Handel & Hendrix in London, Brook Street, London W1

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London has a number of small and quirky museums. This one dedicated to life and works of George Frederic Handel and Jimi Hendrix is certainly an unexpected combination. Handel lived at 25 Brook Street for 36 years in the 18th Century and Hendrix lived at number 23 for short time in the 1960s.

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Bach’s house is decorated in the slightly austere Georgian style that was fashionable when he lived there. It does contain some beautiful musical instruments, including a wonderful harpsichord and a chamber organ. The bedroom has a four poster bed and there are some good paintings and a bust of Handel too. There are recitals held in the music room at least once a week and the staff are knowledgeable and helpful.

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The Hendrix flat is laid out somewhat differently. The bedroom/living room is decorated as it would have been when Hendrix and his girlfriend lived here, this is borne out by the many photos of the room published during this time. The rest of the apartment is done in a more traditional museum style, with guitars and jackets in glass cases and commemorative posters on the walls.  The bedroom is interesting, the fact that it is so classically psychedelic Carnaby Street 1960s in style probably reflects the huge effect that he had on the fashion of the time.

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Unlike many museums in London, this one is not free unless you have a National Art Pass. It is small but it does contain a number of curious items. It is striking to compare what the height of fashion was in the centre of London two hundred years apart – and there is something apt in the fact that it doesn’t open until 11am on any day. Half an hour or forty minutes will adequately see you round this exhibition, but if you are a fan of either rock or baroque, I think there will be something here to please you.

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The 10 Best Shows to book in London this December.

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  1. Romeo & Juliet. Royal Shakespeare Company at The Barbican. A contemporary version of the Shakespeare classic.
  2. Harry Potter and the Cursed Child. The Palace Theatre. A really good story and brilliant special effects.
  3. Les Miserables. Queen’s Theatre, Shaftsbury Avenue. This predates The London Lark, but it has been running so long because it is very good!don-quixote-lt
  4. Don Quixote. The Garrick Theatre. The Christmas show for people who don’t do panto!
  5. School of Rock. Gillian Lynne Theatre, Drury Lane. Very enjoyable musical, a bit corny but great fun.
  6. Summer and Smoke. Duke of York’s Theatre, St Martin’s Lane. Worth seeing for Patsy Ferran’s performance alone. Wonderful use of music at dramatic moments.
  7. Macbeth. Royal Shakespeare Company at The Barbican. Niamh Cusack and Christopher Ecclestone are fantastic in this.
  8. Follies. The National Theatre. Won the Olivier award for best musical revival last year, returning early next year and booking now. Sondheim in his prime, beautifully done.the-play-that-goes-wrong-5249
  9. The Play that goes Wrong. The Duchess Theatre, Covent Garden. This does exactly what it says on the tin. Very, very fanny! (Ha,Ha!)
  10. Everybody’s Talking About Jamie. The Apollo, Shaftsbury Avenue. Great Songs and a lovely uplifting story.

I have restricted the list to those shows that I have seen myself. There are a number of shows that I am sure will be wonderful but that I have not yet seen. Hamilton, which is on at the Victoria Palace appears to be universally loved. I am really looking forward to seeing Company at The Geilgud Theatre. The Inheritance at The Noel Coward Theatre looks like it will be fantastic too.

This list is obviously based on personal taste too. People who love Bat Out Of Hell, seem to really adore it and return regularly, although I have to say that I found the new songs less good than the originals and the story is poor. I do have to admit, though that some of the special effects are spectacular.

A Very, Very, Very Dark Matter might appeal, if you like your theatre to be a bit more off kilter. It is brim full of weird and unusual ideas, but it is not an easy watch and the realisation is not as polished as Martin McDonagh’s usual fare. You also need to be quick, as it is due to finish in early January.

So, if you are thinking of booking theatre tickets for London anytime this month, there is a show for you somewhere in this list. Enjoy!

 

Murder for Two, The Other Palace, London SW1

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The Studio at The Other Palace is an intimate theatre with a small stage and seating for about a hundred people. This is the perfect setting for this show, which is an affectionate homage to black and white murder mystery movies and to camp musical theatre. It is written by an American pair, Joe Kinosian and Kellen Blair, who clearly have a love for both of the genres that they are sending up.

This is a two handed play, with Ed MacArthur playing the investigating officer and Jeremy Legat playing everybody else, apart from the moment when an audience member is brought onstage to play the death throes of a poisoned murder victim. It takes a few minutes to adjust to the quick changes between all the different characters, but soon with only a single prop and a shift in demeanour, Jeremy Legat has us following his transitions through the roles at breakneck speed.

