Moral Disorder, Dunbar and The Seven Deaths of Evelyn Hardcastle

I was so impressed by the first of the eleven stories (or were they chapters?) of Moral Disorder and I wondered if we were in for something special. However, those that switch to childhood and young adulthood were quite ordinary. Later on, the four stories when Nell lives on a farm were incredibly boring. I think that the stitching together of some old and new pieces did not give any coherence to the life of the central character. To me, it ended up a jumble. 

The least successful of the Hogarth Shakespeare series so far. Dunbar began so well, especially the relationship between mega businessman Henry Dunbar and his comedian assistant Peter Walker. The plot was nicely constructed, a lot of witty writing. However, by half way we were subjected to too much of this stuff: "Dunbar was the man who placed the wafer on their outstretched tongues, transubstantiating the corrosive passivity of fear and envy into the dynamic single mindedness of hatred". And so on. The ending, although we know what happens in the play, is a disappointment. 

This is a book to really test your memory. As the author describes it, a time-travelling, body-hopping murder mystery novel. More like "Groundhog Day" meets "Changing Places" meets Agatha Christie. Give the writer credit, he does give us quite few reminders of important clues along the way. Or are they clues or red herrings? I was able to keep up for most of the book, it was only the ending that I couldn't follow. Is that so often the case?

There is clever use of the first person narrator throughout, we inhabit the strangeness of his (their) fate. As he puts it "Are things always like this, explanations before the questions?". As things get worse "If this isn't hell, the devil is surely taking notes". This is no great literary enterprise, but mostly an enjoyable twisted thriller. 

Pinter Four at the Harold Pinter Theatre

Twenty of Harold Pinter's one act plays are being performed in seven sets at the theatre named after the playright. I chose the fourth set "Moonlight" and "Night School". I have to agree with most of the critics that these are not Pinter's best work. However, they still contain his classic word play and use of language. Lyndsey Turner has directed the first where Andy, played full tilt by Robert Glenister, is confined to his bed and (maybe) approaching death. Bel (a fine Brid Brennan) is his long suffering wife.

I was not impressed by the short scenes. I much prefer Pinter when his two characters have time to develop the story as in "No Man's Land" and "Betrayal". So sons Jake and Fred (miles away?) banter (on and off) with no real purpose. It is only when Maria (the consistently brilliant Janie Dee) visits the bedside that things sparkle.

The earlier second play "Night School" is a more coherent piece. The same actors from the first act are here again supplemented by Jessica Barden as Sally. She is the lodger who has taken the bedroom of Walter (Al Weaver) who has just returned from prison. The extended dialogue with Walter's two aunts, Brid Brennan and an unrecognisable Janie Dee is the best of this production.

I wasn't too keen on the set, a revolving stage with four pillars at the corners. And a drummer for the score? Director Ed Stambollouian should have concentrated on the script so we are not distracted by superfluous effects. But any Pinter is ultimately worth seeing, and this was no exception.

The Royal Academy Redevelopment and Pinter Four

This was my third exploration this year of new architecture in London. After Paddington Basin and the Victoria and Albert Museum, yesterday I visited the Royal Academy to see how the £56 Million upgrade had transformed this historic centre. I started at the old main entrance on Piccadilly.

Ignoring the galleries in Burlington House that I had visited before, I made my way to the bridge that takes you to the new restoration of 6 Burlington Gardens. First encountered is the staircase.

My photos from the bridge........

... compare nicely with that below from the Sunday Times Culture magazine of 20th May 2018 that gave me the encouragement to plan this visit.

6 Burlington Gardens is where the vast majority of the work took place. The building was acquired by the Royal Academy in 2001 and was established as the Museum of Mankind. David Chipperfield Architects won the competition at the third time of asking and ten years later their designs have come to fruition. The entrance on Burlington Gardens is now a fine renovation of the facade and historic sculptures.

Inside I needed to find a floor plan that showed the new spaces, however I had to wait until today to find one.

6 Burlington Gardens is at the top. On the right is the new lecture theatre, on the left the Pace Gallery (more later). Immediately above the bridge are two new temporary galleries, including the one for the Renzo Piano exhibition (also see later). These have extended the overall gallery space for the Royal Academy by a staggering 70%. These are contemporary spaces, full of light and modern materials. "The Gabrielle Jungels-Winkler Galleries provides the Royal Academy with an impressive third suite of galleries for temporary exhibitions. Refurbished with state of the art conditions, the galleries are naturally day-lit and will support an exhibition programme of contemporary art and architecture".

I had booked a ticket for the Renzo Piano - The Art of Making Buildings. The gallery as below:

From the Centre Georges Pompidou to The Shard, on display are drawings, photographs and models of many of his famous buildings. What amazed me most of all was how Renzo Piano embraced the science of structure into his designs. The free brochure that accompanies the exhibition says: " Piano comes from a family of builders, and has developed a complete command of the construction process, designing, as he says, "piece by piece". His work with Arup Engineers and engineer Peter Rice with whom he joined the partnership Atelier Piano and Rice in 1977.

