The Edinburgh Fringe One-Weeker 2018 – Definition of Man, 25th August 2018

Definition of ManOur first show on Saturday is, I think, going to be an intriguing mix of dance and physical theatre. It’s Definition of Man at 11:25 on Saturday 25th at Mint Studio @ Greenside @ Infirmary Street. Let’s read the blurb: “A sexier, more violent Waiting for Godot, Definition of Man is a physicalised post-apocalyptic decreation myth that won Best in Dance and Physical Theatre and Ripest Show at the 2017 Hollywood Fringe. Drawing from Kenneth Burke’s essay of the same name, the show investigates the human drive to communicate and the inevitable breakdown that results from the inherent incompleteness of language. The one-act show was created by Nikki Muller and Jason Rosario by synthesising personal narratives, academic texts and Russian counterbalancing to explore issues of identity, race, gender performance and communicative breakdown.”

This ought to be first rate – it comes highly recommended – but I’m not entirely sure what to expect. Check back around 12.45pm to see what we thought of it. By then the next preview blog should be available to read too.

The last man and woman left alive in a post apocalyptic world, as interdependent as two chromosomes, in a beautiful, moving, thought-provoking piece. How sad the company chose to destroy it by having an official photographer snap and click all the way through. No matter how delighted you are that you’ve made it to Edinburgh, and how much you want photos to attract future audiences, that disrespects the current audience and is an abominable practice.

The Edinburgh Fringe One-Weeker 2018 – Yummy, 22nd August 2018

YummyNext is a show that’s had great reviews down under, and I’m sure will be a breath of fresh air. It’s Yummy, at Central @ Assembly Roxy, at 21:40 on Wednesday 22nd. Here’s the blurb: “Yummy, the Melbourne powerhouse of drag, dance, circus, and music, has been serving smash-hit events in numerous festivals across Australia and beyond. Yummy is the winner of Best Production and Best Ensemble (Cabaret) at the 2018 Greenroom Awards and Best Cabaret at Adelaide Fringe Weekly Awards 2018. This critically acclaimed show is directed by James Welsby and features an all-star cast: Karen From Finance, Valerie Hex, Jandruze, Zelia Rose, Hannie Helsden and Benjamin Hancock. Described as ‘a must-see’ ***** (Advertiser, Adelaide, 2018), Yummy is an absurd, fascinating, and outrageous experience.”

By the sound of it, this isn’t going to be full of shy and retiring types – I predict a riot! Check back around 11pm to see how much we enjoyed it. By then the next preview blog should be available to read too.

Yummy is a sensationally colourful and vibrant show, with terrific performers and a huge sense of fun. I particularly enjoyed the girl with the hula hoops! My only criticism is that after a while it becomes just a little samey, I’d have loved a few more comedy numbers or speciality acts. Nevertheless, highly enjoyable!

The Edinburgh Fringe One-Weeker 2018 – Sky Labyrinths, 20th August 2018

Sky LabyrinthsLast year we only saw one dance show at Edinburgh; and weirdly, the same thing has happened this year. Not sure why that is, as I’m very fond of contemporary dance! Anyway this year’s chosen dance show is Alyona Ageeva Physical Theatre Posleslov’s production of Sky Labyrinths at Forest Theatre @ Greenside @ Infirmary Street, at 11:35 on Monday 20th. Here’s the blurb: “’I looked up in the skies. The Sky river changed its bed’ (Hattori Ransetsu). Once in a lifetime Sky Labyrinths open to everyone, but not everyone risks entering. These labyrinths are home to beauty and terror at the same time. They reveal the eternal secrets of the universe and pages of the books unwritten: there you can find your essence or get lost forever. It’s a road with no beginning or ending, a river of time carrying humans’ destiny. Those who come through these labyrinths will never be the same again.”

I’ve read reviews of other dance works by this company and they sound fascinating and expertly performed. Apart from that, I’m not sure what to expect! Check back when it’s finished at around 12.40pm to see what we thought of it. By then the nextpreview blog should be available to read too.

