Watching a Harry Potter movie in the grandiose surroundings of the Royal Albert Hall with a live orchestra will cast a spell over you that will never be broken
Conducted by Justin Freer, the Royal Philharmonic Concert Orchestra and the English Chamber Choir performed Alexandre Desplat’s epic score as the franchise’s penultimate film was projected onto the big screen.
Upon arrival, there were an array of muggles dressed for the occasion. Capes, scarves, witches’ hats and even the odd wand, the Potterheads don’t do things by halves.
A quick survey of the audience showed that the production had attracted a range of attendees. There were families, couples, groups of friends and viewers from many different demographics. In a private box close to middle of the Hall, I noticed an actor who appears in a minor supporting role in the film, who appeared to be a paying guest attending with friends and keeping a low profile. It was not quite low enough though, as there were a few murmurings of his name audible amongst staunch Potterheads for whom his presence did not go unnoticed.
The conductor opened proceedings by welcoming everyone and garnering cheers for the Gryffindors, Hufflepuffs and Ravenclaws, and inevitably boos for the Slytherins. Not that anyone dared to class themselves as a Slytherin anyway. The conductor doing the introduction is the only aspect of the evening I would change. Freer is an excellent conductor and did a sterling job presiding over the orchestra that evening. But for a concert such as this, it would have been more special if perhaps an actor or someone involved in the movie did the introduction. I attended Skyfall in Concert in late 2022, and the director Sam Mendes did an excellent introduction with fascinating anecdotes. It really set a special tone for the evening and gave it more of an ‘event’ feel.
Nevertheless, the orchestra played to precision at all times, and it was an enchanted evening overall. I left wanting to see the final instalment in concert and could honestly have taken a quick break and returned if they’d showed them back to back. Seeing a Film in Concert is an experience to remember, and there is no better place to do it than in the magical surroundings of the Royal Albert Hall. They happen sporadically, so keep an eye out for them. With Christmas approaching, there are showings of Home Alone in Concert on Saturday December 2nd and Sunday December 3rd, and Elf in Concert on Saturday December 9th.
Gritty and thrilling, this Arthur Miller classic is almost as relevant today as it was in the 1950s
Bleak but beguiling, this new production of Arthur Miller’s ‘A View from the Bridge’ starts off slow, but soon strikes a chord as time goes by.
On the Brooklyn waterfront, where the fierce passions of ancestral Sicily linger, longshoreman Eddie Carbone and his wife Beatrice agree to house brothers Marco and Rodolpho, who are Beatrice’s cousins and newly arrived illegal immigrants. The arrangement works fine at first, but cracks start to appear when Beatrice’s 17-year-old orphaned niece Catherine falls for the handsome, charismatic Rodolpho. The relationship is supported by Beatrice, but stirs complex feelings in her uncle. Eddie is ostensibly fatherly and protective towards Catherine, but quietly harbours an inappropriate passion for her. As tensions rise and jealousy simmers, their story spirals out of control.
The action is narrated by Alfieri, who was raised in Italy but now works as a lawyer in America, thereby representing the ‘bridge’ between the two cultures.
In a first for ‘A View from the Bridge’, the role of Alfieri is played by a woman. Nancy Crane gives the character an understated aura of authority, and the gender switch works. It has echoes of when Jodie Whittaker lowered her hood and revealed herself as the new Doctor Who. There might be a momentary raising of eyebrows, but you soon realise it works just as well.
Crane says; “I’m excited to be the first woman to play Alfieri and can’t wait to see what it does to the play’s themes of masculinity and toxic masculinity. A modern-day Greek tragedy about love and identity and belonging and revenge, it seems to me incredibly relevant in 2023.”
Jonathan Slinger plays the role of Eddie, and gives a potent performance which captures the character’s despair as he gradually breaks down and becomes the master of his own undoing. However it cannot be ignored that Slinger’s accent veers from Brooklyn across the pond to Italy, and sometimes settles somewhere in between.
Rachelle Diedericks’ portrayal of Catherine encompasses the character’s child-like innocence, which is slowly evaporating as she grows older and closer to Rodolpho. Catherine spends a portion of the play slowly swaying on a swing; a set device that cleverly represents her predicament of swaying between her loyalty to Eddie and her love for Rodolpho.
