.

Michael Grandage Company

Michael Grandage, ex-artistic director of the Donmar, has announced his first season with his new theatre company which features a whole host of star names and ticket bargains. The season at the Noel Coward Theatre starts with Simon Russell Beale in Privates of Parade, a military themed comedy by Peter Nichols. The second in the season, and for me the most exciting, is John Logan's first play since RED took the Donmar and Broadway by storm. His new play is called Peter and Alice and will star Judi Dench as Alice and Ben Whishaw as Peter Pan. The third and fourth plays in this season are The Cripple of Inishmaan starring Daniel Radcliffe and A Midsummer Night's Dream starring David Walliams and the brilliant Sheridan Smith. The final production will see Jude Law tackle Shakespeare yet again in Henry V. Every show has 200 £10 tickets on sale and is definitely worth the money if you can get your hands of the £10 tickets.

Royal Court

Any new season at the Royal Court is exciting and their most recent announcement did not disappoint. Featuring new plays by Cary Churchill, Jez Butterworth and Martin Crimp this season is not one to miss. Skipping over the Court's controversial decision to not release any tickets for Butterwoth's The River until the day of the performances, this will most probably be the one to see. However, Churchill's new play Love and Information also sounds like it will be an intruiging piece of theatre.

Uncle Vanya

Chekhov's masterpiece seems to be everywhere recently, but this production at the Vaudeville will most definitely be a hit seeing as it stars Anna Friel as Yelena and Ken Scott and Vaya.

Viscera/Infra/Fool's Paradise

Although not a new announcement, I thought I would include it on this list as public booking for it opens in a few days time. A new mixed programme featuring ballet's from Scarlett, McGregor and Wheeldon makes for essential viewing, especially when top price tickets are only £37.50. If you only book for one production in the Royal Ballet's new season, make sure it is this one.

Die Walkure - Opera North/BSH

Wagner's ring cycle is the epic when it comes to opera. Clocking in at nearly 20 hours for the whole cycle, 'the first evening', Die Walkure consumes nearly six of those hours and is probably Wagner's most accomplished opera in the cycle. To take on a whole cycle is a mammoth task for any opera company in both the sheer scale of the task and the amount of money involved and so for Opera North it is quite a challenge. However, it seems that Opera North has lived up to this challenge and has made Die Walkure into an exciting and thrilling opera experience.
Ingeniously, Opera North have decided to stage their cycle over four years and in concert form, leaving behind the gimmicks and fireworks other production fall back on when staging the cycle. This decision by Opera North has to be applauded as it was a huge risk to take - would it leave the audience unengaged? Would we eventually loose interest? I can happily report that it had the complete opposite effect. The five and a half hours passed by in an flash and we, as the audience, were left craving the second day of the cycle; Siegfried. What this staging gave the audience was a chance to fully immerse themselves in the music as for once the orchestra were not hidden in the orchestra pit of the Royal Opera House or at many alike theatres, instead we could see the music being created first hand - something which I believe is vital when it comes to any opera.
Besides from the orchestral staging, another impressive artistic decision taken by Opera North was to have a triptych of screens above the orchestra which were flooded with beautiful and mesmerising video footage such as a dense, snowy forest in Siegmund's escape and the running stream turning a blood red at his death. The screens really added another dimension to what was already a wonderful production.
The cast were all at the top of their game, bringing the fiery intensity needed for every character in Die Walkure. Erik Nelson Werner gave a passionate account of a man who's love for Sieglinde meant more than life and Katarina Karneus gave a brilliant diva-like quality to Fricka. The Valkyries also gave stellar performances, pleading with their father to not punish their beloved sister.
Five stars somehow does not seem a high enough rating to give this exquisite concert hall staging of Wanger's masterpiece. Everything seamlessly fell into place and helped create a truly unique afternoon at the opera. I will most definitely be in attendance at Opera North's staging of Siegried, the next (and penultimate) opera in Der Ring de Nibelungen.

