Review – The Railway Children, Royal and Derngate, Northampton, 19th September 2017

The Railway ChildrenYou know The Railway Children. Everyone knows The Railway Children. Jenny Agutter fluttering her red petticoats, Bernard Cribbins fussing around the station, Iain Cuthbertson slowly emerging from the steam, William Mervyn waving from the train. A Christmas treat for all the family. All, that is, except for Mrs Chrisparkle, who’s never seen it, never read it, and who would never choose E. Nesbit as her specialised subject on Mastermind. I must admit, it’s not my favourite of her books; I always preferred The Phoenix and the Carpet. The Phoenix was such a big-head, he always made me laugh.

TRC6The Railway Children is one of those stories that never goes away. Even though it’s 111 years old now, the film is a classic, an evergreen; voted 66th best ever British film, I understand. The stage adaptations have proved immensely popular for new generations, frequently being staged at railway stations or museums and featuring real live steam trains. This current touring production by the Northcott Theatre Exeter – with Dave Simpson’s 1984 adaptation of the book, the original stage adaptation – doesn’t feature such high-tech authenticity. In fact, it almost makes a selling point of its low-tech approach. When the train goes by in the distance it’s clearly a model being pulled on a string. When the Old Gentleman is shown travelling past in the train, you can see his little feet going nineteen-to-the-dozen underneath the carriage, a la Fred Flintstone. TRC1When the railway station set snaps into place, a free-standing column that’s meant to hold up the station roof ends up swinging in the breeze because it’s too short to reach the floor, like a cross between a hangman’s gallows and a grandfather clock pendulum. When the opaque planes fall into place, onto which are projected all the other countryside, railway and street scenes, the word “fragile” on the bottom right pane is constantly visible as a weird reminder to the stagehands to treat it with care – very bizarre, that one.

TRC4But somehow, none of this matters. It’s the innate strength of the story and the overwhelming decency of the performances that win the day and provide a highly entertaining and truly sweet portrayal of a once well-to-do young family fallen on hard times whilst their father is mysteriously missing. (Why is it that everyone reading it or watching it has twigged that he’s been sent to prison but it never occurs to the kids? Naïve or what!) Whilst this is a show that will obviously appeal to a younger audience, it also has a very nostalgic appeal too – plenty of people in the (albeit rather small) audience for the first night in Northampton were children in the 50 plus age bracket. In the same way that a pantomime can work on many levels, this production also has a few nicely underplayed moments of more adult humour. For example, after the family have already cared for the Russian refugee Szczpansky, and are now also looking after the Old Gentleman’s grandson Jim, Perks, the Station Master (ahh for the Good Old Days) has a knowing look when he reports that yet another young man has taken up residence in Mother’s spare bedroom (wink, wink).

TRC10There’s an amusing running (literally) joke that has the doctor arriving at Three Chimneys, each time more and more exhausted due to the urgency of the call (or maybe it’s the rotundity of his stomach). There’s also some enjoyable class/society interplay, primarily between Bobbie, Phyllis and Peter on the one hand, and Perks’ vagabond son, John, on the other. For every “rather!” and “spiffing!” that Peter utters, he’s riposted by an “eyup” or an “eebahgum” from John, with neither of them realising quite how stereotyped the creative team have made them. Perks Senior, however, never belittles the Londoners for their posh way of talking because respect is his watchword.

TRC3We were surprised how moral and, indeed, socialist, the story is; everyone seems to have read the banned book by Szczpansky (clearly pro-proletariat and anti-Czar) and everyone, even including the Old Gentleman, who’s the archetype of tradition and conservatism (one would have thought) has a good word to say about it. The family are always acting selflessly, whether it’s protecting and nurturing sick individuals like Szczpansky or Jim, or risking their own safety to prevent a terrible train crash. When the children get all the tradespeople of the village to contribute a present for Perks’ birthday, it’s not charity that is their incentive to donate but a sense of a community pulling together to recognise the fine contribution he makes to their society. Even the doctor is willing to make house calls and treat people without any certainty of getting paid for it. If any one character is (gently) mocked, it’s young Phyllis for her petulant refusal to share. It comes as no surprise to discover that E. Nesbit was a Marxist and co-founder of the Fabian Society.