Tommy Sim’aan and Luke Newberry star as Marco and Rodolpho. Newberry’s performance has a feel of neutrality about it, which is in keeping with the mystique of the character. You can’t quite tell if his love for Catherine is genuine, or borne from his desire to settle in America. Sim’aan’s performance does not feel as gruff and gritty as the character of Marco should be, but is plausible nonetheless.
However it is Kirsty Bushell who steals the show as Beatrice. Bushell’s Beatrice is steely yet vulnerable, with a gritty undertone that shines brightly. Her love for her family and in particular her husband is deep, and Bushell delivers a powerful performance overall.
The action is slow to begin with, but the second half flies by as the plot quickly gathers pace. The use of smoke encircling Eddie’s lower body and quickly creeping outwards is effective; it is representative of how clouded his judgement is and how quickly his problems are escalating. The steep staircase which is front and centre of the set is another effective tool. Characters regularly bound up and down it, and it is so steep you wonder if one of them will come tumbling down at some point. Eddie would be a prime candidate, as every other aspect of his life is also crashing down. One aspect which misses the mark is the inclusion of brief dance sequences by the actors who play Eddie’s work friends and also the immigration officers. It just feels out of place and serves little purpose.
The classic 1955 play is helmed by Artistic Director Holly Race Roughan, and is playing at Rose Theatre in Kingston until Saturday 11th November.
Doubtlessly one of the most enjoyable shows in the West End right now
In the movie, Mrs Doubtfire throws the TV remote in the fish tank and tells the children that between the hours of 3pm and 7pm, she’s in charge. True to her word, between the hours of 3pm and 5.30pm last Sunday, Mrs Doubtfire and the West End cast of the musical version took charge at the Shaftesbury Theatre and had the audience in the palms of their hands.
Following successful runs in America, and one UK run in Manchester last year, the show is based on the hit 1993 film of the same name. Produced by Kevin McCollum and Jamie Wilson, it is a hilarious and heartfelt story about holding onto your loved ones against all odds.
Father-of-three and out of work actor Daniel Hillard adores his children. He’ll do anything for them. But after his access to them is restricted in a messy divorce, he creates the alter ego of Scottish Euphegenia Doubtfire, and slips back into the family home as a nanny/housekeeper. Mrs Doubtfire is a self-proclaimed ‘hip old granny who can hip-hop, bebop, dance til ya drop and yo-yo make a wicked cup of cocoa’. As his alter ego takes on a life of its own, Mrs Doubtfire teaches Daniel more than he bargained for about being a father.
Gabriel Vick stars as Daniel Hillard, with Laura Tebbutt as his soon-to-be ex-wife Miranda Hillard. Vick is light on his feet, has decent comic timing and a warmth to his performance. The number “Easy Peasy” where Daniel learns to cook is his stand-out routine. Doubtfire uses his iPad to watch cookery tutorials, and the chefs, including a tap-dancing version of Nigella Lawson, come to life to take him through his paces. This number is pure razzmatazz, and it also includes the famous breasts on fire scene. Vick’s scene where Daniel does impersonations for the social worker Mrs Sellner (Kelly Agbowu) is very clever, as the impersonations include the likes of Boris Johnson, Prince Charles and all the usual British suspects.
Tebbutt ably assists Vick, but could have featured a little more on the dance-front. Miranda’s career has been tweaked a little, in order to allow some extra numbers and plotlines.
Carla Dixon-Hernandez takes on the role of eldest daughter Lydia Hillard. The character in this version is the same age as the film one, but noticeably more grown-up. There is one poignant scene where Lydia explains to her father how the nanny/housekeeper set up is one-sided, as he may get to see them but they don’t properly get to ‘see’ him. This culminates with the number “Just Pretend”.
Mrs. Doubtfire also introduces Max Bispham, Elliot Mugume and Frankie Treadaway who alternate the role of Christopher Hillard. Meanwhile Scarlett Davies, Angelica-Pearl Scott and Ava Posniak alternate the role of Natalie Hillard.
