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grondficOur 'outside visits' over the festive period formed a rather lovely little self-contained grouping. So - although I'm horribly aware that I have outstanding theatre reviews for practically everything I saw during the autumn (blame Tennyson: https://grondfic.dreamwidth.org/8943.html) - I'm going to take this lot first. I may do some festive tv as well, in another post.
The Man who Invented Christmas
(film dir. Bharat Nalluri; screenplay:Susan Coyne from the book of the same name by Les Standiford)
This is a light-hearted-ish film, based very loosely on fact, telling a story of how Dickens might have written A Christmas Carol in six weeks, thus restoring his family's fortunes, and (allegedly) inventing Christmas-as-we-know-it.
Although treated in a fun-fashion, the film does manage to make some good points about Dickens' creative processes, his troubled relationship with his parents and some of the darker aspects of his childhood.
A star-studded cast includes Dan Stevens as a (very good-looking) Dickens, Morfydd Clark as the wife who would be so badly treated later in Dickens' life, Christopher Plummer as Scrooge, Jonathan Pryce as Dickens' father, and Simon Callow turning in a florid cameo as John Leech, the book's illustrator.
In spite of the generally negative response from the critics, we found a lot to enjoy in this, our inaugurative Christmas experience.
The Nutcracker (ballet livestreamed from the Royal Opera House)
Last year we began what I hope will be a tradition of attending the cinema livestream performance of Nutcracker in Peter Wright's version for the Royal Ballet.
Essentially the version doesn't change; so we got the same plotline as last year. There were, however a few changes in the detail. For example, the Stahlbaums' Christmas party was a much tamer affair - only minimal superciliousness by an aunt; no flirting with male guests by the dancing mistress, and therefore no disapprobation by Frau Stahlbaum; and less horse-play by Fritz and his mates.
Still - the divine Francesca Hayward was back as Clara, partnered this year by Alexander Campbell as the Nutcracker/Hans-Peter. We were also happy to welcome back Gary Aves as an imperious Drosselmeyer (you couldn't believe that he'd allow the Mouse King anywhere NEAR his hapless relative, let alone being unable to stop the transformation into the Nutcracker-toy).
This year's Sugar Plum Fairy was danced by Sarah Lamb, with Steven McCrae as her Prince. This is a new pairing; and it really was something very special. They transcended the built-in saccharine of the plot and gave us a pas de deux of amazing coherence and maturity.
Sadly the RoH didn't provide us with a proper full cast list this year (they rather stupidly picked on the opening night for livestreaming, and clearly made their final choice of dancers quite late in the day). Consequently, I can't congratulate individuals on their party-pieces. I adored the Mouse King; and - as per last year - the Arabian dance (even though the wonderful statuesque Basque dancer Itziar Mendizabal wasn't performing it this time).
The livestream presents us with a very large, almost national company (together with its associated ballet school) doing what it does best; and loosely following Hoffmann's plotline with added adornments (eg. the wonderful Christmas angels) and a huge, awesome transformation scene.
I mention this, because (see below) we rounded-off our Christmas season with another Nutcracker from a very different company.
Dear Brutus (Southwark Playhouse)
I absolutely HAD to see this one; to the extent that I insisted on tickets being booked before we even had details of the acting troupe. It's a very-rarely staged piece by J M Barrie, which has been described as 'Peter Pan for grownups'. I first saw it onstage so long ago that I can't remember when or where it took place; but I'd already read it whilst still school-age, and knew what was going to happen. And what happens is - literally - Magic.
This production took place in 'The Small' studio at Southwark Playhouse, which places severe constraints on the setting and scenery. Thus the start of Act 2 - which takes place in a magic wood - was signalled when the sitting-room of Act I was inundated by showers of petals from above (and some of the actors appeared barefoot).
This magic wood is reputed to appear (Shakespearean-wise) on Midsummer Night, and is reputed to confer a second chance in life, to anyone entering it. (However, sometimes people never reappear).
A disparate group has been assembled by the mysterious Lob at his country-house at Midsummer. It slowly becomes clear that all the guests (as well as Matey, Lob's butler) feel that Life has dealt them an unfair hand; and that they would do so much better for a second chance.
The title, of course, refers to Cassius' words in Julius Caesar - "The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings"; so the visit to the magic wood will show everyone (and us) whether - given that second chance - they do any better. *clue - they don't; but there may be hope for some to turn things around back in the real world*
The play was produced and acted by Troupe, a company that specialises in bringing less well-known plays to off-West-end venues. The central role of Will Dearth was taken by Miles Richardson (son of the late Ian'you-may-think-that! I-couldn't-possibly-comment'Richardson); he definitely made the most of it.