TRC5The production is positively dripping with charming performances. Joy Brook’s Mother is kindness and positivity personified as she cheerfully refuses to eat so that her children don’t go hungry in a scene that’s worthy of I Daniel Blake for the Edwardian era. It’s not hard to see why she would be the perfect mainstay of any family. Millie Turner’s Roberta is a generous and thoughtful young lady, definitely a chip off the old block, with a big heart that doesn’t get in the way of enjoying some adventure too. Katherine Carlton is hilarious as the spoilt Phyllis, truly wanting her cake and eating it; and Vinay Lad makes a terrific professional debut as the hearty young Peter, relishing all his ripping hyperboles like a junior Jay Gatsby.

TRC9I loved Andrea Davy as Mrs Perks, another character who only sees the best in people and really enjoys life, no matter what it chucks at you. Neil Salvage is a charming Old Gentleman, although he looks alarmingly like Stinky Pete from Toy Story 2, and there’s great support from Andrew Joshi as the puffed-out physician and Will Richards as Szczpansky and Jim; indeed, anyone who will get looked after in the spare bedroom, really. Callum Goulden displays just the right amount of cheekiness as the boisterous John. But maybe it’s Stewart Wright as Perks who really makes us smile most of all, with all his little narrative asides and startling friendliness; he brought out the child in me and made me want to become a train driver all over again.

TRC2I’d recommend this whole-heartedly if you want a nostalgia trip or are thinking of something to take the kids to see – or the grandparents – or yourself. Sugar for the soul, as Steve Balsamo once said. After its week in Northampton it steams on to Bromley, Leicester, Southampton, Bath and Aylesbury.

TRC7P. S. I feel certain this production would suit a smaller, more intimate theatre much better than the vast expanses of the Derngate auditorium. It’s a shame that the set is (I’m assuming) too wide for the Royal stage, because the show would have been perfect in there.

TRC8P. P. S. I’m not entirely sure Mrs C has the same sentimental heart as other people who have wept buckets over Bobbie’s final reunion with Daddy, her Daddy. “Sent to prison for five years?”, she asked; “what’s the problem? He’ll only do two and a half.”

Production photos by Mark Dawson

Review – Des O’Connor and Jimmy Tarbuck Live, Royal and Derngate, Northampton, 17th September 2017

Des O'Connor and Jimmy Tarbuck LiveWhen I saw these two legendary names were appearing together on stage I had absolutely no hesitation in booking straight away. They were among the very first famous people I ever saw on stage as a child. Jimmy Tarbuck played Jack in the London Palladium pantomime Jack and the Beanstalk back in Christmas 1968 – New Year 1969; it was my first visit to a London theatre and my first ever pantomime. The Dowager Mrs Chrisparkle couldn’t wait to get me in the front stalls to see how I’d react to the Palladium environment (which she adored) – verdict, I loved it. But, even earlier, in the summer of 1967, I was taken to my first ever professional stage show; on holiday in Bournemouth, the 7-year-old me had a seat to see Showtime at the Pavilion Theatre, featuring Kenneth McKellar, Jack Douglas and starring – you guessed it – Des O’Connor.

Jack and the Beanstalk 1969 castI’d seen Des O’Connor live just once since then, when I took a young female friend (in the days before Mrs Chrisparkle, c. 1984) to see a recording of Gloria Hunniford’s TV chat show Sunday Sunday – it used to air on Sundays, I kid you not. Amongst the guests was Mr O’Connor. At one point all the lights blew and they had to stop the recording for about twenty minutes. Gloria Hunniford retreated into her shell and wouldn’t make eye contact with the audience. Des O’Connor, on the other hand, got up and did twenty minutes stand-up off the top of his head, and, let me assure you gentle reader, he was absolutely on fire! From that moment, I’ve always had immense respect for him.

Des O'Connor and Jimmy Tarbuck 1I’d not seen Jimmy Tarbuck on stage since that panto, and of course it’s been many years since he’s been a regular on TV; so I was very interested to see how he’s progressed, the young feller-me-lad. Well, I can report that he’s doing very well indeed. He’s 77, but looking at him you wouldn’t place him older than his mid-fifties. He still has that irrepressible cheekiness, a very nice line in occasional self-deprecation, natural confidence and authority, and absolutely immaculate comic timing. It’s true; some of his material isn’t very 21st century. Whilst Mrs C was pleased to note the total absence of mother-in-law jokes, they had been replaced by “ugly women” jokes. To be fair, they were often very funny.