Sometimes, Fringe contemporary dance can be a little hit and miss. This, however, was superb. The strength, control and artistry of this company was amazing. A clever reinterpretation of the Adam and Eve story, including surprise appearance of God and a rainbow kilted violinist. Absolutely compelling.

Review – An Evening of Music and Dance with the Birmingham Royal Ballet and the Royal Ballet Sinfonia, Derngate, Northampton, 20th January 2018

An Evening of Music and DanceHaving an affinity for a particular theatre company, or dance company, or orchestra, is a matter of habit. For four years from 2003 to 2007 Mrs Chrisparkle and I were regulars at the Birmingham Royal Ballet. We would take our little nieces, or our Godchildren, plonk them down in the middle of the Birmingham Hippodrome stalls and they would be overwhelmed with the excitement, the colour, the beauty and the artistry of the dancers. We used to love it too. Then for some reason, we stopped. Mentally I still admired them from afar, but it’s taken ten full years since then to re-establish our proper and much missed acquaintance.

David Bintley

David Bintley

David Bintley, who compered this evening of Music and Dance, told us these shows were a regular phenomenon in Birmingham and have gone down a storm at the Symphony Hall for many years. For the first time they were stretching their wings and taking the show out of town – first stop (and indeed, only stop) Northampton. Thank you so much for thinking of us, BRB, because this was an evening of unmitigated delight that transported the audience from a wet January Saturday to a land of magic and escapism. Everything was beautiful at the ballet, sang the girls from A Chorus Line and if you ever needed proof of that, look no further.

Paul Murphy

Paul Murphy

When you enter the auditorium, the Royal Ballet Sinfonia are all in place on the stage and there’s a large empty area in front of them where the dancers can perform. Will the orchestra distract from the dancers? Will the dancers distract from the orchestra? Neither, somehow the staging seems to complement each other perfectly. Our conductor was Paul Murphy, an enthusiastic chap who’s not above encouraging the orchestra with a bit of jazz hands when a mere baton isn’t enough. He reminded me of a clean-shaven, smartened up and sober version of Father Jack. His utter delight in his work clearly transmits itself to the orchestra who in turn convey it to us. When you see an orchestral performance with a soloist on the violin or the piano, you know that the conductor has to split his attention 50:50 between orchestra and soloist. Similarly, it was fascinating to see how Mr Murphy had to keep one eye on the dancers as well as his musicians in order to keep perfect time with their moves. I’m sure that’s a particular skill that takes many years to achieve and he did it brilliantly.

SinfoniaThe structure of the show is that the Sinfonia performs one orchestral piece, then dancers come on stage and the Sinfonia play the accompaniment; then another piece, then another dance, alternating throughout the evening so that we enjoy twelve items in all – six orchestral pieces and six dances. To be honest, the balletomane in me would have been happy for each of the twelve pieces to have featured dance – I guess that’s what I was expecting – but I appreciate that the alternating pattern sustained the variety of the entertainment, which was probably wise. You can have too much of a good thing, after all.

Celine Gittens and Tyrone Singleton

Celine Gittens and Tyrone Singleton

We started with the cute confection that is the prelude to Engelbert Humperdinck’s Hansel and Gretel – Mrs C was a little disappointed that this wasn’t an orchestral version of The Last Waltz – and then our first dance was the Act III pas de deux from Tchaikovsky’s Sleeping Beauty. Can’t beat a spot of Petipa, and Principal Dancers Céline Gittens and Tyrone Singleton danced it magnificently, decked out in stunning white brocaded costumes. It wasn’t until this first dance that I realised our third row seat gave us an unusually close view of classical ballet – normally with an orchestra in the pit in a large theatre even front stalls seats can feel quite distant from the dancers. Not so this time; and our proximity to the stage gave me an opportunity to concentrate on the technical achievements of the dancers – the balance, the strength, the accuracy, which I find irresistibly rewarding to observe.

