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London Schools Symphony Orchestra (Susan Elkin reviews)

Barbican Hall, 7 January 2019

Inspired programming meant a whole concert full of powerful story telling which really showcased the ability of this massive band (102 named in the programme) of talented school-age young musicians from across London. It must be great fun for these young people to play Strauss and Wagner too – all of it dramatic, tuneful and not exactly short of passion.

The poise and maturity of LSSO players – all of them under 18 and some of them still very much children although most are mid teens – is striking. So is the discipline and training which has come through working with London’s Centre for Young Musicians which operates as a division of Guildhall School of Music.

We opened with Strauss’s Death and Transfiguration. Many a professional quakes at the prospect of the exposed opening entrusted to second violins and violas but these youngsters are (apparently) fearless and it came off with sensitive accuracy. The sound was rich throughout and I think this was the first time I’ve ever seen six harps on stage – a rare luxury but manageable, it seems, in a youth orchestra context.

Then it was on to Strauss’s Three Orchestral Love Songs – effectively a set of concerto movements for voice and orchestra for which the ensemble size was slightly reduced. It was announced at the beginning of the concert that soloist Rachel Nicholls was recovering from laryngitis but she still packed plenty of warmth, strength and feeling. What good experience, too for young players to be accompanying rather than taking centre stage. The rhythmic figure in Befreit Op39 No 4 1898 was especially well played.

Finally, after the interval we were off to Wagner-land for Twilight of the Gods: A Symphonic Journey. Arranged by Wigglesworth, this is, in effect, a musical summary of the last act of Gotterdammerung with Nicholls singing Brunnhilde’s Immolation (beautifully) at the end. Whether or not you’re a Wagner fan this is a splendid piece for young players to stretch themselves in. There is so much solo work and gloriously abundant opportunity for all those brass and percussion players to excel. The Siegfried horn calls were deftly delivered, the funeral march suitably noble and Wiggleworth’s fine control of dynamic contrast heightened the drama.

What these young players achieve is remarkable especially given their age. Many youth orchestras retain their players to 21 or so. Not this one. Leader Leon Human (lovely rendering of solos in the opening Strauss) is an A level student. It’s also a real joy to observe the audience LSSO attracts. Lots of young people come – from the schools that the players attend and from the Centre for Young Musicians. And of course families are there with siblings. If only we could find ways of getting such youthful and enthusiastic audiences for other classical music concerts.

First published by Lark Reviews: http://www.larkreviews.co.uk/?cat=3

Fatigue, tiredness, weariness, bloody exhaustion – yes, it’s all part of Ms Alzheimer’s merry-go-round. And, with her usual lack of discrimination, she gets the whole household, not just her target victim.

My Loved One is perpetually, permanently, constantly tired. That is, I presume, a symptom of the mixed dementias which seem to be felling him alongside good (bad) old Alzheimer’s. The fatigue is supposed to be at least partly related to his low Vitamin B12 levels for which he has 12-weekly top-up injections but I can’t say I’ve noticed them making much difference. So we have to live with it.

The effort of getting up, dressing and eating breakfast usually tires him so much that he (usually accompanied by our delighted feline monster who adores sleepy, sedentary people) sits on the sofa to look at the newspaper but nods off within a few minutes. Sometimes he’s so tired he will wander upstairs and lie on the bed for a daytime snooze, especially in the afternoons. From choice if nothing else is happening he likes to head for bed by about 9pm. He’s also developing a habit of narcoleptic disappearance whatever he happens to be doing – I’ve seen his sleepy head almost drop into his dinner plate, for instance, and he rarely stays fully awake in a theatre or concert hall. The only place he doesn’t fall asleep is in the car. Perhaps that’s a comment on my driving.

The tiredness is also related to broken nights. MLO wakes up frequently needing to go to the bathroom. This was so for some years before the Alzheimer’s diagnosis actually,  but back then he used to manage it solo and quietly. Today it’s much more often – sometimes every 20 minutes or so in the early part of the night and he needs help to avoid – ahem – “accidents” so I’m in and out of bed all night too.