Des O'Connor and Jimmy Tarbuck 4Mr Tarbuck (hereinafter Tarby) still uses that classic structure for many of his showpiece jokes – I mean those that aren’t one-liners. He sets them up with a statement that will end with a certain sequence of words; pause. Then comes another statement, ending with the same sequence of words; another pause, whilst suspense/curiosity/anticipation builds. There might even be a third statement, that ends with the same sequence of words – audience by now making up their own punchlines. Then comes the killer final statement that will take the sequence of words and turn them on their head to potentially devastating comic effect. I remember him doing that in the 70s, and he still does it today – brilliantly.

Des O'Connor and Jimmy Tarbuck 5Mr O’Connor (hereinafter Deso) has quite a close association with our beloved Northampton, as he was evacuated here during the Second World War, worked at Church’s shoes (very posh) and even had a stint playing football for Northampton Town. Today he still has that wicked glint in his eye, and at 85 he can still look down on young Tarby. But he did admit that he wasn’t feeling too well, with an ear infection affecting his balance, and would we mind if he sat down for most of his set; of course not – huge kudos to him for still going on with the show despite his health issue.

Des O'Connor and Jimmy Tarbuck 3I’m going to forgive him for starting the evening with a terrible homophobic joke and put it down to the infirmity of his age, as Regan said of Lear. Moving on, with the aid of a big screen, he reminisced about some of his favourite TV appearances – with Morecambe and Wise (naturally), Rod Hull and Emu, Benny Hill, Bernie Clifton and many more. We sang with him as he accompanied himself on a video of him singing with Neil Diamond (are you still with me?) and bizarrely it worked, as the rafters of the Royal and Derngate rang out to the chorus of Sweet Caroline. Deso also led singalongs to Carole King’s Will You Love Me Tomorrow and Tony Christie’s Is this the way to Amarillo, but, sadly, no Dick-a-Dum-Dum, which I’ve always thought was a truly charming look at Swinging Sixties London. Isn’t always the case that artists never perform your favourite song? It’s an unwritten law of Live Performance.

Des O'Connor and Jimmy TarbuckThere was precious little hesitation in the audience to rise for a standing ovation for these two grand old chaps. For Tarby, he absolutely deserves it for still delivering 45 minutes of cracking stand-up. For Deso, he deserves it in recognition of all the years of happy entertainment he’s provided, even from before I was born. They’re still touring this unique get-together show for a few more dates this year: 7th October in Harlow, 29th October in Reading and 5th November in Newcastle. These young lads deserve your support!

Review – The Blue Road, Royal and Derngate Young Company: Create, Royal Theatre, Northampton, 21st July 2017

The Blue RoadI’m always full of admiration for what the R&D’s Young Companies can achieve on stage; their productions are always full of style, conviction, and a sense of occasion; they’re something you can positively look forward to. This year the Young Company: Create have worked on Laura Lomas’ The Blue Road under the direction of Ashley Elbourne, and you quickly realise and appreciate the commitment of the cast both to the work and to ensuring that the audience have the best time possible.

TBR2Are you sensing a “but” coming? I might as well come straight out with it – sadly, I just didn’t like the play. It had some very interesting ideas in it, which the cast drew out as well as one could hope; but the actual words the cast had to say almost drove me to desperation! A typical sentence (this isn’t in the play, I’ve made it up) might be “I remember. I remember a cloud. I remember a white fluffy cloud. I remember a white fluffy cloud on the top of that hill…” etc. So many sentences seemed to me to be structured like that. A; A+B; A+B+C; A+B+C+D; and so on. I don’t think people talk like that. Not even in a reverie, which is so much of what the ensemble had to provide as a counterpoint to the main story of the play – an unexplained dystopian/ post-apocalyptic situation where children vie for superiority and control over others.

Eleanor BilsonThere’s a lot of Lord of the Flies in there; maybe some Girl With All The Gifts too – it wouldn’t have surprised me to discover a host of zombies just off-stage. We never find out what it is that’s created this terrible world; but that’s not, in itself, a problem. The children capture a girl who speaks in an Eastern European/Russian language, cage her, and threaten to kill her. Craig, the self-appointed leader of these vulnerable, scared and occasionally intimidating kids, tells her to have the decency to speak English or he’ll shoot. It’s like an apocalyptic parable of a post-Brexit landscape, where locals are terrified of outsiders and turn to violence to suppress them. In another scene, the delightful Craig takes the baby bird that Thomas has been nurturing back to health and kills it by chucking a stone down on it. It’s a high impact, high shock moment that the cast performed superbly well; and it very much reminded me of the shocking central scene of Edward Bond’s Saved that was notoriously banned by the censor in 1965.