For me the standout performances came (in addition to Richardson) from Emma Davis as Dearth's supercilious, bitter wife Alice (I also desperately coveted her gold-brown velvet evening wrap); and Edward Sayer as serial philanderer John Purdie.
But this was a group piece and in truth everyone was brilliant, from Simon Rhodes' ethically-challenged butler Matey to James Woolley's fey, sprightly oldtimer Coade, to the aged, ageless elderly Puck-figure, the devious host Lob. And a special shoutout to the splendidly-named Venice van Someren as the might-have-been, girlchild-on-the-verge-of-womanhood, Margaret.
I shall look out for Troupe's work again. And it wouldn't be right not to mention the presence of David Warner at the performance we attended. Apparently, he's a friend of Miles Richardson. So there I was, in the presence of my earliest most-influential-Hamlet; having seen my latest most-influential Hamlet last summer. Whoah!
A Christmas Carol (Old Vic)
Our second Dickens-related outing. The play took place on a long traverse stretching the length of the auditorium, with the audience scattered every-which-way around it. Once I grew accustomed to the odd perspective, it was obvious that this was a very direct way of encompassing the audience in the action; and later, involving it directly.
As we were ushered to our seats, members of staff in costume handed out mini mince-pies, which was a great way of getting us into the spirit of things (after the usual undignified scramble for the Ladies' queue followed by an undercooked quiche inhaled standing-up in the small overcrowded café-bar. Jeez! The Bridge has spoiled me for these more traditional theatres!)
Anyway - the play. It was a thing of wonder, full of joyous music and carolling. The whole company took part in the various songs, whilst the music was provided by a small consort offstage, and Tim van Eyken who doubled up being the accordion player with taking the role of Nicholas. At times also, the company took up hand-bells, and rang out the carol tunes.
Rhys Ifans as Scrooge cut an unusually youthful (but rather scruffy) figure, in whose initial horribleness you couldn't quite believe. Nonetheless he gave a powerful rendition of a not-quite-Dickensian Scrooge, with a slightly fanfic-style backstory of a spendthrift father who abused and exploited him. (Actually Father shared some characteristics with Dickens' own feckless parent)
The play, whilst not sacrificing any of the joy of the original, took a more nuanced, psychological approach to Scrooge's character. It became clear that he was suffering an addiction to money, and the getting of it. He squirreled a lot of it in boxes beneath his floor, where - as the (very uncharacteristically vocal) Ghost of Christmas Future pointed out - it would merely rot undiscovered after his death.
The cleverest result of this approach came after Scrooge had rediscovered the giddy happiness of the Christmas season, and gone around doing good to his nephew and Bob Cratchit's family (helped by the audience, who were handed the ingredients for a huge feast to pass down to the stage). A final small un-Dickensian scene was added, wherein Scrooge had a final session with all four Ghosts (Marley as well). During that, it became obvious that the doings of Christmas Day, with the turkey and reconciliations, was ALSO a vision. The hard, day-to-day slog of a recovering addict was still to do!
But Scrooge's willingness was clear, especially as there had been another un-Dickensian scene during which he and Tiny Tim had bonded over an agreement to share Scrooge's turkey and the Cratchits' goose. They were both clearly taken with one another; and, one felt, Tim would be the saving of Scrooge, just as Scrooge would save Tim from the death that he had 'seen' during his third vision.
Amongst the ensemble, the standout performances came from John Dagleish as Cratchit, Alex Gaumond doubling Father and Marley's Ghost (trailing a mammoth chain that stretched the full length of the theatre), and Tiny Tim (one of four who shared the role), played by Grace Fincham.
Altogether, a most uplifting and satisfying take on the story. I didn't even mind the (really truly wet) 'snow' that fell on us all at the end!
(I should perhaps mention that tv brought us A Christmas Carol Goes Wrong in the dog-days after Christmas. It was hilarious, and I may review it elsewhere!
The Nutcracker (St. Petersburg Classic Ballet at the Churchill Theatre, Bromley)
Having seen the Royal Ballet near the beginning of the Christmas season, we rounded it off by catching the St Petersburg Classic Ballet live onstage with its version.
As Russian touring companies go, this came a close second to our favourite State Ballet of Siberia; and streets ahead of the deplorable Moscow City company (although even they might have improved over time by now).