Yes, before you ask the obvious question (and I’m beyond delicacy) we’ve got all the protectors etc to deal with leakage. I loathe the implications of the word “nappy” but there it is.  MLO, however, is a sensitive grown up and if he feels a call of nature he, understandably, wants to heed it – in the bathroom. Dignity and all that. So there’s a lot of laborious lumbering out of bed with me propelling him from behind by the shoulders because he’s often forgotten where the bathroom actually is.

It’s odd too. This whole bathroom business brings out the worst in him. In general MLO is compliant and sweet natured (more so than in the past when he was well, for the record) and usually takes my bossy instructions about every aspect of life on the chin without making a fuss. He’s grateful, I suppose, at some level, that I tell him what’s going on and what he has to do because he often hasn’t got a clue. The only time he really snaps at me is when I say, perhaps, at 1.30am. “No, you don’t need to get out of bed. You really don’t. You went ten minutes ago. Trust me. You really did”. I never win. And out we trudge in tandem. Again.

So broken nights simply have to be contended with. And it means, obviously, that I’m nearly as tired as he is. It is months now since I got more than two hours’ sleep at a stretch (other than went on a music course for three blissful nights last month) and often I have to be content with much shorter serial mini-sleeps but I can’t rest during the day to compensate because I have work – domestic and professional – which has to be done and commitments in my diary. Onwards and upwards is what it has to be. You do, as every new parent knows, gradually adjust and adapt to sleeping in short bursts. You become an accomplished opportunist sleeper but that doesn’t mean you don’t feel tired. In fact it’s like permanent jet lag.

Even a healthy body like mine will try to claw back sleep deficit too. I rarely complete the 25 min train journey into central London without “losing myself” for example and I often find I can’t read more than a page or to of a book before I’m gone. It’s like a plug falling out.

There have, moreover, been a couple of occasions in recent months when I have sensibly, but very crossly, cancelled jobs involving  longish drives  because I have slept so little the previous night that  I’m terrified of nodding off at the wheel. That’s the tiresome Ms A compromising my work opportunities again. She really is pernicious.

It is often said that people with dementia become increasingly like babies. It’s a lousy analogy. There’s something wonderfully, powerfully, hopeful in a new baby so that, in the scheme of things, you don’t really mind that much how many times he or she demands attention in the night. You know it won’t be for ever. Infant and parent have a future to strive for.  It’s a completely different kettle of fish when, fuzzy with tiredness, you know that this is a reverse journey.

 

 

Parents often tell me they’re worried about offspring who want to train for a professional performing arts career. They fret about future uncertainty, especially unemployment.

My advice to them is always that there is nothing whatever to get anxious about. Even if everything goes totally pear shaped and Olivia or Oliver never gets any professional work at all (and that’s pretty unlikely) he or she will be so wonderfully employable after two or three years at drama school that it won’t matter one bit.

Over the years I’ve visited every accredited drama school in the country and a large number of independent ones. In every single one I’ve been hugely impressed by the calibre of the students – and I don’t mean their pirouettes, top Cs or Shakespearean soliloquies. It’s their other skills which get me. They are articulate, efficient, mature, hardworking, organised, focused, well informed and friendly. I usually leave thinking that other than for, say, specialisms like brain surgery or flying a 747, I’d employ these people for almost anything in preference to, say, your average history or business studies student or graduate.

I remember, for instance, chatting to a group of students at Manchester School of Theatre (part of Manchester Metropolitan University). One of them was singing the praises of the 30 hours per week contact time and the strictly enforced punctuality requirement – general in most drama schools. He had popped back to the flat he shared one lunchtime to collect something he’d forgotten and been utterly horrified to find his flatmate, a maths student, still in pyjamas. That’s the drama training work ethic, speaking.

They’re usually a clean living bunch too. Typically, if you meet them over lunch as I often do, they’re eating salads often made at home and brought into college. They know that a healthy body is a key professional asset for a performer. Moreover,  if you booze all night and don’t go to bed until 3.00am you simply won’t be fit for class or rehearsal in the morning thereby jinxing the chance of giving what you chose to do your best shot and probably letting others in your group down. So they tend not to do the stereotypical student thing.