TBR3The final scene takes us to a flashback where Craig and Pia first meet; a beautifully played portrayal of simple innocence and maybe a charming hope for the future. Then Thomas shoots them. The audience leaves the theatre asking how on earth can that be? If they die in a flashback, how can the rest of the play take place? I have some theories. 1) It’s a complete mistake and the writer didn’t know what the hell she was doing. Verdict: unlikely. 2) For the rest of the play up until that moment, Craig and Pia are ghosts. I’d have to watch it again to see if this could be true, and whether their interaction with the other characters makes it possible. Verdict: also unlikely. 3) Thomas shoots and the stage lights go out. We assume Craig and Pia die but he misses. Maybe the bullet accidentally hits someone else out of sight – an Archduke Franz Ferdinand character – and that’s where the cataclysm starts. I’m currently favouring that one. Anyone else got any ideas?

Kieran PeaceTypical – having said I didn’t like the play I’ve just spent ages discussing it. I think the characterisations and the unanswered questions to do with what it was all about are intriguing. It was just the speech patterns that sent me into a spin. And some very repetitive conversations too: if I counted the number of times someone was asked a question and the answer was a frustrated “I don’t know!!”, well, I’d run out of digits, that’s for sure. I’m sure it accounted for at least half of Alex’s lines.

TBR4Let’s talk about the set instead. Wow, the set! I think it took everyone’s breath away when it was fully revealed. Centre stage, a collapsed road dangling out of nowhere, its steel rods poking through and falling pathetically to earth. Upstage right, a platform for keeping a lookout, but more likely where Craig will hang out and feel superior. Underneath the platform, a hidden area that’s probably where everyone sleeps. Underneath the road, various bits of debris that have been assembled that might be of use in survival. Sarah June Mills has done a superb job in creating an extremely atmospheric and totally believable set – perfect for the play and practical for the performers. It also fitted perfectly with Charlotte Burton’s lighting; at times atmospheric, at times vivid; the road catching the blue light (hence creating The Blue Road) was an arresting sight.

TBR1I thought this was a very tough play for a young cast to get their teeth into but, as always, they rose to the challenge. Eleanor Bilson’s Pia was a strong characterisation of an essentially kind, reasonable, tolerant person driven out of her wits by appalling circumstances; technically flawless and great to watch. Kieran Peace was sullenly menacing as Craig, and carried off his rather evil personality extremely well, especially with the death of Billy the Bird. Tabitha Brown played the bossy Maja with great relish; it was enjoyable to see how unpleasant she made the character without ever becoming the “baddie” – a very nicely balanced performance. John Reed was excellent at creating a sympathetic character out of the simple Thomas, and also delivered perfectly the unexpectedly hilarious line: “it’s not very gender neutral!” (OK, so there were some good lines too, he admits, slightly begrudgingly.) From the ensemble, Martin Delos Santos Beach stood out for me as being a fine actor, delivering his lines with great authority and clarity. But the entire cast put in a sterling performance and absolutely made the best of the material. There were a couple of instances of rather tentative prop-handling; but that’s just a question of time and practice. On the night we went, a mobile phone went off, quite loudly, a few times, but it didn’t faze the cast one iota – good work.

John ReedAll in all, it was a very good production and performance of a play that did raise some interesting issues but irritated more than entertained me. Well done to the cast though – the packed audience was very appreciative!

Production photos by Graeme Braidwood

Review – Film Music Gala, Royal Philharmonic Orchestra, Derngate, Northampton, 16th July 2017

Film Music GalaWhen it comes to summer entertainment, the Royal Philharmonic Orchestra always treat us to something a little more light-hearted. In the past we’ve enjoyed their Last Night of the Derngate Proms shows, but this year they had a surprise for us – a Film Music Gala, featuring twenty-five short pieces of movie magic music, in a programme full of orchestral highlights.

Our conductor was Gareth Hudson, whom we last saw here a year ago for the Last Night of the Derngate Proms. He has a jolly, sprightly, none-too-serious attitude to taking us through these concerts, whilst still treating each piece of music with absolute respect. Indeed, sometimes he delivers us a mini-lecture, like when he explained how to look out for a typical James Bond theme, spotting its inevitable mixture of major and minor phrases.