Cameron Blakely and Marcus Collins appear as Frank Hillard and his partner Andre. The roles of Frank and Andre are enlarged in this version, and they feature much more than in the film. Their transformation of Daniel into Mrs Doubtfire is played out with the number “Make Me A Woman”, and it is a highlight of the show. Especially considering it ends with the first appearance of Vick as Doubtfire.
Samuel Edwards appears as Miranda’s new squeeze Stuart Dunmire. This role was played by Pierce Brosnan in the film, and it is reduced a little in this version. But Edwards does have one memorable number, “Big Fat No” with Mrs Doubtfire, and there is a humorous reference to Brosnan’s stint as James Bond.
Micha Richardson stars as Janet Lundy, the head of the TV studios Daniel works at when he’s not Mrs Doubtfire. The role was a male one in the film, and it features a little more in the musical version. Only slightly more, but memorably more. Richardson’s haughty demeanour and deadpan delivery provide some comical moments, and her rapport with Gabriel Vick is entertaining as her character thaws and starts to warm to Daniel.
At two and a half hours including an interval, this show isn’t too long for children and there were several at the gala showing who had big smiles on their faces at the end. But whether you are taking the children, your partner, a date, going with friends or just enjoying a show by yourself, if you liked the movie then you will love this.
Gritty, engaging and intrinsically Irish, this tale is a good excuse to visit the theatre and get out of the chilly weather this March.
As the 25th anniversary of the Good Friday Agreement nears, ‘Under the Black Rock’ is a gripping yet gloomy reminder of Northern Ireland’s turbulent past.
Written by Tim Edge and directed by Ben Kavanagh, it runs from March 2nd to March 25th at the Arcola Theatre in Dalston.
The thriller is set in Belfast and examines the sliding fortunes of a family at the height of the Troubles.
With a twisty plot and a subtle injection of gallows humour, it is not perfect but mostly keeps your attention captured and your curiosity piqued.
It stars Evanna Lynch, best known for her role as Luna Lovegood in the Harry Potter film series. Lynch plays Niamh Ryan, a young woman who is drawn into the conflict as part of a community where secrecy and treachery are commonplace, and no-one is quite who they seem. The role is a far cry from the wizarding world, and Lynch portrays Niamh’s sense of zeal and her eagerness to prove herself with assurance.
Lynch’s name and face may be on the poster and programme, but she is ably supported by co-stars John Nayagam and Glen Wallace. Flora Montgomery gives a memorable performance as the matriarchal figure whose steeliness is torn apart by the events of the plot. Jordan Walker portrays the youngest member of the family who is drawn into the political weave of the Troubles. He demonstrates an ability to showcase the vulnerability and impressionability of so many youngsters who became involved in the cause during that time. Elizabeth Counsell stars as Mary O’Brien, a role that features less prominently than others but delivers some of the best lines. Her character is more senior and has more life experience than the others, with an admirable ”been there, done that, got the t-shirt” attitude.
Questions are posed about family loyalty, morality, and how young men and women are drawn into the well-documented violence.
No subjects are off-limits, as brutality, interrogation, anguish, remorse and many other topics are explored.
The titular Black Rock looms over the stage at all times, and is designed to look as if it has been secured quite flimsily by a rope. As the characters go about their questionable business underneath it, the precarious rock is an ominous reminder that things could come crashing down at any minute. As the play progresses, it almost becomes a character in itself.
This kind of imaginative detail in the set design adds to the gloomy feel of the play. The inventive use of lighting is also a plus, with bright spotlights, dim flickers and the occasional shock blast of light reflecting the moods and predicaments of the characters. But there is room for improvement in the props department, with the occasional gunshot not being in sync with the speed of the weapon being raised. And some fight scenes came across a little lacklustre and needing more gusto.
Overall ‘Under the Black Rock’ is a worthy watch and a pertinent reflection on Northern Ireland’s violent past.
Playwright Tim Edge says: “I worked and travelled extensively in Northern Ireland during the Troubles. I still maintain a deep affection for the people of the six counties. They have endured so much and deserve the consolation of optimism and relative stability. The play is dedicated to them.”
