Nina is an outstanding one-woman show we saw this week at the Unity Theatre in Liverpool. It is a deeply personal tribute to Nina Simone by Josette Bushell-Mingo, the London-born actress and singer who is currently artistic director for the Swedish National Touring Theatre. As its full title – Nina – a story about me and Nina Simone – implies, and as became apparent minutes into this remarkable production, this is a personal meditation, laced with anger and bitterness, on the meaning of Simone’s music for another black woman. The show runs for another week and should not be missed. Continue reading “Josette Bushell-Mingo’s Nina at Unity Theatre: angry, beautiful, outstanding”
Fifty years ago today, on 21 October 1966, at 9.15 in the morning, the children of Pantglas Junior School had just returned from morning assembly to sit at their desks in their classrooms when spoil tip no. 7 tore down the mountainside, taking just five minutes to smash through houses and the school, burying everything in its path in a sea of thick, black mud. By that evening, as miners from the nearby pits toiled under arc lights, scrabbling with their bare hands at the slurry, the village of Aberfan knew that 187 souls were lost, 116 of them children. A generation had been wiped out. Continue reading “Aberfan: the sorrow and anger of fifty years”
The mercurial Gilad Atzmon has a new project, its purpose defined on the sleeve of his new CD as being ‘to revive the dwindling and complacent British jazz audience.’ At the Band on the Wall in Manchester last week a much-revived and expansive audience were treated to the result: an evening of straight-ahead jazz and lively on-stage banter.
The banter ricocheted between two stalwarts of the British jazz scene: Atzmon, no slouch in the motormouth department, and fellow saxophonist Alan Barnes who was once described as playing ‘music that was radical 50 years ago – hard, urban post-bop’ but infusing it with ‘so much passion and energy you could believe it was minted on the spot.’ With the sterling support from Frank Harrison on piano, Yaron Stavi on double bass and Chris Higginbottom on drums the pair led an evening of superb music that bore the name of The Lowest Common Denominator. Continue reading “Alan Barnes and Gilad Atzmon seek The Lowest Common Denominator”
For the first time, we overcame scepticism and joined a packed house at FACT, our local Picturehouse to watch the RSC production of King Lear streamed live from Stratford. It was a revelation; we were completely blown away by the experience, which was not at all like watching TV but instead felt totally immersive, like being there in the audience and on stage at the same time. I particularly appreciated being able to hear every word spoken and see details of costumes and facial expressions of the actors.
All of which is merely a preamble to praise for the production itself: Anthony Sher was outstanding as Lear, while the entire cast burned just as bright. Directed by Gregory Doran, the staging and costumes were magnificent, making this a truly memorable production of the Shakespeare play I have seen more times than any other. Continue reading “Anthony Sher dazzles in the RSC’s King Lear“
My first thought on hearing that Bob Dylan had been awarded the 2016 Nobel Prize for Literature was a little sceptical: I love the guy’s lyrics which have made a huge impact on me (just see the many entries on this blog) but does writing songs constitute great literature? Continue reading “Bob Dylan: only a song and dance man?”
My first encounter with Andrzej Wajda was in the sixth form in 1966 when the school film society showed Ashes and Diamonds. I knew next to nothing about Polish politics immediately after the Soviet liberation, but the film left an indelible impression – not least due to the compelling black and white cinematography (the first time I can remember that aspect of film-making having an impact on me) – though the central performance by Zbigniew Cybulski – lean, gun-toting, feelings impenetrable behind dark glasses James Dean style – was a major factor, too. More than a decade would pass before I would be re-acquainted with the work of Andrzej Wajda whose death, aged 90, was announced this week. Continue reading “Andrzej Wajda: director whose films charted the travails of his nation”
The Two Gentlemen of Verona, written between 1589 and 1593, is believed to have been Shakespeare’s first play – and, boy, does it show. It didn’t make much of an impression when first performed, and rare revivals in recent times have generally not been very well-received.
Last week we saw the Liverpool Everyman and Shakespeare’s Globe co-production which did a decent job of creating an entertaining and thought-provoking evening’s entertainment – but only by setting the action in 1966, hacking the text, and subverting Shakespeare’s happy-ever-after ending which leaves a modern audience feeling decidedly nauseous. It’s certainly the first time that I have come away from a Shakespeare production feeling that my main criticism of the play would be the text! Continue reading “The Two Gentlemen of Verona: steal and attempt to rape my girl, but what the hell, we can still be friends”