Gareth HudsonThe first piece of music – and what a perfect way to start – was the theme to Mission Impossible; loud, arresting, vibrant, and a challenge (as so many of these pieces are) to the percussion; a challenge that they most certainly met. A thrilling opener that everyone loved. Then followed the main theme to Gladiator, which felt a little more introverted, and then The Fellowship of the Ring (from Lord of the Rings), a whimsical and quirky piece that suits the characters that inhabit that story’s landscape. Then we had the simple and beautiful Gabriel’s Oboe from the film The Mission, that lilts you away into a quiet and reflective mood, and which was played with the utmost delicacy.

The next piece of music was I Will Always Love You, from The Bodyguard; not in the Dolly Parton style, which is one of Mrs Chrisparkle’s favourites, but in the Whitney Houston style, which, frankly, both of us find rather tedious. Yes, I know, it’s our problem, we’re the ones out of kilter. Our guest soloist singer was Alison Jiear, whom we had seen as the Fairy Godmother in Cinderella back in 2015. She was an incredibly polite Fairy Godmother and she retains that quiet, self-effacing manner on the concert stage too. She has a powerful but soft, velvety voice that perfectly recreated the Whitney sound.

Alison JiearTwo very different pieces followed: the Jack Sparrow theme from Pirates of the Caribbean: Dead Man’s Chest, another quirky, jokey arrangement that sums up his character in a musical snapshot; and the main theme from Out of Africa, which really stood out for me as being a superb piece of modern classical music, with sweeping strings recreating a luxurious landscape. The violins played it with absolute mastery. Alison Jiear returned with the first two of the night’s James Bond themes – Moonraker and Diamonds are Forever, arranged so that the second merged rather nicely into the first. Then we had the John Dunbar theme from Dances with Wolves, another heavily violin based piece, before finishing the first part of the concert with two stonking great crowd-pleasers; the magisterial Imperial March from Star Wars: The Empire Strikes Back, and the exciting and dramatic main theme from 633 Squadron.

The second half started with another arresting number, the Overture to The Magnificent Seven, making sure we were all fully alert after our interval merlot! Alison Jiear sang another fusion of two pieces, Alfie, and My Heart Will Go On; and then the orchestra took centre stage again with the majestic Lara’s Theme from Doctor Zhivago. Like Out of Africa in the first half, this really stood out to me as being a truly enduring modern classic. When the orchestra started up the vivid strings opening to The Big Country, the audience breathed an audible sigh of delight; then came the charming and unusual theme to Cinema Paradiso, followed by amusingly orchestrated Domestic Pressures theme from The Theory of Everything.

RPOWhen they played the main theme from The Avengers movie, I realised it was the Marvel comic characters rather than Steed and Mrs Peel – I could imagine the RPO really giving that old TV theme a fantastic modern treatment. I believe it was during this piece that there was a superb sequence when it appeared as though the cello was asking questions, and the violin was answering them; and it was beautifully played by Tamas Andras and Richard Harwood. Alison Jiear came back one more time to perform two more Bond themes, You Only Live Twice (my favourite Bond theme) and Goldfinger. The concert was then wrapped up by brilliant performances of two outstanding pieces of music; Vangelis’ Chariots of Fire, and John Williams’ breathtaking main theme to Star Wars. For an encore, the orchestra gave us a rousing rendition of the Rocky theme. That’s the boxer, not the one who’s friends with Bullwinkle.

A very enjoyable concert full of short, easily recognisable themes which pack a greater punch than the time each takes to perform might suggest. Inevitably in a concert like this, you might occasionally wish you could hear something a little longer, and a little more substantial, like a four-part concerto. But that’s not what these gala concerts are all about – they’re designed to stimulate your memories, make you tap your toes, and bring a smile to your face. And this concert certainly achieved that. As Stephen Sondheim once penned, “tragedy tomorrow – comedy tonight.”

Review – Great Expectations, Royal and Derngate Actors Company, Royal Theatre, Northampton, 15th July 2017

Great ExpectationsI wonder if Dickens might go the way of Shakespeare before long, and prove himself worthy of modern adaptations, where the story is set in a different era and characters who were originally male become female and vice versa. One always associates Dickens with those foggy London streets or bleak Yorkshire Moors; but with Shakespeare, it’s different. It’s been ages since I’ve seen a Shakespeare play that was actually set in the 16th or 17th century and in the locations that Shakespeare specified; and with last summer’s The Tempest featuring (inter alia) a female Prosper, and with Glenda Jackson recently playing Lear, for example, his works are ripe for a spot of gender-bending.