Antigone - National Theatre

Antigone, the infamous Greek tragedy written by Sophocles, tells the story of a defiant woman who goes against the state to fight for what she believes in. This defiant woman is played by Jodie Whittaker in Don Taylor's new version of Sophocles' masterpiece which also stars Christopher Eccleston as Creon, the ruler of Thebes.
Directed by Polly Findlay, this modern day adaptation has been located to a bleak office reminiscent of war bunkers - the state's headquarters. The set is vast, desks adorn the stage and the chorus acting as Creon's advisers watch a small screen bewildered and shocked at what they are witnessing until at last a victory is announced. This is a terrific start, setting a dark tone and fast pace to what quickly becomes a disappointing production. As with most productions in the Olivier, the drum revolve is brought into play as the set revolves to reveal a wall at which Antigone and her sister Ismene meet. Annabel Scholey brings a brilliant degree of terror to the troubled Ismene, whilst Jodie Whittaker's Antigone (complete with a jarring Manchester accent) is weak and not strong-willed enough for us to believe that she is strong enough to go against the state in a society in which women are subservient. I can't help but feel that Annabel Scholey would have made a more convincing and engaging Antigone.
Christopher Eccleston's Creon is, like Whittaker's Antigone, not strong enough for the production and for the audience to believe that he is such a dictatorial ruler. With these rather weak performances, the production as a whole lacks drama which is essential for a Greek tragedy centred around the themes of death and the Gods. The only injection of drama comes from the entry of Tiresias in the latter part of the production, however, the electronic sound scape which accompanies his entrance is not fitting with the production as a whole. Jamie Ballad's performance of the blind and disfigured prophet is blistering and thrilling, combining a twisted wit and gruesome frustration.
As a whole, Polly Findlay's production just falls short of the mark in terms of dramatic intensity and performances, Saying this, the production is not overly weak and some of the performances are intense leaving some lingering sense of tragedy. I am going to give this production a low three stars, just clawing out of a high two stars.   

Detroit - National Theatre

Detroit is the hilarious, shocking and hard-hitting new play from Lisa D'Amour. Set in an unknown 'first-ring' suburb, D'Amour's play deals with the relationships and dynamics between two couples - Ben and Mary, and Kenny and Sharon. Austin Pendleton directs this terrific ensemble, creating an exciting and current piece of theatre.
The performances in this production are terrific and tragically comic; Justine Mitchell's Mary is dry and filled with bubbling emotions whilst Will Adamsdale plays Kenny as a frantic and dangerous character who really sets this play alight, igniting a visceral energy which ripples throughout the audience. Clare Dunne as Sharon, in the latter part of the one act drama, also offers a highly kinetic performance which is thrilling to watch. There are some truly comic moments in this production, one featuring a lot of alcohol and loud music, which really highlights the tragedy of the chracters' lives; Pendleton and D'Amour give the audience some striking contrasts which are beautiful, but at the same time are also disturbing as we see these characters' lives spiral out of control in such a hectic and care-free manner. The staging is also inventive and possesses a voyeuristic quality which adds to the intimacy of the production. 
The last fifteen minutes of this intoxicating production, however, fails to ignite the same energy that the play previously possessed and feels ever so slightly dull. I found myself wondering why we needed the inclusion of a fifth character to spell out what had just happened to the audience as if we hadn't just seen the play. It added nothing and took away some of the surreal magic of the previous scene.
Despite the disappointing ending, this is great piece of theatre which I loved and would highly recommend. I would have been tempted to give Detroit a full five stars, however because of the ending I am going to have to knock it down a star to four.    

Unrestricted #1

Unrestricted is going to be a weekly (or every two weeks) entry about what I am loving in the world of music, television, film, literature and some other fields. The main idea behind this is that the blog is mainly focused of theatre and so these entries will help it becomes more rounded, whilst also giving insight into different arts fields. My picks will not necessarily be new releases, nor will they always be the old classics; instead being what I am loving right now.

Music: Bjork - Biophilia

Bjork's newest album combines the beautiful simplicity of Vespertine with the electronic nature of Homogenic to form an album which is huge in scope. Taking inspiration from nature and how the universe works, Bjork skillfully weaves her beautiful lyrics with a sound scape of drum and bass whilst also incorporating an ever changing app (which sadly does loose its appeal after time). The real stand out tracks on the album are Thunderbolt, Mutual Core and Sacrifice. What is really interesting about the album is how it has evolved as I went to see Bjork perform this new material at the MIF (Manchester International Festival) and since, the tracks which appear on the album are darker, more intense and bigger in scale. Admittedly this is not Bjork's best album (although it is near the top), but it is refreshing and it is always great to hear new material from the ever evolving performer that is Bjork.