The hard work is extraordinary too. Not only do these people do 30 hours a week (and often more) of what is always concentrated and often physically taxing work but many of them juggle two or three part time jobs on the side in order to pay their way. One I know, for example, teaches swimming. Another drives a delivery van at weekends. Many do front of house shifts in theatres ( possibly right place, right time etc – good choice) and they’re pretty good behind bars, well able to deal with difficult customers as well as, often, teaching children’s drama classes in the holidays among other jobs. And it all has to be fitted in round college rehearsals and shows. A drama student’s life is one long juggling act and that’s excellent preparation for any sort of career.

I can never quite make up why mind why most drama students seem to be so different from  many students in other disciplines. It could be because anyone passionate about performing is already very focused by definition. Or perhaps it’s testament to the expertise of drama school admissions staff they are very adept at identifying people with the potential to develop such a wide and useful portfolio of skills. Or both. Or something else. It doesn’t matter much anyway. Let’s just be glad that it is so.

So Mr and Mrs Anxious, please don’t panic. Encourage your son or daughter to apply for drama school if that’s what her or his heart is set on. Someone who has trained in performance will never starve. The skills which performance training spots or develops have applications way beyond stage and screen.

Oxford School of Drama. Measure for Measure. Credit Ludovic Des Gognets

“Never put off ‘til tomorrow what you can do today” my grandmother used to say. Or, if she was feeling pithier: “Procrastination is the thief of time.” Well thanks for that, Grandma. Like you I’ve always been a doer, not given to hanging about and pretty good at time management. That’s how I could do an enjoyable but demanding full-time job, my share of home stuff (mostly cooking while My Loved One did the rest) and still have some to spend with friends and family as well as practising and playing the violin, choral singing and doing a lot of reading.

Not any more. Ms Bloody Alzheimer’s has sapped much of that away and I now seem to spend most of every day (and often the night as well) just skivvying from one mundane task to the next – sorry, I mean caring, mopping up, running errands, taking MLO to medical appointments and doing enough laundry every day for a family of twelve. It’s as if life as I knew it has simply gone – and gone at breathtaking speed too.

I try – I really try – not to sound bitter or self pitying but I feel obliged to tell it how it is. Typically I start the day around 7am, usually having been up to help My Loved One several times in the night if only to steer him out of some restless fantasy and back to bed. Then I tend to him in the shower, and assist with drying and dressing. It’s very hands on and takes a while. Nothing, but nothing happens quickly these days. Then I pull a few clothes on myself and belt downstairs to organise breakfast which eventually MLO will trudge down to eat. By the time I’ve tided the bathroom, kitchen and bedroom, sorted/pegged out etc the inevitable washing and a few other, usually unanticipated, chores, I’m lucky if I get to my desk by 10.00am and I might get a whole hour undisturbed. For years I reckoned to get my head down at 8.30am and forge on until 1.00pm.  How else did I produce over 50 books and thousands of articles? I used to be able to return  to work for several hours in the afternoon and/or get out to an evening review job perhaps via a face-to-face interview too. Those were the days. Sadly I failed to appreciate how perfectly the teamwork operated until it no longer did.

The truth is that I now struggle to find the time for two or three hours of Real Work a day and I find that intensely frustrating. I’ve never wanted to retire. Working is my thing and it’s what I want to do more than anything. I’m fortunate in having several very caring and patient editors who understand the problems and, even as things are, I don’t miss deadlines. But by golly I resent not even having the time to pitch for more work or develop new projects. I’m a creative hard worker and still  in my Jean Brodie-esque prime.

But now as the chilly, uncertain light of 2019 dawns I know that I have to accept I shall be able to do even less work this year. MLO’s health is heading southwards every day. Getting out to review, for example, is becoming problematic. Hiring a carer in to cover a couple of hours in the middle of the time I’m out of the house already seems to be too little. He often phones me (yes, he can still just about manage that on the landline) within minutes of the carer leaving. Usually he’s panicking about where I am having dreamed or imagined that I’m in some kind of serious danger – generally I’m in a theatre and can’t answer so that compounds the problem. I’ve lost count of the number of times this year I’ve seen a missed call and charged out in the interval to call him. And all this is despite my carefully writing down for him exactly where I’m going and why with all the times. Unfortunately Ms Alzheimer’s is busy destroying his sense of time and ability to tell it,  just as she is ruthlessly confiscating most of mine.

