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Making eye contact

If the brain is the conductor of the orchestral body (sorry – I’ve probably reviewed too many Proms lately) then of course it controls/directs/manages every section of it. So once Alzheimer’s gets into the works then any body function can diminish or fail in consequence – even eyes.

My loved one has been slightly short sighted for most of his adult life and like almost everyone else has needed glasses for long sight since age 45 or so. For some while now he has, like me, opted for varifocals and worn them all the time simply because it’s easier than constantly taking them on and off and then tediously hunting for them. He’s had his current pair for about a year.

Recently he has complained several times that he can no longer see the “small” (ie normal) print in the newspaper. “OK. That, unlike many of your problems, ought to be fixable” said I, reaching for the phone to book him an eye test. And in the interim I dug out the fancy illuminated magnifying glass, Father-in-Law used to use to make life a bit easier between now and new glasses

Golly, what a tiresome business it was at the opticians. We were there for two and a quarter hours and I take this opportunity publicly to thank the very kind staff at Boots Opticians, Beckenham who treated him with cheerful, unpatronsing patience, throughout.  And of course a queue of late running appointments was building up behind us but no one grumbled. People can be heartwarmingly considerate sometimes.

The test itself with the optometrist took twice as long as it should because of his indecisiveness and forgetfulness. He then “failed” the field vision test twice and they had difficulty getting him to sit naturally and look in the right direction so that the technicians could get the measurements right for the new glasses. It throws him ever more and he gets increasingly flustered if people keep asking him questions or issuing instructions, however gently. He tries hard to cooperate, obviously, but I could see him floundering and, thank goodness, so could the staff. The highlight of the otherwise wearisome morning, though, was when MLO suddenly caught my eye and grinned naturally at the absurdity of it all. The technician saw it too and we all laughed.

The upshot of that long session is that we collect new glasses this week and repeat the field vision test – “when he’s fresh” – at the same time.  And we have to go back next month for the dilation test with eye drops. They ran out of time to do this latter procedure last week, besides which I think they could see that he wasn’t going to be able to cope with much more.

Within hours of this lengthy episode at the opticians I read about a new study in Washington, reported in JAMA Opthalmology. Researchers using a non invasive technique, somewhat unsnappily called optical coherence tomography angiography (do they call it OCTA for short?) have collected some evidence which suggests that there are detectable changes in the eyes of pre-clinical Alzheimer’s patients.

There is, in these people, significant thinning in the centre of the retina, many years before memory loss and cognitive decline begins to show. Or as one scientist working on the study put it “Changes in brain cells can be detected in the retina”.  I rest my case: there IS a link between Alzheimer’s and eyes just as with every other organ and function in the body.

Well, if this test had been available 20 years ago it wouldn’t have helped us much to know that once MLO was a septuagenarian, Alzheimer’s would set in fast. But think about it.  In time it could make a difference to others now much younger than us.

At present there is no way of warding Alzheimer’s off other than by making sensible lifestyle choices – and that’s by no means reliable. It’s not like lung cancer or Type 2 diabetes which can be (but are not always) directly associated with smoking and diet.  The only available Alzheimer’s drugs just alleviate worsening symptoms in the very short term. There is no cure, as we were firmly told several times at the time of diagnosis.

If, however, very early detection technology can be developed then maybe – just maybe – drug therapies which can zap or control the disease before it takes hold could follow.  And that’s glimmer of hope for future generations.

Meanwhile I strongly suspect that MLO’s worsening sight problems are Alzheimer’s related. Fortunately he can just go on having ever stronger glasses if he needs them and if I think very hard and apply myself I might remember how to enlarge the font on his elderly Kindle.

Glasses(2)

 

Thank you, Musical Theatre Review for sending me to the airiest, coolest, calmest spot in central London on one of the hottest days of the year, writes Susan Elkin.

I’m in the Theatrical Rights Worldwide office with a pigeon’s eye view of Regent’s Street five floors below, lots of white paint, theatre posters and an atmosphere of business-like tranquility.

This is the company, with a new base in the UK, which licenses – for example GreaseThe Addams FamilySpamalot and Priscilla Queen of the Desert.

“And we very much want to find and license new British musicals,” says DREW BAKER, TRC vice-president crossing his spacious office to join me on the sofa…

Read the rest of this interview at Musical Theatre Review: http://musicaltheatrereview.com/there-are-some-amazing-writers-out-there-creating-amazing-work-theatrical-rights-worldwides-drew-baker-on-the-british-musicals-collection/

The Rise and Fall of Little Voice continues at the Park Theatre, London until 15 September 2018.

Star rating: four stars ★ ★ ★ ★ ✩

This is a very funny show. It’s also deeply tragic. And director Tom Latter has made a remarkably good job of linking those elements so that it rarely feels disparate.

Mari, played by Sally George, is a total failure. She is a disastrous mother to her only child (played in this production by her real-life daughter Rafaella Hutchinson). She has driven her husband to an early grave. She’s an alcoholic living in a filthy house tartily trying to attract a man.