GE1Erica Martin’s production of Declan Donnellan and Nick Ormerod’s adaptation of Great Expectations for the stage features a female Magwitch. Now that’s something to conjure with. Traditionally he appears as a menacing brute, primarily because of that first, terrifying meeting with the young Pip, where he threatens to cut his throat, and makes him promise to get him food, and a file to cut off the iron chain on his leg, “or I’ll have your heart and liver out”. For sure, those are the words of a brutish man more than a brutish woman, although I had several female teachers in my youth who would have queued up to deliver those lines.

GE3The humiliation that the older Pip suffers when he realises that his financial benefactor has been Magwitch all along, and not Miss Havisham, remains the same; it’s the integrity of the person (or rather lack of it) that offends him, rather than the fact that she’s a woman. However, as Mrs Chrisparkle pointed out, it’s very hard to believe that a convict woman, in the early 19th century, would have made good in New South Wales, as a sheep farmer and stock breeder, and become rich. It may just have been credible for a man, but a woman? Not in those days; it’s hard enough today.

GE4I digress. We’ve seen the Actors Company a few times now and they always astound us with the excellence of their performance. Whether set in today’s times, like The Revenger’s Comedies and Market Boy, or in olden days, like Our Country’s Good or, now, Great Expectations, they take a play full of depth and character and bring it to life with superb conviction. Meryl Couper’s terrific set created a decent acting area at front whilst devoting other parts of the stage to the Gargerys, Miss Havisham’s house, and so on. It provided a suitable sense of Dickensian gloom without being overwhelming; as did the excellent costumes. The lighting was efficient and atmospheric – in fact you wouldn’t know this wasn’t a professional production.

GE5The structure requires that all the actors are on stage more or less the whole time, acting as both chorus and the inner thoughts of Pip, taking alternate lines from the book very much in the style of David Edgar’s adaptation of Nicholas Nickleby that was a huge success for the RSC back in 1980. I like this approach; although you get a lot of information flung at you at first, and it’s hard to take it all in, you get a strong ensemble feeling that everyone is fully involved in the story-telling task. And when different actors are speaking lines that are the thoughts of one character, that also gives the impression of all the different voices that are going on inside his head – a very effective technique. Whilst I felt that there was quite a lot of scene-setting in the first act and that it was maybe a trifle long, the story really gets going after the interval and it was riveting stuff.

GE6Centre stage for much of the final two-thirds of the play is Davin Eadie as Pip (adult version). With a commanding stage presence, and very authoritative vocal delivery, I really enjoyed his performance of this Everyman character with whom we all identify. Ben Webb, as his younger version, employed just the right amount of wide-eyed innocence (in his dealings with Magwitch), trust (with Joe) and vulnerability (with Miss Havisham and Estella). Other superb performances came from Sue Whyte as Miss Havisham, who gave her a splendid gruff grandeur that commanded both fear and respect; Will Adams as the pompous and meddling Pumblechook; Vicky Kelly as a wonderfully terse (when at work) and garrulous (when at play) Wemmick; and Ryan Chambers delightfully over-the-top as the thespian Wopsle.

GE7Salli Belsham had the difficult task of creating a credible “Ann” Magwitch, but as the performance developed I thought she drew out the character’s finer points very convincingly, and the scene where she confronts Pip and Herbert and reveals herself to be the benefactor was one of the best in the play. But for me the stand-out performance was from Stewart Magrath as Jaggers, the lawyer, stabbing out his carefully planned words with a natural authority, conducting his affairs cordially but precisely, appearing to be a friend, but only if he is paid. A very striking and memorable performance.

Some very strong scenes and performances made this a very rewarding production; the Actors Company can chalk up another hit!

A Beginner’s Guide: Attending a Classical concert at Royal & Derngate

Hey there! Have a read of a blog post I’ve written about attending classical concerts at the Royal and Derngate! You can find the original here!

RPOWhen Mrs Chrisparkle and I moved to Northampton in 2008, she’d never been to a classical concert at all, and I’d only been once, as a teenager, trying to impress a very arty girl I was trying to go out with at the time; I was definitely boxing above my weight. We went to the elegant Wigmore Hall in London; a very grand location, where the music was appreciated reverentially and the less accessible it was, the better. I remember a programme of tedious heavy strings, sombre percussion and plodding piano. It was dismal, tuneless, pretentious nonsense. It didn’t even impress the girl, who later confessed she would sooner have seen Abba The Movie.