Jenna Roberts as Juliet

Jenna Roberts as Juliet

Elgar’s Wand of Youth Suite no 2, The Wild Bears, followed; I’d never heard it before and I was impressed by the way the orchestra threw themselves into its frenzied excitement – one of those pieces that is just great fun. Then our next dance was the pas de deux from After the Rain, by Arvo Pärt, choreographed by Christopher Wheeldon. The poignant, elegant music is played by just the solo violin – Sinfonia leader Robert Gibbs – and solo piano, played by Jonathan Higgins, which made a solemn contrast with the liveliness of what had gone before. It was danced by Principals Jenna Roberts and Iain Mackay on his very final show with the company; he’s been 19 years with the Birmingham Royal Ballet (I’m sure we saw him in Carmina Burana many years ago) and it turned out to be quite an emotional night. The dancers simply immersed themselves in the elegant choreography which managed to be both acrobatic and stately, and the power of the performance was literally breathtaking.

James Barton

James Barton

The next musical item was Korngold’s Adventures of Robin Hood Suite, another piece new to me that had something of a military march to it – I have to say it’s nothing like as evocative of Robin Hood as Carl Sigman’s TV theme, but then what do I know? I was more looking forward to the last dance before the interval, the famous and funny clog dance from La Fille mal gardée choreographed by Frederick Ashton. James Barton, fresh from his year dancing in An American in Paris, danced the role of the Widow, with a cheekily sprightly step and a scarcely suppressed titter. Four soloists, Yvette Knight, Laura Purkiss, Yaoqian Shang and Yijing Zhang completed the coquettishly clogging quintet. Enormous fun, and of course such a catchy piece of music played by the Sinfonia.

Cesar Morales

Cesar Morales

After the interval, we returned to hear Dvorak’s Slavonic Dance Op 46, No 8; the Slavonic Dances are among my favourite pieces of classical music and they gave it a blistering performance. Next up was Weber’s Spectre de la Rose, choreographed by Fokine and danced by Arancha Baselga and Cesar Morales. A very stylised piece, it features Ms Baselga languishing in a posh chair whilst Mr Morales leaps in through the (imaginary) window and cavorts around her. Despite occupying all the available dance space it still comes over as a remarkably intimate piece; and Mr Morales’ Nijinskyesque leaps were pretty phenomenal. A perfect balletic blend of the pure and fragile with the powerful and muscular – a superb performance.

 Iain Mackay in Taming of the Shrew

Iain Mackay in Taming of the Shrew

The Sinfonia then played Sibelius’ Valse Triste, a delicate and moving little piece that sways along; perhaps a little faster than it is normally played, and I think all the better for it. Compere David Bintley returned to introduce Jenna Roberts and Iain Mackay in what was to be his very final dance on stage in his career, Bintley’s own choreography to the much-loved Adagio from Spartacus by Khachaturian, a personal parting gift to the dancer from the director. Mr Mackay danced Spartacus and Ms Roberts his wife Phrygia, in a piece where she informs him she would be giving birth to his son. It was a truly wonderful piece of choreography; very moving, very joyous, and absolutely jam-packed with all different sorts of emotions. Fokine marvellous, in fact.

Momoko Hirata

Momoko Hirata

Before the final dance fireworks (Mr Bintley’s words – and so right he was), the Sinfonia performed two dances from Manuel de Falla’s The Three-Cornered Hat, the instruments positively buzzing with Falla’s fiery orchestrations. Our last item was the pas de deux and solos from Don Quixote; Petipa at his extravagant best. The dancers were Principals Momoko Hirata, performing those crowd-pleasing pirouettes with total joy, and Mathias Dingman who attacked those solo show-off sequences like there’s no tomorrow – his brisés in particular were immaculately executed.

Matthias Dingman

Matthias Dingman

The final standing ovation went for a very long time, with of course special hugs and appreciation for Iain Mackay’s two decades of duty with the company. What a hugely entertaining show; every orchestral piece brimmed with excitement, and every dance was in-your-face fantastic. It was a real privilege to be there. Birmingham Royal Ballet, I apologise for ignoring you over the last ten years. It’s been too long. Hope you’ll make this a regular date and even bring one of your full-length ballets our way some time soon.

The production photos are from a variety of online sources, and from different ballets from those performed in the concert; if they are yours, please let me know if you would like me to remove them.

Review of the Year 2017 – The Eighth Annual Chrisparkle Awards

Once again the world of the arts is holding its bated breath to hear the results of who has won this year’s annual Chrisparkle Awards. The whole team has scurried away to a dark place (my study) to determine the identities of the chosen few. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 14th January 2017 to 11th January 2018.