I am, therefore, now thinking very carefully before I agree to review a show and that inevitably means I shall get to fewer this year. In the past MLO would have come with me as my “plus one” to some review commitments but he now gets very tired and isn’t actually interested in much so I take him ever less often. He did come first to English National Ballet’s Nutcracker at the Coliseum and to Messiah at The Barbican just before Christmas and seemed to enjoy them but those evenings were a gargantuan effort for him as well as for me and I wonder how many more times that can/will happen.

I am far from wealthy but we have enough money to pay the bills and buy what we want without having to worry too much and, obviously, my continuing to work helps with that. But when it comes to time I am rapidly becoming very poor indeed. I read only 50 books last year, for example. In the past I’ve gobbled up twice as many. Some formal exercise would be good too but when am I supposed to fit it in? I shall simply have to continue charging up and down stairs at every opportunity, marching along railway platforms if a train’s late and doing lunges in the kitchen while I wait for the kettle to boil. And as for the Arriaga string quartet I’m trying to learn the first violin part of for a session later this month … practice in five minute stints on a good day and often nothing at all. I know my fellow quartet-ers will understand but that isn’t the point.

There’s a great deal written about almost every conceivable aspect of Alzheimer’s but nobody seems to talk about how time consuming it is and how it steals your life – carer’s as well as patient’s. I find it one of the worst aspects.

 

 

 

Well, Christmas Eve didn’t start too well. At 4.30am My Loved One was stumbling round the bedroom mumbling something about East Germany and the need to escape. I took him to the bathroom and then got him back to bed. By 7.00 am when I next surfaced, he was fully dressed with his bag over his shoulder, something I didn’t think he could still manage without help. “I have to get over the wall” he said earnestly. “No” I replied with what I hope was firm kindness. “You’ve been dreaming again. It’s just you and me here in Catford today along with the lifelong friend who’s spending Christmas with us and our nice cat. It’s Christmas Eve. Carols on the radio and all that.”

“Is she really?” said MLO showing a vestige of wakeful interest for the first time. “What’s she talking about?” Carole is my sister’s name. Oh dear,  oh dear.  It went on for a while. When I got him into the shower he asked me who owned the building and repeatedly if I was really sure that we didn’t need to get away urgently.

I still can’t get used to the man with whom I have shared my life, and until recently almost every thought, talking nonsense like Lear in the storm or Hamlet during his antic disposition.

Christmas Day, which started with buckets and mops in the bathroom well before dawn (I’ll spare you the grisly details), was marginally better. Once I’d got him up and dressed we spent most of the morning unwrapping presents – a task he now finds physically difficult –  with Resident Friend. Then she and I went for a brisk walk before I cooked a huge lunch and we spent much of the rest of the day eating it. MLO seemed a bit bemused but reasonably cheerful. He enjoyed the Call the Midwife Christmas special too.

Boxing Day was our main family day and I had to get the three of us to Cambridge. I wanted to start early to avoid the traffic and that worked well although when I dragged MLO into the shower at 6.30am he said, sounding exactly like our youngest, almost-four-year-old granddaughter. “But I don’t want to get up yet!” He’d forgotten, of course, where we were going.

It was a very jolly day with two sons, two daughters-in-law, two grandchildren and Resident Friend and we could all stay overnight (games with Ms Alzheimer’s in someone else’s bathroom – heigh ho) because our son had negotiated the use of his absent neighbour’s house.

The drink flowed and glowed, we ate a lot and wore daft hats. MLO sat impassive and often sleepy for most of the time while the rest of us played silly games etc around him and tried to jolly him along. It’s always a treat for me to have other people about because it means that for a few hours the responsibility is shared. And I think he still likes being with the family although small children are disruptive of his routines and I suspect he sometimes longs for the orderly peace of his own space at home. He finds conversation difficult too because he often struggles to reach his end-of-sentence target and awareness of that means that he often doesn’t bother to try. It’s easier to keep quiet. Everyone is patient and encouraging but it isn’t any sort of proper discourse.

