WHO better to take on a musical all about producing a song and dance show than a noted dance teacher and director. Poole and Parkstone Musical Theatre must have been delighted when Claire Camble-Hutchins agreed to direct and choreograph 42nd Street. With the help of musical director Sam Ryall and set and lighting designers Kevin…
Brahms: Violin Concerto Mahler: Symphony No. 1 Kirill Karabits: Conductor Guy Braunstein: Violin FOR their final concert of the Lighthouse season, Karabits and the BSO welcomed the Israeli violinist Guy Braunstein for the first time. Braunstein was leader of the Berlin Philharmonic Orchestra from 2000 to 2013 and now, still only in his early forties,…
R. Strauss: Don Juan Sibelius: Violin Concerto Tchaikovsky: Symphony No. 4 Bournemouth Symphony Orchestra, leader Amin Merchant Thomas Dausgaard: Conductor Augustin Hadelich: Violin THIS was an evening of passionate, extrovert, no-holds-barred music-making, taking us from Strauss’s portrait of the great lover Don Juan, via the intensity and drama of…
“GET your hankies ready,” said a friend before the curtain went up on Goodnight Mr Tom at Bath Theatre Royal on Tuesday. I had only heard of the 1981 book and John Thaw’s television performance, and so came new to Michelle Magorian’s story of the evacuee and the recluse. It’s no surprise that it is…
FORTUNATELY for me, I only have a hazy memory of the film which took its inspiration from the Truman Capote short novel about society girl Holly Golightly, set in 1940s Manhattan, so I approached this new stage adaptation of the same novella, by Richard Greenberg, without too much knowledge of either the film or the…
THE last time we saw Kathryn Tickell was at Bath where she was collaborating with the then festival director, pianist Joanna MacGregor, in a programme that bridged the different disciplines of folk and classical music. They were playing a work composed by Kathryn for piano and the Northumbrian small pipes of which Kathryn is the…
HENRY James’ novel The Turn of the Screw has provided chilling inspiration for composers, filmmakers and playwrights since its publication in 1898. It plays on unnamed fears of the unknown, and as such can be “authentically” adapted to fit the preoccupations of any time. At Pavilion Dance, performing arts students from Arts University Bournemouth brought…
DECLAN Donellan and Nick Ormerod’s adaptatin of Charles Dickens’ Great Expectations for Cheek by Jowl was first seen in 2005, and praised as an ensemble re-telling of the familiar story. Since then the writer’s fans have seen Dickensian, the clever reworking of various strands and characters from (and preceding) many Dickens stories into one sprawling…
“HOW lovely that it was introduced by the placenta” is not the quotation I was expecting to be uppermost in my mind as I drove home from such a wonderful, imaginative, fulfilling, beautifully crafted production of one of Shakespeare’s most famous plays in one of England’s finest buildings, but that was what I overheard in…
SISTER Act, the musical show based on the Whoopi Goldberg film, depends on a STUPENDOUS central performance … and that’s what it gets from Natasha Green at Street. It’s a feel-good story, and even if you aren’t a fan of 70s disco soul and gospel, the G&SMCS company do it with such energy that their…