Are you all sitting comfortably?

The first award is for Best Dance Production (Contemporary and Classical)

So we start off with a slight problem. Apart from at the Edinburgh Fringe, we only saw one dance production all year. One measly production! Not that it was a measly production but only seeing one is definitely measly. For a time the Committee wondered if, for this year, the award should be temporarily withdrawn, but that didn’t seem fair. So we have compromised, and included the two dance shows we saw in Edinburgh as well as the one, non-Fringe show we saw elsewhere. At least that gives us three shows to consider, and this is how they place:

In 3rd place, the honest and daring piece for two, Together Alone, from the Taiwan Season at Dance Base at the Edinburgh Fringe in August.

In 2nd place, Really Nice Theatre Company’s funny and acrobatic production of Two Little Boxes at Greenside at Nicolson Square, at the Edinburgh Fringe in August.

In 1st place, for the fifth time in six years, the skilful creativity of the impeccable Richard Alston Dance Company that we saw at the Royal and Derngate, Northampton in October.

Classical Music Concert of the Year.

We saw six classical concerts in 2017 and they were all excellent, so it was extremely difficult to whittle it down to a top three. Nevertheless, the impossible has been achieved, so they are:

In 3rd place, Christian Kluxen Conducts Tchaikovsky, with a brilliant programme of Italian, German and Russian music including Tchaikovsky’s Symphony No 6 and Mendelssohn’s Piano Concerto No 1 played by Martin Roscoe, and the Royal Philharmonic Orchestra, at the Royal and Derngate, Northampton, in May.

In 2nd place, Francesca Dego Performs Bruch, including wonderful performances of Brahms’ Symphony No 4 and Bruch’s Violin Concerto No 1 with the Royal Philharmonic Orchestra conducted by Mathieu Herzog, at the Royal and Derngate, in November.

In 1st place, Jan Mráček Performs Mendelssohn, a stunning performance of the Violin Concerto together with a great rendition of Shostakovich’s Fifth Symphony with Martyn Brabbins conducting the Royal Philharmonic Orchestra, at the Royal and Derngate, in June.

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Not so many contenders this year so we’ll stick with a top three:

In 3rd place, the inimitable Damian Williams starring as Mother Goose in the panto of the same name at the Lyceum Theatre in Sheffield in January 2018.

In 2nd place, the beautiful and hilarious combination of acts that make up the Burlesque Show at the Royal and Derngate, Northampton in January 2017.

In 1st place, the start to finish riot of near-knuckle hilarity that was Dick Whittington the panto at the London Palladium in December.

Best Star Standup of the Year.

We saw ten big-name stand-up comics this year, and I think it’s fair to say they were a varied bunch with a few disappointments. I listed a top five last year but this time a top three will suffice:

In 3rd place, the extraordinary experience of spending a late night 90 minutes in the company of the one and only Miss Whoopi Goldberg, at the London Palladium in February.

In 2nd place, the irrepressible silliness of Jimeoin in his Renonsense Man Tour, at the Royal and Derngate, Northampton, in February.

In 1st place, by a whisker – or maybe two, a shared award; Tez Ilyas’ Made in Britain Tour, together with his fantastic support act Guz Khan, Underground at the Royal and Derngate in May.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

Lots of great acts with a fighting chance of winning this award, but the winner was never in doubt. From a very, very long shortlist, here are the top five:

In 5th place, the parody musical magic of Christian Reilly (12th May)

In 4th place, for his amazing ability to make so much off the cuff humour from an audience member throwing up, Paul Thorne (3rd November)

In 3rd place, the mischievous intelligence of Markus Birdman (3rd February)

In 2nd place, seen many times but on this occasion absolutely on fire, Robert White (3rd March)

In 1st place, a new star is born, and receiving possibly the best reception in eight years of watching Screaming Blue Murders, Daliso Chaponda (28th April)

And now, a new category; as we have seen so many stand-up comedy acts in other clubs, such as the Leicester Comedy Festival, Bluelight Comedy, Upfront Comedy Shows and Edinburgh Try-outs in various locations, here’s the Best of the Rest Stand-up Award.