George finds all the right brittleness and vulnerability in Mari even as she delivers Jim Cartright’s hilarious one-liners and put-downs in a rich northern accent. The character is utterly pitiful and George – teetering about on her heels, falling out of her scrappy dresses laughing, shouting, weeping and more – ensures that we feel every single ounce of her underlying, unacknowledged despair.

Hutchinson’s character, Little Voice …

Read the rest of this review at Musical Theatre Review: http://musicaltheatrereview.com/the-rise-and-fall-of-little-voice-park-theatre/

 

Barrack Room Ballads was performed by Youth Music Theatre UK at the National Army Museum, London.

Star rating: four stars ★ ★ ★ ★ ✩

It’s an unlikely proposition – a musical version of a set of poems by (deeply unfashionable) Rudyard Kipling performed by 34 teenagers with a seven-piece live band in a tiny space not really designed for theatre. But it comes off in spades.

Timed to mark the centenary of the end of the Great War, this 60-minute show is as moving as it is slickly directed by Conor Mitchell who also composed it, with strong rhythmic choreography by Richard Chappell.

We open with a rallying, slightly defensive speech by Kipling himself …

Read the rest of this review at Musical Theatre review: http://musicaltheatrereview.com/barrack-room-ballads-youth-music-theatre-uk-national-army-museum/

 

Composer JAMES FORTUNE – who prefers to be known as Jim to avoid confusion with the well-known American jazz musician of the same name – and I are chatting in the National Theatre’s balcony interview room.

He has slipped out of Periclesrehearsals downstairs to meet me. “This Pericles is pretty special and unusual because it has a cast of 200 including seven cameo groups who represent the diversity of London.”

He then lists them for me: “They are Ascension Eagles, Faithworks Gospel Choir, London Bulgarian Choir, Manifest Nation, The Archetype Dance Team, The Bhavan and the Youthsayers.”

So how on earth do you incorporate all that into Pericles? …

Read the rest of this interview at Musical Theatre Review: http://musicaltheatrereview.com/the-whole-show-is-a-celebration-of-what-we-can-do-in-multicultural-london-composer-james-fortune-on-why-the-national-theatres-pericles-is-pretty-special/

St Petersburg Ballet Theatre

London Coliseum

Star rating: 4 ****

The Russians know how to do Tchaikovsky ballet. It’s in their blood just as Strauss waltzes live in the Vienese. So this version of Swan Lake – complete with happy ending which you don’t always get – from one of Russia’s foremost companies filled the lofty Coliseum to the gunwhales on press night. “Now sits expectation in the air” as Shakespeare put it.

And those expectations are amply fulfilled. Irina Kolesnikova, in the Odette/Odile role is one of the most celebrated dancers of her generation and it isn’t hard to see why. She has a liquid expansiveness in her movement through which she delivers charisma and imperiousness and she can pirouette continuously, apparently effortlessly for thirty bars or so. She has a very appealing, articulate grin too. Kolesnikova is one of those rare performers who commands a round of applause from the cognescenti on her first appearance before she dances a single step.

As Siegfried, Denis Rodkin (looking uncannily like Nureyev at times), languid and wistful with some excellent gravity-defying leaps, partners her elegantly in this strange fairy tale about a prince who falls in love with a swan princess and is then duped by a malevolent force into succumbing to her black twin.

There’s also a splendid performance from Sergei Fedorkov as the lithe and saucy jester. His acrobatic cartwheels, flips and long impressive spins are accomplished show stoppers and he packs plenty of sparky personality into the role too. Dmitriy Akulinin’s Rothbart, black, menacing and ubiquitous is pleasing too.

Well it’s a Tchaikovsky ballet so there are lots of set pieces to exploit the talents of the rest of the corps de ballet. The sparky Spanish dance – with the in-pit percussionist enjoying him (or her?) self on castanets is a high spot and the principal trumpet does a lovely job during the tambourine dance.

The sets and costumes are magnificent too. The fan vaulting with golden chandeliers for the party in Act 2 is very effective and every costume is spectacular although goodness knows why the six virginal girls paraded before Sigfried who’s meant to be choosing a bride, wear headdresses apparently borrowed from The Handmaid’s Tale. The king in act 1 looks off-puttingly like Oliver Ford Davis in one of his patrician roles too.

The real star of this show, however, is Tchaikovsky’s score – some of the most sublime and haunting music ever written. Here, with Vadim Nikitin conducting the Orchestra of English National Opera it mostly sings out and creates atmosphere as it should.

I wonder, though, how much rehearsal the orchestra had with the company? It took a while – too long really – for the music to settle at the beginning. Later there were too many wrong notes in the violin solo which accompanies Sigfried’s big pas de deux with Odile. Never mind, sitting at the stage left edge of the stalls I could hear the brass so clearly that I could, at times, have written out the trombone part. The Coliseum’s acoustics can sometimes be a bit skewed.

Oddest of all is the habit of the conductor’s taking his cues from the dancers rather than the other way round. It means frequent, quite long silent pauses before the appearance of the next dancer(s). A single step then acts like a conductor’s upbeat before Nikitin brings in the orchestra. Perhaps it’s how they do it in Russia but UK audiences are not used to this and it feels, repeatedly, as if something has gone momentarily wrong.