Literature: Albert Camus - The Outsider

Albert Camus' infamous novella The Outsider has alluded me all these years and so I recently seizes the opportunity to finally get round to reading it. The short work is centred around the narrator, Mearsault, and is split into two parts - part one being his freedom and part two being a captive. Without wanting to ruin the book for those who have not read it, it really is astonishing in capturing the real essence behind the notion of being free and the idea of society expecting certain things from individuals. Although a quick read, Camus' writing offers enough insight into the workings of the characters which allows for this beautiful book to flow from one scenario to another. Highly recommended, especially for fans of existentialist literature or indeed those who want a thought-provoking and challenging read.

Television: Entourage

Entourage is a brilliantly executed, hilarious television show from HBO which features some truly hilarious performances and cameos from those within the world of Vince, a rising star in Hollywood. Each episode, though short in length, offer a burst of entertainment which no other show can rival - the foul mouthed tirades from Ari, the quick one liners from Drama and the camaraderie are just a few features which help make Entourage unique and highly addictive. The show, however, does loose momentum in the final seasons in comparison the first few, but still remains intoxicating viewing.

The year of Shakespeare

Photograph: Keith Pattison

Shakespeare seems to be the name on every body's lips in the world of theatre this year. With the The Globe's hugely impressive GlobeToGlobe taking place right now and the RSC putting on their 'What Country Friends Is This' trilogy, Shakespeare seems to be everywhere up and down the country (just this morning it was announced that the Sheffield Crucible will be putting on a new production of Macbeth directed by Daniel Evans). With huge amounts of plays to choose from, I thought I would compile a list of the Shakespeare must sees of the year:

Ninagawa Company's Cymbeline at the Barbican, 29th May - 2nd June.
Otello at the Royal Opera House, 12th July - 24th July.
Troilus and Cressida at the RSC, 3rd August - 18th August.
Timon of Athens at the National Theatre, 10th July - 9th September (as of yet, more dates are yet to be announced).
King Lear at the Almeida Theatre, 31st August - 3rd November.

What is impressive about the amount of Shakespeare being put on this year is that it allows for the more obscure plays to be performed which might not normally get a look in when up against Macbeth or Hamlet. I think, this year, the most exciting productions will be of the more obscure of Shakespeare's plays such as King John at the RSC has been put into an innovative and original production by Maria Aberg.


p.s. I haven't abandoned this blog, I have just been very busy as of late and therefore my theatre-going duties will resume in a couple of weeks.

Michael Grandage talk - National Theatre

Yesterday (13/04/12) I went to the Michael Grandage platform at the National Theatre in which he talked about his decade at the Donmar and the book of the same name which will soon come out.
The Michael Grandage talk was my first platform at the National which is surprising as most of the productions I see are there, but anyway it was a very insightful 45 minutes in which we were given a great insight into some of his productions and his overall experience in turning the Donmar into a powerhouse of theatre. Some of the highlights were as follow:

• Frost/Nixon was apparently a difficult experience due to there being a fare few egos involved.
• Jonathan Groff will be taking Eddie Redmayne's place in the LA production of RED - Alfred Molina will be returning.
• Grandage told us that he doesn't do read-throughs due to the actor's being at different places in terms of performance.
• He likes to use more abstract sets due to his upbringing in Cornwall as he continually saw figures against the landscape - he also wittingly added that some actors find this hard as they love props, continuing to tell us that Derek Jacobi loves a good prop.

I really wanted to ask if the reports of him directing Ben Whishaw and Judi Dench is a new John Logan play were true, but felt that it would put him on the spot. Nevertheless, the talk made for a great evening and I would heavily recommend the NT platforms.

Olivier Awards 2012 - predictions

Photograph: Johan Persson

As everyone in the world of theatre knows, the 2012 Olivier Awards take place this Sunday at the Royal Opera House with coverage being shown via the BBC's red button for the second year running (my fingers are crossed for it to much better than last year's cringe-worthy coverage). Aside from the fact I do not necessarily agree with all of the nominations and the awards ceremony as a whole, I will be taking you through the people I believe deserve to win on the night (except for the musical awards as I haven't been to see any of the nominated musicals).
To begin, we have Best Revival which should hands down go to Anna Christie which was a beautifully calculated revival of an under performed play and indeed, an under performed playwright. Next we have Best New Play which will undoubtedly go to this years smash hit comedy One Man, Two Guvnors. I'm not sure how I feel about any of the nominations in this category as there really hasn't been any stand out new plays produced this year. Best Actress is a category packed full of brilliant talent but two performances really stood out for me this year, them being Ruth Wilson and Lesley Manville for Anna Christie and Grief, respectively. Lesley Manville's performance was a pitch perfect portrait of a hauntingly frail woman who has little left in her world - each word piercing the air of the Cottosloe, whilst Wilson's performance was strong, gutsy and highly captivating. I really couldn't choose between the two.