Murder for Two is a madcap musical. It has eleven songs. Usually one of the pair plays the piano while the other sings and dances but there are duets or songs with multiple parts. The songs that have the officer interviewing three members of a boys choir, and an arguing married couple are particularly inventive. The lyrics in the songs are clever. “A Friend Like You” which opens the second act is particularly good.

The familiar elements of the story arc are magnified and made into a virtue, so that we can derive pleasure from knowing what is about to happen and laugh when it does. There are very funny lines in the dialogue, but the main comedy comes from the character portrayal. The intimacy of the theatre adds to the warmth of the performances, Ed MacArthur and Jeremy Legat have charisma and there was a personal connection with the audience.

Murder For Two is pure light entertainment, every trope from film noir and musical theatre has been thrown in the mix. The only thing that could have made it camper would have been the addition of a butler in a feather boa. It is on at The Studio of The Other Palace until 18 January. It is a witty and likeable presentation, a warm hearted murder mystery musical.

Don Quixote, Royal Shakespeare Company, Garrick Theatre, London WC2

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The Royal Shakespeare Company have gone the whole hog in this version of Don Quixote.  They commissioned James Fenton and Grant Olding to adapt Miguel De Cervantes story for a modern audience and the pair have come up with a show that feels contemporary but true to time in which it was written. With audience participation encouraged and the cast entering and exiting through the stalls, it feels like a show that would have worked very well in the Globe Theatre even in the 17th Century.

David Threlfall is Don Quixote. He plays him as the straight man to Rufus Hounds’ Sancho Panza. This works very well as we care for Quixote, the fantasist who sees the world as he wishes it was. Panza is his faithful squire who sees the real world but makes sure that we are laughing at the situation not at the man. They make a fantastic double act, Rufus Hound improvises and involves the audience while Threlfall is too involved in his windmills to notice.

Audience participation is a large part of the show, it has a panto feel in places. Some of the comedy is slapstick and it is still funny – a sweary monk as he trips over an audience members foot, a bun fight between the cast and the audience. However, there is more to the show than this, it has so much going on that catching it all in one viewing is unlikely. The songs are good and give the piece an Andalusian atmosphere. There is puppetry that is both attractive and clever. The lion is spectacular and the hawk is funny. The horses are brilliant and their interaction threatens to steal the scene on a number of occasions.

The Don Quixote that we see these days consists of two books, the original and the follow up. The second was written roughly a decade after the success of the first, it tells of the exploits of Don Quixote after he becomes famous and this show retains that tradition. Often it leads to a change in tone between the two acts. Here is it handled cleverly by making the Duke and Duchess, nicely played by Richard Dempsey and Ruth Everett, into caricatures of pantomime villains, so their cruel tricks are jokes on them rather than our hero Quixote.

The ending of the story is done well, Rufus Hound has surprising depth, having laughed with him through the show, we feel his sadness at the end. Don Quixote has the last laugh though and we can be moved and still grin at his ascent to heaven.

The RSC have invented posh panto. A show that an Eton educated ex prime minister might take his son to see.  This show is a blast from beginning to end, great fun and a great night out. It deserves to be this year’s big Christmas hit.

 

Victoria’s Knickers, Soho Theatre, Dean Street, London W1.

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I love when the National Youth Theatre Rep Company’s West End season comes around. This year their shows are on at the Soho Theatre throughout November. Victoria’s Knickers is the second production of the season. Consensual began a week ago and you can still catch a performance of that if you are quick, I saw it last week and you can read what I thought of it here: Consensual.

One of the things I really enjoy about the National Youth Theatre shows is that you often have absolutely no idea what kind of thing you are going to see until the curtain goes up. This particular show is a historical romp set in the early nineteenth century delivered in modern language with musical interludes and current world references. It is, very loosely, based on a real historical incident when a teenage boy repeatedly broke into Buckingham Palace. He was feted by the papers at the time, he was interviewed by Charles Dickens and it was even reported that on one occasion he was caught with a pair of Victoria’s Knickers.

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The story is delivered in a musical madcap romcom style, with a touch of 18th century political drama. The genre of the play changes from minute to minute and the musical styles vary from hip-hop, through Disney to Ed Sheeran and Adele. The plot line is full of holes, the story is ridiculous, the set is practically non-existent and it all adds up to a fantastic evenings entertainment, that the audience loved.

This show could not work without brilliant writing and direction. Josh Azouz on this showing is a very talented writer with a sharp eye for inventive situational comedy.  There are some great individual one line jokes in the script too. When Victoria tells Ed that she loves Albert, he replies conversationally “Of course you do, he’s your cousin”. Director, Ned Bennett does a brilliant job in drawing attention to the preposterous, and finding the humour in the clashes of cultures between all the different genres of theatre on show in this production. The set consists of unadorned MDF at the back, what looks like brown paper at the sides, and dozens of old random cardboard boxes that arrive on stage for most of the second half of the play.