I was impressed by his work on the joints in the structure of his designs. I learnt about the "gerberette" that connects beams, columns and external bracing at the Pompidou centre. Not only a piece of engineering magic, but beautiful in their own right.

The complexities of The Shard's design are well documented. I liked the bound A3 size presentation packs and especially the early sketches complete with illegible notes.

The models and creativity of the Cultural Centre in New Caledonia are amazing.

The Whitney Museum of American Art is amongst the 16 buildings, each on it's own white square table.

Leaving this gallery, I found the Pace Gallery noted above. I was more interested in the gallery itself rather than the Brent Wadden exhibits.

It was lunchtime when I left the Royal Academy. I didn't have too long before I was due at the theatre and the queues at Pret a Manger and Costa Coffee on Piccadilly were too long. However there was no queue at Cafe Nero on Haymarket where a coffee and a toastie were perfect.

For the afternoon I had booked for the matinee for Pinter Four at the Harold Pinter Theatre - see separate post.

Tring Book Club - Three Things About Elsie

In her first novel The Trouble with Goats and Sheep, Joanna Cannon alternated a ten year old narrator with third person chapters. In her new book Three Things About Elsie our narrator Florence is eighty four, again switching to third person chapters, this time for two other characters. This works really well, especially as Florence is struggling with her memory. The author writes lovingly about ageing, the residents and staff of Cherry Tree are all sympathetically described. We get to know them so well.

There is a mystery at the heart of the story, one that Florence is trying to unravel in her inconsistent mind. The Elsie of the title is her best friend, a calming influence in her often troubled recollections of the past. At their retirement home arrives a man from the past. "For someone so full of violence, his voice was almost soft and whispery". Florence needs to do something. She might have read what Grace did (in that first book) and her advanced years was not going to stop her. 

Nerina Pallot at The Stables, Milton Keynes

Despite owning all her albums (except "that one"), I had never seen Nerina Pallot live. So when she was playing solo at The Stables last night, I was not sure if it would be as good as she is with a band on her recordings. How wrong I was.

She sits at the beautiful black grand piano and plays those fabulous opening bars from Juno, the first track on her latest (and in my opinion, best) album Stay Lucky. Her voice comes in, pitch perfect, sweet and soaring. I am blown away. We don't need a band. She is brilliant on her own. In fact, with a band there would be no room for that shiny grand piano and that is what her best songs needed.

I was lucky to have a seat at the side of the stage, so although she faces directly to tiered stalls, I am close enough to see her hands float across the keyboard. This is a wonderful experience, what a superb musician she is.

Four songs at the piano, including Idaho (one of five songs from her album Fires) and my favourite My Last Tango from dear frustrated superstar. I had left a note on her Facebook page hoping she might include it, but it wasn't on any of her previous set lists. I have always thought that Strictly should use this track whenever someone has to dance the Tango. That instrumental section towards the end is quite something.

Then a change to a guitar accompaniment, two songs with an acoustic and two with an electric. I would have preferred Daphne and Apollo on piano, but it gives Nerina a chance to talk about her early days learning the instrument and only three chords needed for this number.

After a short break, it's back to the piano. The second half includes Stay Lucky, the title track from the album with The Heart is a Lonely Hunter and All Gold from the same collection. I also remember Human, Everybody's Gone to War, Mr King, Geek Love and finishing the set with Put Your Hands Up.

Of course Nerina comes back for an encore, and it had to be Sophia. A superb performance and a memorable evening.

Wise Children at the Oxford Playhouse

Almost exactly three years ago, I posted my review of Rebecca at the Oxford Playhouse.

Last night it was the turn of Kneehigh Theatre to bring us Daphne Du Maurier's Rebecca. Emma Rice is the Jojnt Artistic Director of Kneehigh (she becomes Artistic Director of The Globe next year - watch out Globe audiences) and has adapted and directed this classic story. And what an amazing theatrical experience she has created. This is what modern theatre is all about, it really engages with the audience. So we have sea shanties (the setting of Cornwall for the book and the home of Kneehigh is important here), we have comic songs, comic dances and a set to die for. Most of the audience will know the plot, so the combination of melodrama and humour works really well.

What a prediction that turned out to be. Following two seasons of her typically inventive productions at The Globe ("How did I get to be so controversial?"), the board gave Emma a vote of no confidence and she walked away. Fortunately for us outside London, her brand new touring company, also named Wise Children, have given us another all singing, all dancing spectacular. Hugely ambitious in it's plot, we get to know the full history of the twins, Nora and Dora Chance from their conception to adulthood. 

Their family is interwoven with that of the Hazzards, It's a good job that we have narrators to unravel the complexities of the plot, in the form of the eighty plonk Nora and Dora as they look back on their life. As babies they are puppets, brilliantly handled by the cast, as a pair of young children, adult actors Mirabelle Gremaud and Bettrys Jones are wonderful and as young adults Melissa James and (yes, a man) Omari Douglas are awesome. Actually awesome. Here they are:

Either side of them in the picture are the ancient twins, brilliantly played by Etta Murfitt and (yes, again a man) Gareth Snook. This alternating age, genders and race is all part of Emma Rice's devil may care attitude to casting. As long as they are good. Here are Melissa and Omari again, with some Hazard children.