With music reflective of the moment, a score as cool as 007 himself, the best place to watch Skyfall is the Albert Hall.
To celebrate 60 years of James Bond, the Royal Albert Hall hosted a charity concert in October showcasing the iconic music of Bond. To follow this up, they are giving a series of full in-concert screenings of recent Bond films, accompanied by the Royal Philharmonic Orchestra.
Last Friday, it was the turn of Skyfall in Concert, conducted by Anthony Gabriele, who showcased Thomas Newman’s BAFTA-winning score performed live in sync to the picture. Released in 2012, Skyfall is the franchise’s most successful film to date. Directed by Sam Mendes, it pits 007 against cyberterrorist and former MI6 agent Raoul Silva (Javier Bardem). From a thrilling chase across the rooftops of Istanbul to the violent underworld of Macau, Bond’s pursuit of Silva ultimately leads to the streets of London and the very heart of MI6 itself.
Mendes was a special guest and gave an introduction. He explained how he had directed Daniel Craig in 2002’s Road to Perdition, and when Craig was later mooted a possible James Bond, he didn’t imagine it working. But he ate his words when Craig showed the world what he could do with 2006’s Casino Royale. He also described how it was a slightly tipsy Craig who spontaneously offered him the directing job on Skyfall at a party they were both attending. Mendes’ pride in the film, and how it came together so magically, really shone through. He rounded his introduction up by reflecting on how every actor they wanted said yes, Dame Judi Dench said yes to M being killed off, and even the late Queen Elizabeth II got in on the Bond action that year by agreeing to jump out of a helicopter and parachute into the opening ceremony of the Summer Olympics!
Seeing a new Bond film for the first time is always an experience. Even watching an old one curled up on the sofa with a glass of something chilled is a treat. So to watch the most successful one in the majestic surroundings of the Royal Albert Hall, accompanied by the crème de la crème of orchestras, was like an early Christmas present.
Music is as inextricably linked to Bond as the martini, the exotic cars, and the beautiful women. It is a genre all on its own, guaranteed to make your heart beat faster and take your breath away.
James Bond producers Michael G. Wilson and Barbara Broccoli said: “Music has always played a vital role in the success of the 007 series. Over the sixty year history, we have been blessed with the extraordinary talents of legendary composers and artists who have created the most powerful and moving musical contributions to our 25 films.”
Conductor Anthony Gabriele presided over his orchestra with precision. At 2hrs 23 mins, the length of this film is no mean feat for an orchestra, and a conductor on his feet. Their efforts were deservedly met with a standing ovation at the end of the evening.
The Royal Albert Hall has a long-running association with 007, having hosted the world premieres of Die Another Day, Skyfall, Spectre, and most recently No Time To Die. It was 20 years ago last Friday the late Queen Elizabeth II attended the world premiere of Die Another Day.
Lucy Noble, Artistic Director of the Royal Albert Hall, said: “The Hall has forged an indelible association with 007 over many years and we are delighted to help them celebrate.”
Bond and the Royal Albert Hall are as quintessentially British as each other. Given their intertwined history, it is surprising it has not yet featured in the series. Other iconic London landmarks have, including Buckingham Palace in Die Another Day, the Houses of Parliament and the O2 Arena in The World is Not Enough (back then the Millennium Dome) and the National Gallery in Skyfall. The Royal Albert Hall has private boxes, ideal for a silent but deadly battle between Bond and a villain, as a performance happens on stage. On the basement level there are dressing rooms, tunnels, and storerooms, befitting for Bond to dispose of a villain in, after a fatal clash. Waiters, cloakroom staff and other personnel wander around, perfect for an inconspicuous yet ruthless henchman to pose as whilst up to no good. If the above ever happens in a future Bond film, remember you heard it here first!
Zombiegate is a satirical and empathetic play which attempts to get behind the headlines and hashtags of internet trolls, scrutinizing mob mentality and myths around cancel culture.
Hot on the heels of Halloween, Theatre503 is playing host to Zombiegate until November 19th. Written by Matthew Gabrielli, the play is a satirical exploration of internet trolling, and the consequences of being ‘cancelled’ after posting ill-received content online.
