Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
With no impressive set-up and no fancy props this production team kept to a simplicity that worked for the play. However, I could not help but be slightly disappointed with the fact that it would have worked better in a grander environment - the Drama Barn is fantastic for many productions, but this one seemed a step above the rest both in the script and the acting. It’s a shame that these attributes couldn't be fully unfolded in an adequate working environment.
Despite this the entire atmosphere was spot-on. Special note goes to Natalie Brown on lights; the best I have seen this term - perfect atmospheric timing which accompanied some rather ingenious little ‘movement’ scenes. A shadow play behind corrugated screens made for sensual and almost cryptic viewing, highlighting the subtle undertones to a fantastically written script.
I sound like I have been taking some serious happy-pills but this play really was that good.
Jodie Morrison, playing the female protagonist, was a perceptive and emotive actress, veering from passive aggressive to just downright mean in all the appropriate places. A singing section showcased her vocal abilities, much to my surprise and enjoyment. The ‘help,’ played by Emma Charley, Lida Mirzaii and Lucy Farrett were a complementary threesome, providing humorous accents that lightened a sometimes heavy production.
The star performance, however, goes hands-down to Alex Forsyth as The General. After returning home from a traumatic and seemingly sordid call-of-duty, he had a dishevelled mad-man look and edgy demeanour that supported the dialogue with all the talent of a fully-established actor. A genuinely first-rate performance.
The only negatives of the evening were occasional poor timing and slight lack of aggression and passion in a couple of the characters. Otherwise, the direction by Cheryl Gallacher did not fail in any respect; astutely interpreted and thoroughly well orchestrated. Without doubt the best play in the Drama Barn so far this term.
Cruel and Tender is showing week 7 Friday to Sunday in the Drama Barn. Doors open at 7.30 and tickets are available on the door (please contact cg515@york.ac.uk if you do not have a ticket as they were sold out last night). Arrive early to avoid disappointment if there appears to be availability.
Just saw this and thought it was fantastic. Thoroughly deserves the 'best play of the term so far'. Great script, great performances, great production. Well done all.
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