It’s the presents season and he got lots. I shall remember 2018 as the Christmas of the Biscuit. Given his state of health, clearly no one could think of anything else to buy their father,  father-law, grandfather etc. There are now eleven packets/boxes in our cupboard. I shan’t need to buy another biscuit until Easter.

My parents died of physical illnesses – no dementia –  in their mid seventies, four years apart. Twice at Christmas, in 1997 and then again in 2001, I found myself looking first at my father and then my mother and thinking: “Twelve months is a very long time when you’re as ill as this. I really don’t think ‘we’ can go on like this for another whole year. Next Christmas? I doubt it somehow.” In both cases my intuition was spot on although I didn’t expect my father, who seemed in quite good (relatively) form on Christmas Day, to die on 30 December that year.

I won’t labour the point.

Our 3rd granddaughter, Rosie, with her Grandpa on Boxing Day

Peter Pan: A Musical Adventure
Based on the tale by J.M. Barrie. Book by Willis Hall. Music and lyrics by George Stiles and Anthony Drewe.
society/company: Cambridge Theatre Company
performance date: 22 Dec 2018
venue: Great Hall, The Leys, Cambridge
 
Cambridge Theatre Company – specialist in community theatre and with charitable status from this year – is only three years old but its achievements are remarkable. And this production of Peter Pan, original, imaginative, moving and funny sets an even higher standard for a company which seems to be constantly raising the bar. None of this cast are professional and most of them are in their teens although the grown ups are played by adults. Chris Cuming knows, really knows, how to get the very best out of every single performer.

Working with an ensemble who are grouped on the stage throughout, around the central playing area with the eight piece band upstage right, Cuming makes the action feel contained and intimate. And of course he’s an accomplished choreographer who makes, for instance, the Lost Boys’ first appearance seem really muscular and I loved the umbrella wolves.

A Stiles and Drewe musical always feels slightly – but very positively – old fashioned which means we get lots of witty words set to good tunes in a range of rhythms and keys with plenty of discrete set piece numbers. They write, of course, in the tradition of Gilbert and Sullivan which I like very much indeed. “It’s a curse to be a pirate with a conscience” for example, to a 6|8 off beat jazzy rhythm – all very catchy and appealing and this cast do it real justice. Willis Hall’s book, moreover, is very firmly rooted in JM Barrie’s original play so there is a fair amount of cheerfully uncompromising language.

Jasmine Cairns is outstanding as Wendy (very versatile too – it’s only a few weeks since I reviewed her as Maria in West Side Story). She has a warm, soaring singing voice and is a very naturalistic actor whose ‘work’ doesn’t show. She just lives in the role. There is a fine performance from Dan Lane as Peter Pan too although his acting surpasses his singing. He gets the boyish bravado, tempered by vulnerability and fear just right.

Warren Clark, who looks like a younger Tim Piggot-Smith, is powerful as Hook, not dressed for once like Charles II, and Gareth Mullan is good fun as Smee, It is, however, the energetic ensemble which really triumphs in this sparky show. Their movement work is electrically sharp and their choral singing spot on.

Full marks too to lighting designers John Moore and Martha Gregg who make this show look mysterious, arresting and colourful with a range of quirky effects. The puppetry isn’t credited as such in the programme but Nana the dog as an adapted lampshade with tail and legs is wittily effective. I’m afraid wasn’t convinced by Hook’s being swallowed by umbrellas at the end. Had I not known he was being eaten by the long-feared crocodile I would never have worked it out.

Well done, Louis Ling, the driving force behind CTC. You are both changing young lives and creating some pretty fabulous theatre.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Cambridge%20Theatre%20Company%20-Peter%20Pan:%20A%20Musical%20Adventure&reviewsID=3440

 
 
Nice Work If You Can Get It – ★★★★
Music & Lyrics by GEORGE & IRA GERSHWIN. Book by JOE DIPIETRO. Inspired by material by GUY BOLTON & PG WODEHOUSE. Produced by Ovation.
society/company: Upstairs at the Gatehouse
performance date: 21 Dec 2018
venue: Upstairs at the Gatehouse, London
 
 

★★★★

It’s a real pleasure to hear and see a vehicle for so many irrepressibly melodious Gershwin numbers in a package as entertaining as Joe Dipietro’s book. First staged in New York in 2010, Nice Work If You Can Get It is now having its first run in Britain. And the show is a real credit to John Plews and his Upstairs at the Gatehouse colleagues.