The lead characters are Sophie (Ebony Jonelle) and Jamie (George Howard), two friends who post a quick selfie at a bus stop in their Halloween outfits before jumping on the bus for a night out. Sounds harmless and inconsequential, right?Unbeknown to them, a floral tribute to a recently deceased child is visible in the background of their photo. Whilst nursing their hangovers the next morning, they realise their selfie has gone viral and attracted the wrath of countless keyboard warriors.
Facing accusations of mocking a late child, their friendship is pushed to its limits as they battle online abuse, much of it from an obsessive troll known as Mr Punch. As the real and digital worlds collide, their lives, jobs, families and reputations are ripped apart by algorithms and online mobs.
Social media is an extraordinary element of life. I had just finished my school years when Facebook really started to catch on. Twitter, Instagram, TikTok and other platforms followed. Having experienced the advent of all of these, my perspective on social media has evolved over the years. It has its plusses and minuses. Sometimes it’s beneficial, and at other times it can be toxic. One thing’s for sure – there’s no putting the genie back in the bottle. So what you do with it, how often you use it and what you choose to put on it truly is everything.
If used wisely, it can be a force for good. Connecting with loved ones abroad has never been easier. A simple but witty Tweet by a stranger can really cheer you up on a bad day. Events, job adverts etc. crop up on your homepages which you may not have known about.
In 2008, a holidaymaker on a Greek island found a digital camera on some rocks near the ocean. This was before iPhones and The Cloud were mainstream, so losing a digital camera with hundreds of photos was the stuff of nightmares. The holidaymaker set up a Facebook group called “Needle in a Haystack”, uploaded five photos from the camera which had people in them, and explained that he wanted to find the owner of the camera. The idea was that eventually a user might recognise someone in the photos, who may then be able to identify who took the photo i.e. the camera owner. He invited all his Facebook friends to join the group, they then invited theirs to do the same, and so on and so forth. It was a fun albeit unrealistic notion at first, but something about it resonated and spoke to people. Over the course of three weeks, it gained momentum and grew very fast. In the early days you would log in on an evening and see that maybe a few dozen more people had joined the group since you last checked it that morning. Then the next day it would be hundreds more joining rather than dozens. And as the days rolled on it became thousands joining daily, then tens of thousands, hundreds of thousands and it eventually amassed over a million members. It was exciting to watch it play out and be a part of, and it slowly became apparent that it might actually work. Finally after just under a month, an office worker in Paris joined the group whilst sneakily browsing Facebook at her desk, recognised someone in the photos as an acquaintance, drew their attention to it and hey presto, the owner was identified and reunited with the camera.
Mission accomplished, and it was a marvellous end to the journey. Today there is almost zero trace of this group online. It has long since been taken down, and it’s as if it never existed. But it did exist, and anyone like myself who joined it remember it fondly as an early indicator of the true power of social media.
“Needle in a Haystack” is an example of social media being used as a force for good. But there is a toxic, negative side of to it that Sophie and Jamie experience in Zombiegate. If you post something that causes even just a murmur of offence, you may find yourself ‘cancelled’. It is a curious phenomenon, but a topical issue, and this play examines it in smart and intelligent way. The success of it lies in its focus on the contrasting ways Sophie and Jamie choose to handle the fall-out of the selfie going viral. Whilst one keeps a low profile and waits for the storm to blow over, the other treats it as a wave of celebrity to ride.
There are now youngsters, like Sophie and Jamie, born around or after the advent of social media who are conditioned by it and don’t know a world without it. They feel obliged and compelled to post things, and don’t understand that actually no, you don’t need to post as much and as often as many of them do.
The conclusion of this play mirrors my own conclusion of social media: if used wisely and in moderation, it’s a worthy addition to life. Your relationship with it can be whatever you want it to be. Enjoy it, follow who you want and don’t bother even engaging with anyone toxic – it’s just a waste of time. By all means post stuff. But there is no need to post every photo, thought or opinion for the world to see. And always remember that a still tongue makes a wise head.