Photograph: Tristram Kenton

The Best Actor category at this year's awards contains a nomination for the most truly thrilling performances of the year - through the use of a plural you have probably guessed I am talking about the joint nomination for Benedict Cumberbatch and Johnny Lee Miller. I was beyond relieved that they received a joint nomination as they both complimented each other brilliantly and the show would not have been the same without both of them in the lead roles. The award for Best Performance in a Supporting Role will most likely give Sheridan Smith her second Olivier Award, and deservedly so as the other nominations in this category weren't really up to much (especially Johnny Flynn who I am sure is there just to give Jerusalem one last nod). I never really agree with the nominations for Best Director at the Olivier Awards, and I really do not agree with them this year. When it comes to this category, it always feels like people are nominated in regards to how many other nominations the show they have directed has (which would make sense), but I feel directors should be rewarded purely on artistry - an example would be Katie Mitchell whose shows are never recognised at the awards, but whose directorial stamp is present on all of her work. Mitchell, and many others, push boundaries. How many times can we have Nicholas Hytner or other 'play it safe' directors nominated? It seems every year.
The rest of my predictions:
Best Lighting Design - Bruno Poet should really get this award for his atmospheric and engaging lighting for Frankenstein.            
Best Set Design - Michael Taylor's set for The Ladykillers was original and highly creative - he thoroughly deserves to win this award.
Best Sound Designer - Underworld and Ed Clarke for Frankenstein.
Outstanding Achievement in an Affiliate Theatre - Salt, Root and Roe at Trafalgar Studios 2.
Best New Dance Production - The Metamorphosis
Outstanding Achievement in Dance - Edward Watson

Yayoi Kusama - Tate Modern

'Captures the ever changing motions of life'

This is just a quick review of the Yayoi Kusama retrospective at the Tate Modern.

Yayoi Kusama has never been big over here in the UK and so prior to this retrospective I had little knowledge of Kusama or her work, except that she like dots. Unlike the Damien Hirst retrospective down the escalator, this retrospective supplies the public with a huge span of Kusama's career that is both insightful and touching as we can see her work becoming more and more intense as her psychological condition deepens through the years.
To start, we are greeted with her most early works on paper which are simple yet stunning. Some of these works are dark and mysterious whilst others are bright and intense. As the retrospective continues we see the paper turn to canvas and the work become bigger and bigger, whilst still retaining the beautiful colours and avant-garde style.
Kusama, as well as working with paint and canvas, also deals with installations and sculptures which provide some breathtaking moments. The first of which is Aggregation: One Thousand Boats Show which shows us her fear of sex and the male penis; it makes for an emotional instillation. The final room in this brilliant, if not wacky, retrospective of Yayoi Kusama's career is Infinity Mirrored Room - Filled with the Brilliance of Life (specially made for this exhibition) which sums up the whole visual journey this exhibition provides you with. Once you leave this room, and indeed the exhibition, space never really looks the same as what you have just witnessed is an instillation which captures the ever changing motions of life. I'm Here, But Nothing is another example of this artist's brilliance.
The Yayoi Kusama retrospective is well worth a visit and proves Kusama is an artist of outstanding quality who blends emotional clarity with the abstract almost seamlessly.

'Yayoi Kusama' in on at the Tate Modern until 5th June 2012

Polyphonia/Sweet Violets/Carbon Life - Review Roundup

Bill Cooper - Royal Opera House

When I saw this new mixed programme on opening night I wasn't overwhelmed, nor was I dissapointed. It stood somewhere is the middle of the two. This is what the critics made of it:

The Telegraph
Sarah Crompton in The Telegraph gave the programme a generous four stars and stated that she thought Carbon Life was 'a blast', though she wasn't 'entirely sure that the piece...will have that long a shelf life' - something which I agree with and wrote about in my review. Crompton continues by saying that 'it looks lovely' and that 'the whole thing has visceral energy'. However, she was 'less keen of Gareth Pugh's angular costumes'. 'It feels like a young man's ballet, but the talent shown within in it is seriously mature' is how Crompton concludes her review of Sweet Violets - coming to the conclusion that it is 'Polyphonia which provides the most thoughtful and refined treat of the evening'.   