In 5th place, the larger than life unpredictability of Aurie Styla (Upfront Comedy – Comedy Summerslam), at the Royal and Derngate, Northampton, in June.

In 4th place, the thought-provoking, hard-hitting material in the Edinburgh Try-out of his show Your Wrong, Phil Nichol (Comedy Crate Festival) at the Black Prince, Northampton, in July.

In 3rd place, the challenging, calculating material and presence of Mickey Sharma (Upfront Comedy – Comedy Summerslam), at the Royal and Derngate, Northampton, in June.

In 2nd place, a hit from the previous year’s Edinburgh Fringe, the extraordinarily personal and moving show by Richard Gadd – Monkey See, Monkey Do (Leicester Comedy Festival at The Cookie, Leicester) in February.

In 1st place, for getting on for four hours of solid hilarity, Just The Tonic Comedy Club with Johnny Vegas, and guests Kevin Dewsbury, Guz Khan and Paul McCaffrey (Leicester Comedy Festival, Hansom Hall, Leicester) in February.

Best Musical.

Here’s where it gets really difficult. I saw fourteen musicals this year, mainly revivals but a few new shows as well. Competition is very fierce and some superb shows don’t get a mention. Here are the top five:

In 5th place, so good I saw it twice on consecutive days, the touring revival of the Kinks Musical Sunny Afternoon at the Royal and Derngate, Northampton, in January.

In 4th place, the breath of fresh air with its heart absolutely in the right place, the feelgood Everybody’s Talking About Jamie, at the Apollo Theatre, London, in December.

In 3rd place, the beautiful and emotional revival of Fiddler on the Roof, at the Festival Theatre, Chichester, that we saw in July.

In 2nd place, one of my favourite shows of all time, in a dynamic and exciting revival, Stephen Sondheim’s Follies at the National Theatre Olivier, in September.

In 1st place, with incredible impact and maybe because I’ve never seen it before, and it really took my breath away, the revival of Miss Saigon at the Curve Theatre Leicester in July.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. I’ve seen 21 new plays this year, and only a handful of them disappointed. So this is an extremely difficult decision, as you have to compare such different genres; but somehow I chose a top five from a shortlist of ten:

In 5th place, the funny and sad life laundry drama, The House They Grew Up In, at the Minerva Theatre, Chichester, in July.

In 4th place, how to make a riveting play out of dry subject matter, Oslo at the Harold Pinter Theatre, London, in December.

In 3rd place, the gripping and exciting thriller based in 1980s Northern Ireland, The Ferryman at the Gielgud Theatre, London, in December.

In 2nd place, the emotional turmoil of The Kite Runner, at Wyndham’s Theatre, London, in February.

In 1st place, the extraordinary combination of political intrigue and carefree humour that forms both parts of the RSC’s Imperium, at the Swan Theatre, Stratford, in December.

Best Revival of a Play.

Saw twenty revivals, almost all of which were worthy of consideration. Nine made the shortlist; here’s the top five:

In 5th place, the high energy testosterone-fest that is Glengarry Glen Ross at the Playhouse Theatre, in November.

In 4th place, a feat of great stamina and a beautiful revival, The Norman Conquests at the Festival Theatre, Chichester, in October.

In 3rd place, the vividly re-imagined and exciting new production of Julius Caesar at the Crucible Theatre, Sheffield, in May.

In 2nd place, the spellbinding new production of Who’s Afraid of Virginia Woolf, at the Harold Pinter Theatre, London in April.

In 1st place, the production I’d been looking forward to all year and it was every bit as remarkable as one would have hoped, King Lear at the Minerva Theatre, Chichester, in October.