The problem really, with a company this size is that they just aren't as well-off as the big ballets. Thus they can only afford a Prima Ballerina (Natalia Romanova), two Premieres (ie. top blokes) - Petr Borchenko and Vadim Lolenko, two First Soloists (Evgeny Silakov and Mikhail Bogomazov), and a Corps de Ballet for everything else (all of whom are pretty decent dancers). They have a live orchestra with them (the Hungarian sinfonietta), again good - but it's really a chamber-orchestra.
BUT - the scenery, costume and makeup lets everyone down bigtime. Silakov, dancing Drosselmeier (note alternative spelling in this version), has face-makeup that renders him indistinguishable from one of his own automata. The 'transformation scene' when the Christmas tree expands to beyond the ceiling, consists of a flat triangular canvas, rolled at the base, being slowly hoicked upwards in full lighting so we can all see the string.
However, you have to forget all that because the company are working hard and delivering their story beautifully. It's a slightly more traditional and slim-lined story than the Royal Ballet told: Clara doubles-up as the Sugar Plum Fairy, so that the whole of Act 2 is her dream - the Prince (danced by Borchenko) being just a part of that dream - and the Nutcracker itself is not Drosselmeier's transfigured nephew, just one of his automata.
The dances in Act 2 are, of necessity, much simplified (only one Arab dancer instead of the ensemble of the Royal Ballet's 4), sometimes for the better. For example, the Russian duo are here done as a mixed-sex couple. The girl's costume resembles the traditional crown-like headdress and flowing sarafan - a distinct improvement on the two male Wurzel-alikes who jump and tumble their stuff for the Royal Ballet - https://farm6.staticflickr.com/5534/11340979143_cfc47b475f_z.jpg
As in the Royal's performance, I adored the very different Mouse King and his cohorts; but whilst the Royal's villains are danced by an adult King and child-cohorts, these guys were all adult, and VERY sinister.
Here's a pic of them:
https://d2igo9sfit4k1n.cloudfront.net/uploads/2016/07/10130732/Saint-Petersburg-Classic-Ballet-395-Nutcracker-and-mice-1024x681.jpg
And here's the Royal's more Romantic Mouse King in mid-leap:
https://farm1.staticflickr.com/578/23545963181_d46965bdf5.jpg
Anyway, we rounded off the Festive Season in moderate style courtesy of this lively visiting company. They're still on tour - check them out in your neighbourhood here -
https://www.ents24.com/uk/tour-dates/saint-petersburg-classic-ballet
The Man who Invented Christmas
(film dir. Bharat Nalluri; screenplay:Susan Coyne from the book of the same name by Les Standiford)
This is a light-hearted-ish film, based very loosely on fact, telling a story of how Dickens might have written A Christmas Carol in six weeks, thus restoring his family's fortunes, and (allegedly) inventing Christmas-as-we-know-it.
Although treated in a fun-fashion, the film does manage to make some good points about Dickens' creative processes, his troubled relationship with his parents and some of the darker aspects of his childhood.
A star-studded cast includes Dan Stevens as a (very good-looking) Dickens, Morfydd Clark as the wife who would be so badly treated later in Dickens' life, Christopher Plummer as Scrooge, Jonathan Pryce as Dickens' father, and Simon Callow turning in a florid cameo as John Leech, the book's illustrator.
In spite of the generally negative response from the critics, we found a lot to enjoy in this, our inaugurative Christmas experience.
The Nutcracker (ballet livestreamed from the Royal Opera House)
Last year we began what I hope will be a tradition of attending the cinema livestream performance of Nutcracker in Peter Wright's version for the Royal Ballet.
Essentially the version doesn't change; so we got the same plotline as last year. There were, however a few changes in the detail. For example, the Stahlbaums' Christmas party was a much tamer affair - only minimal superciliousness by an aunt; no flirting with male guests by the dancing mistress, and therefore no disapprobation by Frau Stahlbaum; and less horse-play by Fritz and his mates.
Still - the divine Francesca Hayward was back as Clara, partnered this year by Alexander Campbell as the Nutcracker/Hans-Peter. We were also happy to welcome back Gary Aves as an imperious Drosselmeyer (you couldn't believe that he'd allow the Mouse King anywhere NEAR his hapless relative, let alone being unable to stop the transformation into the Nutcracker-toy).
This year's Sugar Plum Fairy was danced by Sarah Lamb, with Steven McCrae as her Prince. This is a new pairing; and it really was something very special. They transcended the built-in saccharine of the plot and gave us a pas de deux of amazing coherence and maturity.