The Independent
Zoë Anderson in The Independent gave a less complimentary review of the programme, giving it an overall rating of three stars. 'Busy' is how she describes Wayne McGregor's Carbon Life - Anderson also states that the 'music and dancing both get repetitive', yet the 'gorgeous beginning' is 'shamelessly pretty'. Sweet Violets is decribed as being a 'mess of bad and good ideas', but also compliments the 'superb cast', which I found was 'perfect'. Like Sarah Crompton in The Telegraph, Anderson calls Polyphonia 'sleek and just right' - a sign that they found the two new works inferior to the opening of the programme.  

The Guardian
Judith Mackrell in The Guardian has given the Royal Ballet's new mixed programme an average three stars. Like the other reviewers, Mackrell found that it was Polyphonia which 'takes the honours' as its 'scrupulous, passionate cast, exposes the excess baggage' the two new works hold. Talking of Liam Scarlett's Sweet Violets, Mackrell states that it 'could be a seriously fine ballet' if it weren't for 'too many characters' and 'too much back story'. When it comes to Wayne McGregor's new work Carbon Life, Mackrell believes that it 'lacks the eerie internal beauty' of his 'best work', though also pointing out that it 'rocks, exactly as it was meant to'.

Financial Times
Clement Crisp in the Financial Times has awarded this programme two stars, beginning by saying that 'Polyphonia came to the rescue of an otherwise disappointing programme'. Crisp states that Liam Scarlett's Sweet Violets is 'emotionally clogged' and a 'long-winded event'. Carbon Life, a new work by McGregor, is stated to have 'superb lighting', yet 'the innate classicism of his [McGregor's] dancers and the tics of his mannerisms...distorts...the qualities of his cast'.  

The rest of the reviews are not out yet and I will add them when appropriate.

Polyphonia/Sweet Violets/Carbon Life - Royal Opera House

Christopher Wheeldon's Polyphonia

Before coming to see this new mixed programme from the Royal Ballet, I had little knowledge of Polyphonia yet knew quite a bit, surprisingly, of Liam Scarlett's new ballet Sweet Violets and Wayne McGregor's new piece Carbon Life. Of course, they were the ballets everyone was waiting for, but did they live up to the hype they created?
First up was Christopher Wheeldon's Polyphonia, an abstract piece set to György Ligeti's sharp and jumpy music. As much as I enjoyed this refined and visually beautiful piece, it's quick wit and soft touch made in lose focus for me. Many of the sequences were haunting and emotionally taught, but when the odd humorous gesture was thrown in for good measure it lost some clarity of the direction it was heading in, and how it wanted its audience to view it. Despite this, I did enjoy this quick and lyrical work which no doubt will remain in the Royal Ballet's repetoire for many years.
Carbon Life, on the other hand, will most probably not stay in their repertoire. I say this not because it is bad, but that to create the full effects it would need the original performers and band. Carbon Life is the new ballet by the Royal Ballet's choreographer is residence Wayne McGregor - it combines dance, music and visual aesthetics to create a show which is maybe trying to be a bit too clever. Split into segments, this ballet charts the cycle of life and love. The opening of this new work shows the dancers naked as embryos - their bodies flowing in pools of gold light - and it ends with them in Gareth Pugh's multi-angled black hats, tutus and gloves. As cutting edge as this new work was, some of the segments were messy and badly calculated, whilst others were tight which created a polarisation in the piece.
The inclusion of live music from Mark Ronson, Boy George, Alison Mosshart and many others provided the audience with some great and memorable tracks. The problem, though, with this very direct musical approach was that it was distracting as I found myself focusing of Mosshart's fiery red hair instead of some of the duets between the dancers - which was taking a backseat? Sadly, I would have to say the dancers who came across as backing dancers throughout. I did love the individual components of this performance, but something just didn't fit; it was missing a gel which, if present, would have made Carbon Life a highly successful and breathtaking work of epic proportions.
Liam Scarlett's Sweet Violets, a new work taking inspiration from Sickert's paintings of the Camden murder, is full to the brim of sex and violence - making this work a passionate and enthralling piece of dance. Steven McRae, Alina Cojocaru, Laura Morera, Tamara Rojo and Thiago Soares make for a perfect, principal, first cast of this chilling tale set in a world of prostitution, political corruption and bribery. The set, like the action holds a few surprises and the atmospheric lighting adds another dimension to the best work in the mixed programme.      