As always, in the post-Christmas season, time to consider the turkey of the year – the one that missed the mark the most was the Royal and Derngate’s confused production of The Grapes of Wrath in May.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 17 plays in Edinburgh, and here are the top 5:

In 5th place, the eerie and suspenseful psychological thriller Black Mountain produced by Paines Plough (Roundabout @ Summerhall)

In 4th place, the totally convincing portrayal of a relationship irreconcilably broken down with the snappy title The Delights of Dogs and the Problems of People, written by Rosalind Blessed (Studio @ Space Triplex)

In 3rd place, the thought-provoking and opinion changing Bin Laden: The One Man Show produced by Knaive Theatre (C venues – C, Chambers Street)

In 2nd place, the riveting Gypsy Queen, written by Rob Ward (Front Room @ Assembly Rooms)

In 1st place, the play that taps into the Zeitgeist and doesn’t feel like a play, the horrifying, hilarious and brain-teasing Losers, produced by Tit4Twat Theatre (Underbelly, Cowgate)

Best Individual Performance in a Play – Edinburgh

One of the hardest categories to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top three:

In 3rd place, Rosalind Blessed for The Delights of Dogs and the Problems of People (Studio @ Space Triplex)
In 2nd place, Rob Ward for Gypsy Queen (Front Room @ Assembly Rooms)
In 1st place, Sam Redway for Bin Laden: The One Man Show (C venues – C, Chambers Street)

Best stand-up comedy show – Edinburgh

Eleven shows and a shortlist of five gives this top three (which is very similar to last year’s!):

In 3rd place, for his intelligent observations and creative thinking, Dane Baptiste’s G. O. D. show (Pleasance Courtyard)
In 2nd place, for getting the political climate fully understood, with I Hope I Die Before I Start Voting Conservative, Joe Wells (Sneaky Pete’s)
In 1st place, yet again, the unmissable late night laughter line-up that is Spank! (Underbelly Cowgate)

Best of the rest – Edinburgh

Yet another really hard choice but I’ve managed to come up with a top five:

In 5th place, the superbly constructed and brilliantly characterised Bitchelors with Anna Morris (Voodoo Rooms)
In 4th place, dropping down a place from last year but still incredibly funny and audience members really have to be alert to stay safe! Foil Arms and Hog – Oink! (Underbelly George Square)
In 3rd place, the very racey acts – including the unforgettable Betty Grumble – that made up the burlesque extravaganza, Sweatshop (Assembly George Square Gardens)
In 2nd place, as last year, worth getting up early for a bizarre version of Macbeth with Shakespeare for Breakfast (C Venues, Chambers Street)
In 1st place, the brilliant material and voices of Jan Ravens in her Difficult Woman show (Gilded Balloon Teviot)

This year’s Edinburgh turkey, which was so clever-clever and up itself that you could hardly see it, was the pretentious immersive show about throwing a surprise party, Party Game.

Best Local Production

This includes the productions by the University of Northampton students, the Royal and Derngate Actors’ Company, the Youth Companies, local theatre groups and the National Theatre Connections.

In 5th place, from the Flash Festival, Can’t Stop Theatre’s untitled one-man play with Ben Sullivan
In 4th place, the Royal and Derngate’s Actors’ Company’s production of Great Expectations at the Royal Theatre
In 3rd place, Milton Keynes College’s National Theatre Connections production of Extremism
In 2nd place, the University’s production of Vinegar Tom at the Royal Theatre.
In 1st place, again from the Flash Festival, Out of Mind Theatre Company’s production of Broken

Best film

I saw seven films last year, which must be some kind of record! Two films that have received great general acclaim I really didn’t like at all – Manchester By The Sea and Blade Runner 2049. The Snowman just about limped home, both La La Land and Victoria and Abdul were entertaining and beautifully made, and Call Me By Your Name really ought to get the award for being outstanding in so many ways. However, the film I enjoyed the most and have no hesitation in naming as the recipient of this year’s award is – Paddington 2!

Best Performance by an Actress in a Musical.

Time to get personal. Fifteen contenders in the shortlist, so here are the top five:

In 5th place, Lyn Paul as Mrs Johnstone in Blood Brothers at the Royal and Derngate, Northampton, in November.
In 4th place, Lucie Jones as Elle in Legally Blonde at the Royal and Derngate in October.
In 3rd place, Sooha Kim as Kim in Miss Saigon at the Curve Theatre Leicester in July.
In 2nd place, Janie Dee as Phyllis in Follies at the National Theatre Olivier in September.
In 1st place, Imelda Staunton as Sally in Follies at the National Theatre Olivier in September.