RPO1-300x200It was only when we first read about the full range of delights on offer at the Royal and Derngate, that it occurred to us this was a great opportunity to discover what live classical concerts were all about. The Royal Philharmonic Orchestra visit about five times a year, each time with a varied programme, which probably consists of a rousing overture, a concerto that calls for an expert soloist, and a stonking good symphony to round the concert off. The theatre also hosts the annual Malcolm Arnold Festival, celebrating the brilliance of our famous local composer. This culminates with a gala concert, which has been performed in the past by the likes of the Worthing Symphony Orchestra and the BBC Concert Orchestra; in 2017 the Royal Philharmonic are taking up this challenge. You don’t have to get on a train down to London and pay London prices for a classical concert experience when world class orchestras come up to Northampton; you can get tickets for as little as £15 – even less if you subscribe to three or more concerts in the season.

RPOThe Royal Philharmonic Orchestra: what does that say to you? Three random words, which, when you put them together, make beautiful, must-see music? Or do you think “it’s far too posh for the likes of me, I wouldn’t dare go to a classical concert”. Maybe you might think it would attract an audience full of stuffy old people, all twin-sets and war medals, so you wouldn’t fit in. Maybe you’re worried about concert etiquette and think you will make a fool of yourself by applauding at the wrong time? Maybe you already enjoy going to see the terrific plays that are regularly produced at the Royal and Derngate, but don’t know much about classical music – and think you’d find it boring? Well, if you’ve not been to a classical concert at the R&D before, and are wondering if you should try it – fear not, I’m here with some advice for you!

RPO2-260x300First off – is it a posh occasion? Definitely not. Classical music attracts equally the rich man in his castle and the poor man at his gate. Old, young, families, couples; groups of friends and relatives; singles wanting to concentrate on the music or indeed find another single person also interested in the classics! All are welcome. Wear what you like – you can be as smart or as casual as you wish, you don’t have to dress any differently from how you would normally for the theatre or the cinema. Everyone fits in – to be honest, the audience are concentrating on the orchestra and are not at all concerned about whether the other audience members are musically trained, public school educated or look smart!

Nigel Kennedy plays BrahmsEtiquette – when should I applaud? Traditionally, you applaud at the very end of each complete piece. So, whether you’re listening to a three-minute overture or an hour-long symphony, you would still applaud when it’s finished – i.e. after three minutes or after an hour. Sometimes it’s hard to work out whether a longer piece, like a symphony or concerto, has finished or not. But there are always clues to watch out for. Take your cue from the conductor. If he’s still facing the orchestra, baton poised in his hand, looking serious, it may well not have finished yet. If he’s relaxed, baton down, and he turns to face the audience – it’s over.

RPO3-300x200I like to play a game with myself, trying to identify the individual movements within a larger piece. If you buy the programme – which is a really good idea, because it’s crammed with information not only about the performers and the composers, but also about the individual pieces that are played – you can find out how many movements there are and try to spot where each one ends and the next one begins. If you know your scherzo from your andante, that helps; but even if not, the programme notes will assist you identify the livelier sections from the quieter sections – and that way you can follow the music as it progresses. It’s really rewarding when you say to yourself, “there’s a change of mood coming up” or “it’s just about to finish” – and you’re right!

English Classics with Julian Lloyd WebberThat also goes to show that you don’t need to know the music in advance in order to enjoy it. It is amazing how many familiar tunes though are lifted from classical works, and it’s fun to suddenly realise “I know this! It’s from that carpet advert!” Many of the pieces that the RPO include in their programmes are very well-known, and you can hear an audible sigh of pleasure when the audience suddenly recognises a tune. Recently they played Rossini’s William Tell overture and not a soul wasn’t thinking about the Lone Ranger.

RPOgroupAnd it’s not just about the music – live performance always has a theatricality all of its own. When you’ve got maybe forty or more musicians on stage, there are always mini-dramas to enjoy. See what kind of a relationship the conductor has with the musicians, whether they’re jokey or serious. See how the soloist reacts to the rest of the orchestra – are they aloof or one of the lads? Watch out for sneaky chatting between the violinists, or the percussionist dashing over to the celeste just in time to play a few notes before dashing back to the triangle, or the tuba or double-bass player making themselves giggle by how low a note they can get their instrument to play. I love watching the interaction between everyone – their mutual admiration for each other’s skills, how they turn each other’s sheet music pages, how they might even look at each other with amusement or horror if something doesn’t go quite right. All sorts of things can happen on that stage, and it’s all part of the live entertainment!