Eclipsing them all is Katy Owen as Grandma Chance. She completely brings to the party that coarse and mischievous talent that the Director so adores. 

Add in a bawdy comedian from a 1950's end of the pier show and Paul Hunter is not only funny, but he doubles as the older Melchior Hazard.

If you like something that is a cross between a play, a musical, cabaret and a revue, this is for you. Angela Carter's book may not be to everyone's taste, but Emma Rice was smitten and it makes a worthy start to her new project. Sheer entertainment, with a tough moral story bolted on.

The Royal Ballet's La Bayadere - Live in Cinemas

The last time I was in Aylesbury Odeon's big Screen 1 was for a live screening of the National Theatre's "Julie" when there were only a couple of dozen in the audience. How different for last night's "La Bayadere". It was packed and I was lucky to find a decent seat. No wonder, this was a brilliant performance.

I think we have only seen this ballet once before and that was when The Royal Ballet performed it at the London Coliseum in July 1998, The three starring roles were played by Viviana Durante (Nikiya), Irek Mukhamedov (Solor) and Deborah Bull (Gamzatti). This time Marianela Nunez was a poised and beautiful Nikiya, Vadim Muntagirov a strong, tall and athletic Solor and Natalia Osipova as a startling and powerfull Gamzatti. All three are exceptional dancers of world class. The first two in the top photo and Osipova below.

The second act is mainly the twenty four strong female corps de ballet in The Kingdom of Shades scene. Quite an exquisite performance. The Royal Ballet's website describes it as follows:

The Kingdom of the Shades scene in Act II is one of the ballet's highlights, in which a series of arabesques across the moonlit stage demonstrates the strength of the corps de ballet and the beauty of Marius Petipa's choreography.

So I have learned what is an arabesque: a posture in which one leg is extended backwards at right angles, the torso bent forwards, and the arms outstretched, one forwards and one backwards. In this ballet, the movement is repeated 39 times as the corps de ballet are introduced one by one, in line,  down a ramp and onto the stage. I only know it was thirty nine thanks to  Darcy Bussel and Petroc Trelawney who introduced the ballet and conducted interviews before it started and during the two intervals. There was also some great footage of backstage rehearsals. A memorable evening.

Age Category Firsts

This week I picked up my trophy for being first in Age Category 70+ at the South Bucks 10K. However there were only four running in my age category. I can add this to my other three firsts.

The medal was for being first in the 60+ from the Charvil 5K, the only time it was ever run. It was presented to me by Theresa May - see posting 17th June 2012. There were only two in my age category and I think the other man walked!

The two certificates from Milton Keynes Festival of Running - the Half Marathon 2017 and the 10K 2018 both had five runners in the 70+ category.

All put into perspective when at the Great South Run this year I was twelfth out of 55 in my age category and last year sixteenth out of 80!

Bohemian Rhapsody, Halloween and Juliet, Naked

Despite the ordinary screenplay, most of the acting and the overlong second half, I thoroughly enjoyed Bohemian Rhapsody. Rami Malek is outstanding as Freddy and his relationship with his family and early days with Queen are well  portrayed. I was never a great fan of the band, but never disliked them. Now I know how great t would have been to see them live. There were so many great songs, John Deacon playing a new riff (that became "Another One Bites The Dust) to split up an argument and the audience singing "Light Of My Life". The first number during the final part at Live Aid (Bohemian Rhapsody) was so poignant given the lyrics of the first verse and Freddy on is way out.

It was interesting to learn afterwards that Tim Staffell, the original bass player and vocalist, who quit the original band called Smile, was invited by Brian May and Roger Taylor to join them to record their old number "Doing All Right" for the movie.

There were some moments in Halloween that I enjoyed. But unfortunately, the screenplay was pretty wooden. Fortunately, the scares were not that scary (I avoid all those new horror films that try to do just that). There were just too many of them. I should have given it a miss despite the mainly positive reviews.

My blog posting of the 7th August 2010 goes:

Nick Hornby is one of my favourite authors, and his latest, Juliet, Naked is one of his best. The title refers to a stripped down version of an old forgotten rock star's only classic album. Duncan is an obsessive fan of Tucker, but it is his partner Annie who makes the right connection. The writing is sharp, very funny and quite touching. It is one of those books that you make time to read as each time you pick it up, there is a new delight. Yes, it would make an excellent movie.

But not this one. Jesse and Evgenia Peretz have made a real hash of adapting the book for the movie. I didn't laugh once. Just thank goodness for Rose Byrne. She is as marvellous as Annie as Chris O'Dowd is unbelievably miscast as boyfriend Duncan. Ethan Hawke does his best as Tucker Crowe, The location of that brash seaside town looked familiar. It turned out to be Broadstairs that I can just about remember from a family holiday when I was a child. The choice of songs for the soundtrack was good, just a shame most of them are not on the album.