A complicated and wonderfully implausible plot takes us to New York during Prohibition. Three bootleggers infiltrate, and hide a lot of booze in, the Long Island home of a rich playboy. Unlikely attractions, liaisons and revelations ensue and we end up with a nice bit of Mozartian “suo padre” stuff and a happy outcome.

Three quarters of successful theatre is casting and this cast of twelve has been very skilfully chosen, each and every one of them strong, sparky and adept at working together. We also get some impressive dance routines. Quite an achievement too to get twelve dancers going full tilt in the Gatehouse’s limited traverse space without any member of the audience getting kicked.

Jessica-Elizabeth Nelson shines as Billie, variously wistful, assertive, rueful, angry, distressed and more. And she sings with warmth, passion, clarity and impeccable intonation. Alistair So as Jimmy, partners her with convinging charisma after a slightly shaky start in which he was overpowered by Chris Poon’s otherwise excellent five piece band positioned in a gallery above the space at one end.

There is also a well sustained performance from Charlotte Scally as the empty-headed, high octane Eileen and Nora Skipp brings dignity, determination and, eventually, humanising hilarity to Estonia. Yes, this really is a fine cast.

Moreover, the piece is very funny and these actors know exactly how to time the lines to maximise the impact. My favourite moment is one female character accusing a male one of making love on a beach. “I’ve never made love on a beach” he declares hotly. “That’s true but you tried” she shoots back.

Catch this one if you can. It’s zippy, good fun and you’ll come away with your head full of Gershwin.

 
 First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Upstairs%20at%20the%20Gatehouse%20(Fringe)-Nice%20Work%20If%20You%20Can%20Get%20It%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3439
 
 
 

Yes, I know we’re in a fiercely competitive industry. Everyone trying to make a living in it has to do everything possible to promote themselves and their wares. Social networking might have been invented for the performing arts industries.

I have worked for over 25 years as a journalist and for much of that time I’ve been professionally connected with various aspects of performing arts, especially and unsurprisingly – given my education background – at training level. So I have a foot in each camp: performing arts and journalism. And I’m struck more and more by the way some performing arts organisations exploit public ignorance – exactly what some people allege that forthright Brexiteers did to swing the referendum their way, incidentally.

A few facts. If a journalist writes a  news piece or feature for a reputable publication, he or she is paid a fee (unless on contract in which case it’s part of salaried work). The piece will be disinterested and factual, or it should be, and the subject of the piece is unlikely to have seen it first. Few respectable newspapers and the like will grant “copy clearance” other than under very unusual circumstances.

These days most newspapers and magazines also openly publish some “advertorial” to generate income and that’s a whole different kettle of fish. The organisation  which wants to be featured does a deal with the paper’s advertising department and pays a fee to the publication. But it isn’t just an advert because a by-lined journalist will be asked (for a fee or as part of salary) to write it. Since, the organisation in question is paying for it there is an understanding that the piece will be positive and almost certainly carefully vetted before publication. Such pieces are clearly marked “Advertorial”, “Promotion in association with Fred Bloggs Performing Arts” or something similar in order to distinguish them from Proper Journalism.

It is therefore at best disingenuous, and at worst wilfully misleading, for organisations to use advertorial published in newspapers etc as part of their social media advertising with the claim that “Drama Gazette” or “Actors at Work” has featured us again – just look.”

I have noticed several training organisations doing this recently – in some cases even removing the telltale disclaimer “advertorial” at the top.

Caveat emptor. Look very carefully – and maybe trace it back to the publication which originally published it before you take any notice of it  – at any article which a performing arts organisation with something to sell is trying to draw your attention to.

Not very Christmassy but it needs to be said.