Natalie Clein plays DvořákThere’s often a pre-concert talk which gives you a further opportunity to understand a little bit more about the pieces and what to listen for – I don’t normally get around to seeing the talk, but I have a friend who wouldn’t miss them for the world. I’m more likely to get to the theatre half an hour before the concert starts, order a couple of glasses of Merlot for the interval, study the programme to see exactly what’s in store, make my way to our favourite seats, and then just let it all wash over me.

Last Night of the Derngate PromsOver the years we’ve seen some extraordinary concerts – including great soloists like Julian Lloyd-Webber, Nigel Kennedy, Natalie Clein, John Williams and Jack Liebeck; we’ve heard Ravel’s Bolero, Holst’s Planets, Elgar’s Enigma Variations, the 1812 Overture, Dvorak’s New World Symphony and all the fun of the Last Night of the Proms, RPO-style.

CinderellaThe next concert, on 16th July, is a Film Music Gala and would be the perfect introduction to the Royal Philharmonic concerts for anyone who feels they might enjoy them and wants to dip their toe in the water. We can expect loads of memorable and recognisable tunes, from Star Wars to Titanic; and the vocalist is Alison Jiear, who not only won the nation’s hearts on Britain’s Got Talent, but she also sang like a dream in the R&D’s Cinderella in 2015. She will be singing some of John Barry’s best loved film tunes and I’m sure she’ll make them her own. And of course, it will be a chance for the Royal Philharmonic to show off their livelier and more informal side. I can’t wait, it’s going to be brilliant. Why don’t you book too?

Review – The Twelfth Player, Northampton Town FC and the Royal and Derngate at the Sixfields Stadium, Northampton, 23rd June 2017

12th PlayerDo you remember the great heatwave of 1976? Of course you do, we all fled to the beaches and the parks, tore off our clothes and went lobster red for the summer. How about the great storm of 1987? The one Michael Fish didn’t predict, where trees were uprooted, roofing tiles were flung about with gay abandon, and we all took the day off work. Well, if you’re a Northampton Town FC fan – and of a certain age – you’ll also remember the great season of 1965-66, when the Cobblers played in the First Division; their one and only year in Football’s Top Flight since they were founded in 1897. To be fair it wasn’t that great a season as they only won ten matches out of forty-two (although they still finished higher than Blackburn). But for our little club it was the stuff that dreams are made on.

Dad in the showerThe Royal and Derngate have got together with Fermynwoods Contemporary Art and Seven Sisters Group to create The Twelfth Player, an original and interactive tour around the Sixfields Stadium. In groups of no more than four – and two would I think be preferable – you’re given an iPod which guides you round some familiar and some unfamiliar areas of the stadium. You walk around, at the pace directed by the iPod, and whilst so doing you follow the story of a mad fan family who keep popping up on your screen. You may also see some ghosts of the past in “real life”, and, if you’re lucky, bump into Clarence, the Cobblers’ mascot. The story weaves some significant figures of the club’s past into its present to give it an extra dimension which will probably appeal to true devotees of the club more than just your average visitor.

12th-Player-prod6What it does provide is an opportunity to go “backstage”, as it were, and see the places you wouldn’t normally visit – the changing rooms, both home and away (I was really surprised by how small the shower areas are); the laundry area, and the famous “tunnel” which takes the players on to the pitch. You get to walk all around the pitch (sadly not on it) – although some guys were tinkering with some machinery at the corner of the pitch and I definitely got the feeling we were getting in their way, which slightly disrupted the illusion of the event!

ClarenceThere’s no doubt that this is a unique entertainment, approximately 40 minutes long, and I think you’d get the most out of it by being a big fan of the club or (even more) a child who is a big fan of the club. The technology is very clever and entices you in to the extent that you may occasionally forget to keep taking a good look around you, and not just concentrating on the screen! I was accompanied by Mr Flying the Flag who is a Northampton Town Nerd (he won’t mind me saying that) and he did point out that there were a couple of factual inaccuracies in some of the historical data given, which I guess is a shame. Not that I would have known. Primarily it’s a great chance to see the places only the professionals go; and I’m never going to come under that category! It’s on until 12th July – but not every day, so make sure you book ahead!