Sadly the RoH didn't provide us with a proper full cast list this year (they rather stupidly picked on the opening night for livestreaming, and clearly made their final choice of dancers quite late in the day). Consequently, I can't congratulate individuals on their party-pieces. I adored the Mouse King; and - as per last year - the Arabian dance (even though the wonderful statuesque Basque dancer Itziar Mendizabal wasn't performing it this time).
The livestream presents us with a very large, almost national company (together with its associated ballet school) doing what it does best; and loosely following Hoffmann's plotline with added adornments (eg. the wonderful Christmas angels) and a huge, awesome transformation scene.
I mention this, because (see below) we rounded-off our Christmas season with another Nutcracker from a very different company.
Dear Brutus (Southwark Playhouse)
I absolutely HAD to see this one; to the extent that I insisted on tickets being booked before we even had details of the acting troupe. It's a very-rarely staged piece by J M Barrie, which has been described as 'Peter Pan for grownups'. I first saw it onstage so long ago that I can't remember when or where it took place; but I'd already read it whilst still school-age, and knew what was going to happen. And what happens is - literally - Magic.
This production took place in 'The Small' studio at Southwark Playhouse, which places severe constraints on the setting and scenery. Thus the start of Act 2 - which takes place in a magic wood - was signalled when the sitting-room of Act I was inundated by showers of petals from above (and some of the actors appeared barefoot).
This magic wood is reputed to appear (Shakespearean-wise) on Midsummer Night, and is reputed to confer a second chance in life, to anyone entering it. (However, sometimes people never reappear).
A disparate group has been assembled by the mysterious Lob at his country-house at Midsummer. It slowly becomes clear that all the guests (as well as Matey, Lob's butler) feel that Life has dealt them an unfair hand; and that they would do so much better for a second chance.
The title, of course, refers to Cassius' words in Julius Caesar - "The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings"; so the visit to the magic wood will show everyone (and us) whether - given that second chance - they do any better. *clue - they don't; but there may be hope for some to turn things around back in the real world*
The play was produced and acted by Troupe, a company that specialises in bringing less well-known plays to off-West-end venues. The central role of Will Dearth was taken by Miles Richardson (son of the late Ian'you-may-think-that! I-couldn't-possibly-comment'Richardson); he definitely made the most of it.
For me the standout performances came (in addition to Richardson) from Emma Davis as Dearth's supercilious, bitter wife Alice (I also desperately coveted her gold-brown velvet evening wrap); and Edward Sayer as serial philanderer John Purdie.
But this was a group piece and in truth everyone was brilliant, from Simon Rhodes' ethically-challenged butler Matey to James Woolley's fey, sprightly oldtimer Coade, to the aged, ageless elderly Puck-figure, the devious host Lob. And a special shoutout to the splendidly-named Venice van Someren as the might-have-been, girlchild-on-the-verge-of-womanhood, Margaret.
I shall look out for Troupe's work again. And it wouldn't be right not to mention the presence of David Warner at the performance we attended. Apparently, he's a friend of Miles Richardson. So there I was, in the presence of my earliest most-influential-Hamlet; having seen my latest most-influential Hamlet last summer. Whoah!
A Christmas Carol (Old Vic)
Our second Dickens-related outing. The play took place on a long traverse stretching the length of the auditorium, with the audience scattered every-which-way around it. Once I grew accustomed to the odd perspective, it was obvious that this was a very direct way of encompassing the audience in the action; and later, involving it directly.
As we were ushered to our seats, members of staff in costume handed out mini mince-pies, which was a great way of getting us into the spirit of things (after the usual undignified scramble for the Ladies' queue followed by an undercooked quiche inhaled standing-up in the small overcrowded café-bar. Jeez! The Bridge has spoiled me for these more traditional theatres!)
Anyway - the play. It was a thing of wonder, full of joyous music and carolling. The whole company took part in the various songs, whilst the music was provided by a small consort offstage, and Tim van Eyken who doubled up being the accordion player with taking the role of Nicholas. At times also, the company took up hand-bells, and rang out the carol tunes.
Rhys Ifans as Scrooge cut an unusually youthful (but rather scruffy) figure, in whose initial horribleness you couldn't quite believe. Nonetheless he gave a powerful rendition of a not-quite-Dickensian Scrooge, with a slightly fanfic-style backstory of a spendthrift father who abused and exploited him. (Actually Father shared some characteristics with Dickens' own feckless parent)
The play, whilst not sacrificing any of the joy of the original, took a more nuanced, psychological approach to Scrooge's character. It became clear that he was suffering an addiction to money, and the getting of it. He squirreled a lot of it in boxes beneath his floor, where - as the (very uncharacteristically vocal) Ghost of Christmas Future pointed out - it would merely rot undiscovered after his death.