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Alice Vilanculo is amazing as the soon to be Queen Victoria with a very 21st century sensibility, she makes you care for her situation while still having you laugh at it. Jamie Ankrah is excellent as Ed, 19th Century pauper, dreamer…. teenage lover. Aiden Chang has a fantastic role as Sasha, a soldier/torturer disguised as a lady of the court, he attacks the part with gusto and steals almost every scene in which he appears. Oseloka Obi is great as the rapping prince Albert, the acting throughout the company is brilliant and the show is littered with great cameos.

Victoria’s Knickers is difficult to describe and there are so many levels on which it should not work. However it is funny, inventive, musically clever and likeable. This is another success for the National Youth Theatre of Great Britain and for a writer and actors with big careers ahead of them.

Dein Perry’s Tap Dogs, The Peacock Theatre, London WC2

 

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Dein Perry’s Tap Dogs was first performed twenty three years ago in Sydney and has been constantly touring the world since then. The reason for its success is that, in the words of a DIY product advertisement, “it does what it says on the tin”. The workman analogy is apt here. The dancers in this show are at pains to demonstrate that they are workmen, in work clothes and work boots, tap dancing on various parts of a construction site. They are rugged, rough and laddish as well as very talented tap dancers.

This show has much in common with a rock concert and that is only partly because of how loud it is. Most of the show they operate as a group but each routine has the opportunity for one of them to show off their skills in a solo performance. It has the energy and individual showmanship of a rock show.

The set is a construction site, with ladders and scaffolding, that they build and dismantle as they work through their routines. The show is high energy throughout, there is hardly a moment in the hour and a half when there is not at least one of them dancing at full tilt. They manage to keep the routines different and interesting with humour, competition and clever props. Torches, blowtorches, basketballs and water trays are all used to great effect and I would be surprised if the front rows don’t leave a lot damper than when they arrived.

There are two drummers who perform for part of the show but mostly the percussion is provided by the tap dancing. A particularly clever routine is one where they dance on drum machines, with each making a different percussive resonance. The dancers are all very talented and all of the routines are either very fast or technically difficult. Both their skill and their stamina is admirable, they do not let up for a minute during the entire show.

You won’t be surprised to hear that this show is loud. I think it is the loudest performance that I have ever seen – and I saw Status Quo and Simple Minds in the 1980s. If you like tap dancing, you will be hard pushed to find a show with a better demonstration of the skill. Dein Perry’s Tap Dogs has a winning formula and I would not be surprised to see it still touring in another twenty three years.

 

Consensual, Soho Theatre, Dean Street, London W1

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Consensual is the latest production from the National Youth Theatre of Great Britain. Set in an urban modern school, it deals with very current issues. It was first performed three years ago, but following the rise of the #metoo movement in the intervening time, it catches the zeitgeist even more today than it did at the time.

The thrust of the play is about the what exactly constitutes consent and where the abuse of power begins. The play wastes no time getting into the subject matter.  A teacher is discussing the “Healthy Relationships” curriculum in  class, then after school, she is confronted by a relationship that she had with a student seven years earlier when she was a teaching assistant. She believes that the student took advantage of her naïveté at the time. He believes that she groomed him while he was underage.

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These two, Diane and Freddie, nicely played by Marilyn Nnadebe and Fred Hughes-Stanton, are the main protagonists of the story. The are supported by a cast of pupils, teachers and family who highlight the blurring of the lines, between their opposing points of view. There is a host of great cameo performances among them, the play is sharply observed and cleverly written, so there are some nice characters and some excellent lines to be delivered. I particularly like Alice Vilanculo as Georgia, who manages to convey a begging for help by resolutely deny that she needs it. Jay Mailer is also outstanding in his one scene as Jake, Freddie’s brother, his exasperation giving way to  grudging support in the end.

The direction is clever, the dark subject matter and deep conversation is interspersed with musical breaks and funny moments.  The song where the school boys deliver a song in the manner of the Pussycat Dolls or Destiny’s Child is a highlight.  There are some very witty exchanges between classmates and these lines are delivered fast and the scenes are short. Jamie Ankrah, Muhammad Abubakar Khan, Olivia Dowd and Simran Hunjun deliver nice brashness and impudence, they keep the mood upbeat and the pace brisk.

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The set is sparse and inventive, allowing the direction and writing to shine. I did love the way the cast quickly make a car from school benches. Consensual is a thought provoking show, it tackles a difficult subject in an entertaining way. It could not be more topical.  It has some great acting, keep your eyes on the cast list – I’m sure we will be seeing more of these actors in the future!