Best Performance by an Actor in a Musical.

Seven performances in the shortlist, producing this top three:

In 3rd place, Red Concepcion as The Engineer in Miss Saigon at the Curve Theatre Leicester in July.
In 2nd place, John McCrea as Jamie in Everybody’s Talking About Jamie, at the Apollo Theatre, London, in December.
In 1st place, John Partridge as Albin/Zaza in La Cage Aux Folles at the Milton Keynes Theatre in August.

Best Performance by an Actress in a Play.

Very tough one, this one. Eight in the shortlist, but here’s the top five:

In 5th place, Samantha Spiro as Peppy in The House They Grew Up In, at the Minerva Theatre, Chichester, in July.
In 4th place, Eve Best as Olivia in Love in Idleness, at the Menier Chocolate Factory, in April.
In 3rd place, Zoe Waites as Cassius in Julius Caesar at the Crucible Theatre, Sheffield, in May.
In 2nd place, Imelda Staunton as Martha in Who’s Afraid of Virginia Woolf, at the Harold Pinter Theatre, London in April.
In 1st place, Olivia Colman as Jenny in Mosquitoes at the National Theatre Dorfman, in September.

Best Performance by an Actor in a Play.

A very hotly fought for award, with eighteen contenders in my shortlist, and I whittled it down to this:

In 5th place, Ben Turner as Amir in The Kite Runner, at Wyndham’s Theatre, London, in February.
In 4th place, Peter Polycarpou as Ahmed Qurie in Oslo, at the Harold Pinter Theatre, London, in December.
In 3rd place, Adrian Scarborough as Stan in Don Juan in Soho, at Wyndham’s Theatre, London, in May.
In 2nd place, Sir Ian McKellen as King Lear in King Lear at the Minerva Theatre, Chichester, in October.
In 1st place, Richard McCabe as Cicero in the RSC’s Imperium, at the Swan Theatre, Stratford in December.

Theatre of the Year.

For the third year running there’s no change in the Number one and Number two theatres! Presenting an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with the Festival Theatre/Minerva Theatre in Chichester as runner-up.

It’s been another fantastic year, and I’ve seen more productions this year than I’ve ever seen in one year before – 190 productions in all. Thanks to you gentle reader for continuing to read my theatre reviews. Let’s look forward to another wonderful year of theatre in 2018!

Review – Richard Alston Dance Company, Derngate, Northampton, 5th October 2017

Richard Alston Dance CompanyIt feels like I’ve been watching the Richard Alston Dance Company every year since Diaghilev was a nipper. It’s something I always actively look forward to, and it never fails to make me smile, laugh, go “wow!” or simply admire the quality and commitment of the dancers and choreography. Other contemporary dance companies seem to come and go through the years, but Richard Alston and his happy crew are as constant as the northern star.

What Happens in the SilenceThis year’s programme has one dance that premiered only a couple of weeks ago, another that’s a year old, and another that’s an old favourite, returned to the repertoire after a decade in the filing cabinet. But we started with a curtain-raiser: What Happens in the Silence, a dance specially choreographed by Ihsaan de Banya and Laura Gibson as the final part of a four-month project between Two Thirds Sky and RADC. Twenty local young dancers took to the stage to perform this incredibly exciting, physical rollercoaster of a dance, showing ability and maturity way beyond their years. It absolutely deserved its place on that stage and it was a privilege to see its world premiere! This must have been a wonderful opportunity for the young dancers and I hope that many of them go on to have great dancing futures. The dance itself should also have a life beyond these two nights, as it crackles like electricity.