The cleverest result of this approach came after Scrooge had rediscovered the giddy happiness of the Christmas season, and gone around doing good to his nephew and Bob Cratchit's family (helped by the audience, who were handed the ingredients for a huge feast to pass down to the stage). A final small un-Dickensian scene was added, wherein Scrooge had a final session with all four Ghosts (Marley as well). During that, it became obvious that the doings of Christmas Day, with the turkey and reconciliations, was ALSO a vision. The hard, day-to-day slog of a recovering addict was still to do!
But Scrooge's willingness was clear, especially as there had been another un-Dickensian scene during which he and Tiny Tim had bonded over an agreement to share Scrooge's turkey and the Cratchits' goose. They were both clearly taken with one another; and, one felt, Tim would be the saving of Scrooge, just as Scrooge would save Tim from the death that he had 'seen' during his third vision.
Amongst the ensemble, the standout performances came from John Dagleish as Cratchit, Alex Gaumond doubling Father and Marley's Ghost (trailing a mammoth chain that stretched the full length of the theatre), and Tiny Tim (one of four who shared the role), played by Grace Fincham.
Altogether, a most uplifting and satisfying take on the story. I didn't even mind the (really truly wet) 'snow' that fell on us all at the end!
(I should perhaps mention that tv brought us A Christmas Carol Goes Wrong in the dog-days after Christmas. It was hilarious, and I may review it elsewhere!
The Nutcracker (St. Petersburg Classic Ballet at the Churchill Theatre, Bromley)
Having seen the Royal Ballet near the beginning of the Christmas season, we rounded it off by catching the St Petersburg Classic Ballet live onstage with its version.
As Russian touring companies go, this came a close second to our favourite State Ballet of Siberia; and streets ahead of the deplorable Moscow City company (although even they might have improved over time by now).
The problem really, with a company this size is that they just aren't as well-off as the big ballets. Thus they can only afford a Prima Ballerina (Natalia Romanova), two Premieres (ie. top blokes) - Petr Borchenko and Vadim Lolenko, two First Soloists (Evgeny Silakov and Mikhail Bogomazov), and a Corps de Ballet for everything else (all of whom are pretty decent dancers). They have a live orchestra with them (the Hungarian sinfonietta), again good - but it's really a chamber-orchestra.
BUT - the scenery, costume and makeup lets everyone down bigtime. Silakov, dancing Drosselmeier (note alternative spelling in this version), has face-makeup that renders him indistinguishable from one of his own automata. The 'transformation scene' when the Christmas tree expands to beyond the ceiling, consists of a flat triangular canvas, rolled at the base, being slowly hoicked upwards in full lighting so we can all see the string.
However, you have to forget all that because the company are working hard and delivering their story beautifully. It's a slightly more traditional and slim-lined story than the Royal Ballet told: Clara doubles-up as the Sugar Plum Fairy, so that the whole of Act 2 is her dream - the Prince (danced by Borchenko) being just a part of that dream - and the Nutcracker itself is not Drosselmeier's transfigured nephew, just one of his automata.
The dances in Act 2 are, of necessity, much simplified (only one Arab dancer instead of the ensemble of the Royal Ballet's 4), sometimes for the better. For example, the Russian duo are here done as a mixed-sex couple. The girl's costume resembles the traditional crown-like headdress and flowing sarafan - a distinct improvement on the two male Wurzel-alikes who jump and tumble their stuff for the Royal Ballet - https://farm6.staticflickr.com/5534/11340979143_cfc47b475f_z.jpg
As in the Royal's performance, I adored the very different Mouse King and his cohorts; but whilst the Royal's villains are danced by an adult King and child-cohorts, these guys were all adult, and VERY sinister.
Here's a pic of them:
https://d2igo9sfit4k1n.cloudfront.net/uploads/2016/07/10130732/Saint-Petersburg-Classic-Ballet-395-Nutcracker-and-mice-1024x681.jpg
And here's the Royal's more Romantic Mouse King in mid-leap:
https://farm1.staticflickr.com/578/23545963181_d46965bdf5.jpg
Anyway, we rounded off the Festive Season in moderate style courtesy of this lively visiting company. They're still on tour - check them out in your neighbourhood here -
https://www.ents24.com/uk/tour-dates/saint-petersburg-classic-ballet