Playing at the Royal Opera House until Monday, April 23rd.

Damien Hirst - Tate Modern

Exploited for the sake of 'art'.

Damien Hirst shot to fame in the arts scene through the 1988 exhibition Freeze which he curated. Now, two decades on, the Tate Modern is celebrating his career in a first full retrospective which contains many of his infamous and controversial works. I have never claimed to be a fan of Hirst or his works, nor have I been a detractor who has dismissed his art as being nothing more than a 'con'. This retrospective has, however, put me one of the two contrasting groups; the latter.
As I entered this exhibition, I expected it to be a great spectacle and for myself to be wowed. I wanted to see progression and an insight into the workings of Hirst's mind. The first room which contains his early works gave me this - I was able to see his roots through With Dead Head and the first of the dot paintings (one which he actually painted). Boxes also gave me a great sense of Hirst's fascination with colour - a piece that was created in 1988 for Freeze. However, as I progressed through the show, the work didn't seem to progress. From the moment I entered the second room I was seeing perfect spot painting created by his assistants, ahead of me was A Thousand Years and to my left was The Physical Impossibility of Death in the Mind of Someone Living - what had happened to the rough work of Hirst's Goldsmiths days? These works appeared to be controversial for controversials sake and what hit me (apart from the horrific smell of the rotting cow's head) was that the public in this blockbuster exhibition weren't bothered with the messages behind these pieces, but were more interested in the animals themselves. It dawned on me that Hirst may be hiding behind these beautiful creatures; using them to cover up a lack of meaning in the work - the meaning which always seemed to be death or money or a mix of both.
The continual use of animals and creatures was carried throughout the show and played the major role in In and Out of Love in which butterflies were bred in the exhibition and their beauty was exploited by Hirst. These butterflies, as beautiful as they were, looked tired and tortured. Is using these beautiful creatures for the sake of art morally right? I would answer no. Again, the audience were more bothered in the butterflies and their beauty and not the piece of work as a whole.
This familiar pattern of the repetition of materials and animals led to many of the rooms becoming boring and tired. The constant use of medicine gave me a headache and did nothing for me. What was Hirst really trying to say? I don't know as these works were not refined or interesting in any way or form. I, along with every one else in my party, walked on through these endless rooms without batting an eyelid. Damien Hirst, to me, appeard to be taking objects and giving them a name to make it into art and then sell it for a hefty profit. Another problem I had with this exhibition is that I always felt that I wasn't witnessing Hirst's work, but the work of his assistants. I would love to know how much involvement he had in the 200th or 300th spot painting. Another issue I took with the show is that it was deeply impersonal. When viewing a retrospective I expect to gain some insight into the mind of the artist, but with this retrospective I gained no insight as the work didn't allow us to search inside the inner workings of Hirst's mind. Maybe Hirst wants to distance himself from his work? Either way, it makes for a highly disappointing viewing.
The constant repetition made this retrospective feel like a normal gallery show. As I reached the end of the show I had to come to the conclusion, from what I had just seen, that Damien Hirst's work represented everything that is wrong with some forms of modern art: money. As I reached the end of this boring, badly curated and downright terrible show it appeared that Hirst was creating work purely to sell, thus making a statement about wealth - his wealth.

'Damien Hirst' is on at the Tate Modern until 9th September 2012  

Introduction to my blog

I've been going to the theatre regularly for just over two years and I thought that it's about time to start writing about the things I see and the thoughts I have on general matters in the world of theatre and the arts. I go to see a variety of shows such as ballet, opera and straight theatre, but also expect to see some reviews of upcoming art exhibitions as well. Most times I will rate a show out of five and then afterwards post about what the critics said and thought about the shows I have seen. I have a few things comming up this month, but May will be sparse due to other commitments. My theatre-going schedule will resume to normal in June with some trips to the National Theatre and Opera North. 
I hope you all enjoy my reviews and general thoughts about the arts world and its goings on.