People can’t find the food they want in the shops. Nobody has enough money. Public services are under pressure. And there’s a big Royal occasion to take our minds off things.
The Facade Ensemble is an interesting chamber group of young players dedicated to exploring 20th repertoire, in this case John Cage, Arvo Pärt and Gavin Bryars, who celebrates his 80th birthday this year. The programme, put together by founder and conductor Benedict Collins Rice was contemplative in tone, and an interesting opportunity to hear these experimental and minimal works in a pared-down scoring.
Diana Evans specialises in houses, their baleful quirks and the meaning of home. In her acclaimed third novel, Ordinary People (2018), formerly happy, black couple Melissa and Michael live in a crooked, malevolent Victorian terraced house in south London – the address is Paradise Row – where Melissa, struggling to cope after the birth of her second child, feels that the “floorboards were like a demon presence”.
For a show that comes with a trigger warning about the themes of racism, gang violence, toxic relationships, sexual abuse, child abuse, domestic violence and suicide it will tackle, For Black Boys… is unexpectedly joyful.
Complicité, the adventurous theatre company led today by Simon McBurney, one of its founders, is now 40. Over the last four decades, McBurney and his collaborators have changed the face of theatre.
Rooted in the training of Jacques Lecoq, along with Robert Lepage, Ariane Mnouchkine and others, they have created work that combines poetry and intelligence, illuminating the stage in a way that combines the inspiration of the best story-telling with the play of the imagination.
One wonders if Ricky Simmonds and Simon Vaughan pondered long over their debut musical’s title. Silvio might invite hubristic comparisons with Evita (another unlikely political leader), but Berlusconi feels a little Hamilton – too soon? They went with the surname of their anti-hero which appears a mite unwieldy on the playbill.
There’s no point in being upset with the writer Steven Knight for doing what he usually does; even so, many viewers will find what he has done with Charles Dickens’s Great Expectations far too Peaky for their tastes.
Last night at the Barbican was my first experience of a film with live orchestra, which has become a big thing in the last few years. The film in question was Alexander Korda’s extraordinary HG Wells adaptation Things to Come, from 1936, imagining a century of the future.
What are the qualities that make a great conductor? It’s something that has been debated for years, brought into focus recently not least because of Cate Blanchett’s award-winning performance as fictional maestra Lydia Tár. Despite what you may think of the film, it has reignited debate about what it means to be a conductor today, and what qualities they should possess.
Sent by a surely reluctant BBC PR, an ardent choral singer and supporter of new music, last Tuesday’s email had a title to make one groan: “New Strategy for Classical Music Prioritises Quality, Agility and Impact”. Very W1A. But this was no laughing matter – ker-pow-ing out of the thicket of corporatespeak were two devastating punches to the solar plexus.