Richard AlstonOur first Richard Alston dance was Carnaval, and if my maths ‘O’ level doesn’t let me down, this was just its third public performance. The setting is a party where the composer Robert Schumann, accompanied by his wife-to-be Clara, are guests. Schumann had mental health problems, and as a coping mechanism he identified that he had two separate sides to his personality; Florestan, his fierce and wild side, and Eusebius, his calm and reflective side. So in Carnaval, two dancers play the interdependent aspects of Schumann whilst Clara has to manage both of them. During the course of the dance, Eusebius has to calm the aggravated Florestan in order to soothe the atmosphere with Clara; at the end, all three dance together in harmony.

lets jumpVisually this provides a rather amusing portrayal of a menage à trois, while the graceful dancing guests at the masked ball look on at these two men vying for Clara’s attention. Do they see Clara with two lovers, or with one troubled one? That’s part of the intrigue. The music, unsurprisingly, is Schumann’s Carnaval, a tempestuous solo played with expressive attack on the grand piano by Jason Ridgway. The dancers are clad in appropriately contrasting and complementary shades of grey and the whole piece looks both elegant and stormy. Nicholas Bodych brilliantly conveys the unpredictability and passion of Florestan, whilst Liam Riddick gives a typically immaculate performance of serenity under pressure as Eusebius. Elly Braund is superb as the interconnecting Clara, reflecting the various styles of her difficult paramour. I thought it was a beautiful and powerful piece and a great new addition to the repertoire.

ChaconyNext up was Chacony. Where the protagonist in Carnaval had two parts to his personality, this dance is also divided – by two separate musical chaconnes. The first is by Purcell, reflected by Restoration red frock coats and courtly charm, the other by Britten, in post-WW2 austerity and angst; riches to rags, one might say. The first part takes a very formal and charming approach to elegant dancing; the second becomes much more contemporary in feel, full of expression and sadness, but with a hope for something better to come. It’s a fascinating piece, as two very different sets of emotion are produced from two contrasting versions of the same musical structure. All the dancers were on absolutely top form and the choreography provides plenty of opportunities for them to shine individually and also work together superbly.

Gypsy MixtureThe final piece was the resurrection of Gypsy Mixture, which we’d seen twice before back in 2004 and 2007, in the days when Jon Goddard and Martin Lawrance were the stars of the company. The Electric Gypsyland music to this dance is irresistible, and the dancers sway and gyrate to its rhythms and eccentricities with unpredictable delight. Some of those male hip actions and bottom tremblings certainly got the young female dance fans in the front rows whooping with appreciation; because of the nature of this particular dance, that response was perfectly acceptable! The combinations of the dancers worked extremely well in this piece, with Liam Riddick and Monique Jonas providing the ultimate in style, and Nicholas Bodych and Jennifer Hayes nailing it with chic cheek. Jam packed with warmth and fun, everyone created a truly feelgood end to the evening.

RADC 2017The company’s autumn tour has one more night here in Northampton before going on to Brighton, Truro, Bromley and finishing in Glasgow on 23rd November. If you’re looking for creative and eloquent choreography performed with superb technique and genuine love for their art, you can do no better than this company. Already looking forward to next year!

The Edinburgh Fringe One-Weeker 2017 – Taiwan Season: Together Alone, 22nd August 2017

Together AloneNext up is the second of our two dance productions at this year’s fringe, and it’s one of a group of five shows under the heading Taiwan Season. It’s Taiwan Season: Together Alone at Dance Base (Studio 1), at 21:45 on Tuesday 22nd. Here’s the blurb: “’Together Alone talks a lot about how to live together. We tasked ourselves to never let go of each other. That creates huge limitations. It’s just the two of us, but what we experience parallels society: how we deal with people, how we use each other, how we collaborate. Sometimes we help each other, sometimes we are against each other, sometimes we need to negotiate. The relationship is always changing. It has difficulties, it has moments of being smooth, it will change again, but nothing lasts forever’ (Chen-Wei Lee).”

This is one of those brave productions where the performers, Chen Wei and Vakulya Zoltan, are naked on stage throughout. There’s no hiding place with such a show, so I’m expecting it to be very moving and almost brutally honest. Check back around 10.45 pm to see how effective it was. By then the next preview blog should be available to read too.

There’s no doubting that Chen Wei and Vakulya are fantastic dancers and this routine covers many varied moods, not only in dance but in emotions and in the music. There’s a lively sequence when they throw themselves into a big band number and their nudity looks particularly strange – and memorable – against this incongruous musical background. The lighting also plays a very important role in explaining the movements and the contours of the dancers’ bodies. Very effective, very honest and very good indeed.