Minor gripes apart this is a very enjoyable production of one of the finest ballets of all time. It’s the third Swan Lake I’ve seen so far this year and I think it pips the other two (English National Ballet My First Swan Lake and Royal Opera House).

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-Swan%20Lake%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3307

Chichester Festival Theatre, Minerva

Four stars: ****

Yes, it’s a fine, thoughtful script for intelligent grown-ups but the most striking thing about this revival of Michael Frayn’s 1998 play is the stunning quality of the acting.

A three hander with all three characters on stage throughout, this play gives a smaller speaking part to Patricia Hodge than those of her two male colleagues (Charles Edwards and Paul Jesson). Yet, Hodge can communicate more by shifting one knee, refolding her hands or swivelling her eyes than many actors can manage in a paragraph-long speech. Her evident listening, reacting and visible thinking is masterly. Every drama student should see this.

Neils Bohr, a Dane (Jesson) was the world’s pre-eminent physicist before the second world war. A quasi Pope of the international world of physics he was flanked by younger “cardinals” who became friends. Werner Heisenberger, a German (Edwards) was one of them. The war changed things as physicists on all sides began to wonder whether the energy released by splitting the atom could be used to create devastating weapons. In 1941 Heisenberger visted Bohr who was living with his wife and children in what was, by then, enemy occupied Denmark. Their meetings, the reasons for them and what was said have been the subject of speculation ever since.

Played on Peter J Davison’s spare, empty set with plain grey tiled floor and three white chairs Copenhagen playfully suggests that now the three of them are long dead they can get together again to thrash out what actually happened in 1941 and why.

Hodge, in a grey 1930s suit with big clumpy shoes, as Bohr’s eloquent, knowing, cynical, accurate – and loving – wife acts as listener and sometimes narrator as several versions of the conversations are replayed. Jesson and Edwards play beautifully off each other as they spar, reminisce, shout in exasperation (“Mathematics IS sense. That’s what sense is!” declares Heisenberger furiously at one point) and yet regard each other with underlying affection and respect despite their finding themselves on opposite sides in 1941. “Physics not politics” they say several times but of course, in this context, they’re the same thing.

It’s a rare treat to see three actors at the top of their game working with such high quality material. Catch it if you can.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Chichester%20Festival%20Theatre%20(professional)-Copenhagen%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3306

Last week I went on a warm summer Sunday afternoon to The Scoop at More London near London Bridge to see The Wizard of Oz.

I’d been commissioned to review by one of my regular editors and booked in by a quite well known PR person from whom the last word I had was “All booked in. Thanks, Susan”. The release informed me that there were several press performances over the weekend and I chose which to attend. Notice I am not naming names although it’s tempting.

When I got there the manager told me that all the press performances had been cancelled. What? Why had no one let me know? Neither my editor nor I had been informed although, to be fair, the PR thought he had told us and later apologised.

Well the manager let me in – not that he had much choice. This is free theatre open to anyone, after all.  He told me that there had been technical issues and gave me a free a programme. One of the cast explained the problems to the audience before the show started too.

So I saw it and, being the commensurate professional that I try to be, I ignored the technical issues and wrote a reasonably favourable 3 star review praising some of the performances.

Sparks flew when the PR found out about this. Oh no, no no. The company definitely did not want the show reviewed as I had seen it. I was furious and he said my attitude was “disappointing”.

Really? I think the disappointment was all mine.  It was an entire Sunday afternoon wasted. I left home at 2.30 and got back there at 6.30 and I’d  sat for a whole hour in the most uncomfortable venue in London, worse even than the Globe.

Anyone who knows me in real life or through social media knows that I am an extremely busy diary juggler. I  simply do not have four hours to throw away because someone else has been inefficient and, to be honest, a bit prima donna-ish.

Anybody could have walked into that venue last Sunday and written anything, anywhere they chose to about the show. That is why I have now published the spiked review on my website. http://susanelkin.co.uk/articles/wizard-oz-susan-elkin-reviews/ It salvages a tiny bit of my wasted effort. Production companies and PRs are not actually able to control who writes about what, how and where. And quite right too.

There’s a more general lesson here though. Most companies and the marketing staff they employ, or work with, are desperate to get critics through the door. I probably receive ten invitations for every one I can accept and as it is I cover a show of some sort almost every day. Probably best, therefore, not to alienate me.

Like every other critic/reviewer/journalist I also have, or try to have, a life and mine is not without its personal problems as many readers will know. I really didn’t feel like traipsing up to London Bridge last Sunday but of course I went because I’m a pro.  Had I been informed of the situation I could have got the ironing done, written a feature, mowed the grass or simply sat in the garden with a book and a G&T or had a much needed kip – all much more attractive  options than going out to be treated with such casual disdain.

The message of course – and, thank goodness, most companies are already well aware of it – is that if you want your show reviewed, both this one and the ones you’ll produce in the future, then you need to treat critics with basic courtesy. “If you prick us do we not bleed?”