Sweeney Todd (English National Opera, London Coliseum)

We were lucky enough to see the final performance (of a short run of 14) of the ENO’s ‘Sweeney Todd’, a production first performed at the Lincoln Center with the New York Philharmonic.  Ported over for this show were Bryn Terfel (Sweeney Todd), Emma Thompson (Mrs Lovett) and Philip Quast (Judge Turpin), with the addition of Matthew Seadon-Young as Anthony, Katie Hall as Johanna, John Owen-Jones as Pirelli, Jack North as Tobias, Rosalie Craig as the Beggar Woman, and Alex Gaumond as the Beadle.

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At the start it seems as if we are going to see a straight concert performance, but this seems a waste of a good cast and a vibrant, beautiful venue, so as Terfel and co throw down their scores, destroy items on the stage, and hand out props from an ENO trunk, we pitch into Sondheim’s powerful score with some style, and stuffy concert formality is pushed aside for banners, graffiti, and bloody handprints (the conductor even sports one on the back of his shirt, visible through his ripped black jacket).

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Whether the production is a success or not generally depends on whether the balance of darkness and comedy is depicted correctly – and in Thompson there is a saucy playfulness around a hard interior which is quite happy to condone and encourage mass murder to encourage the pie trade.  In Terfel’s magnificent Sweeney we see an icy resolve for revenge, not just on the men who violated his wife and stole his daughter, but on everyone who needs a shave.  Truly there are no closer shaves to be found on Fleet Street.

Sondheim’s score, too, is towering, walking the line between musical and opera without effort – so that one of opera’s greatest bass-baritones fits well in the role alongside a musical comedy actress and a baritone who has played most of the major roles in musicals without having formal voice training.  Owen-Jones may be slightly wasted in the role of Pirelli, but he is fun, while Philip Quast is hissably repellent as the judge who finds himself lusting after his adopted daughter, who ‘looks lovely in her white muslin dress’.  Absent from London stages since La Cage Aux Folles six years ago, he’s welcome back in the UK after a run of successes in his native Australia, and it is a privilege to hear him sing the duet ‘Pretty Women’ with Terfel.

Thompson has two comedy high points in ‘The Worst Pies in London’ and ‘By The Sea’ (with a handy spray bottle to evoke the briny), while her duet with Terfel, ‘A Little Priest’ sizzles with menace against audience, orchestra and unsuspecting pie eaters alike.  In a red outfit with slashed collar and headscarf, she totters between industrious baker and lovestruck widow, and she has great chemistry with her Sweeney.

Thumbs up for this production’s Anthony and Johanna too, with their ‘Green Finch and Linnet Bird’ song of young love, and their eventual look of horror at the mouth of hell in the bakehouse’s final carnage.  And Tobias, the young lad who we first see as Pirelli’s assistant, a cheeky chap with a fast mouth, becomes a broken bird, and perhaps his story is the saddest of all.


Gypsy (Savoy Theatre)

Moving swiftly into the West End following a successful run at the Chichester Festival, this quintessential Broadway musical camps up at the Savoy in lyricist Stephen Sondheim’s 85th birthday year, with just one cast change (Peter Davison replaces Kevin Whately as Herbie).

Written in 1959 to a book by Arthur Laurents, with music by the late Jule Styne (1905-1994), this musical takes the real life memoirs of Gypsy Rose Lee (born Louise Hovick) as its source, choosing to present the story of this most famous of strippers and her little sister June (who made it big in Hollywood as June Havoc) by focusing on their most monstrous of stage mothers, Momma Rose.

As Rose, Imelda Staunton must be aware she has some big shoes to fill.  Although singers such as Betty Buckley, Bernadette Peters, Patti Lu Pone, Tyne Daly and Angela Lansbury have appeared in well-received productions, each and every portrayal arguably has the ghost of the greatest of them all, Miss Ethel Merman, hanging over them.  And although the tiny Staunton proves to be an engaging and convincing powerhouse, you can’t help thinking that her Rose is channelling those big voices of the past (and doing it very well).

If Staunton is harking back to Merman and others, then Davison seems to be taking inspiration from Jimmy Durante with slightly off-key and often gravelly vocals, which give his characterisation a curious and sinister quality.  He does get into the spirit of the role, though, throwing himself into the ‘that’s showbiz’ vibe of ‘Together Wherever We Go’ and slumping visibly when he realises that Rose will never be the calming wife he seeks to spend his declining days with – this man gives years to Rose and her daughters and their increasingly awful vaudeville act, and yet proves dispensible at the end.

Lara Pulver, previously seen on television as the confident dominatrix Irene Adler in ‘Sherlock’, is a quite wonderful Louise, moving effortlessly from the quiet innocence of ‘Little Lamb’ (“I wonder how old I am”) to the brassy confidence of the strip-woman (“My mother says ask them what they want and then don’t give it to them … but I am not my mother.”).  She comes out of her shell wonderfully in the second half of the show when she finally emerges from the shadow of her squeaky voiced sister (Gemma Sutton).

The best number though, which rightly brought the house down, is ‘You Gotta Get a Gimmick’, in which three old burlesque performers give advice to the newcomer.  Louise Gold is quite superb and hilarious as Mazeppa (“bump it with a trumpet”), while Anita Louise Combe is a gracefully ageing Tessie Tura and Julie Legrand a cheeky Electra.  This routine boasts the original Jerome Robbins choreography, a good decision as why try to improve on perfection?

Stand-out songs to look out for are the spunky ‘Some People’ in act one, where Rose vows to strike out and make her girls stars, and ‘If Momma Was Married’ where June and Louise wish for a normal existence, off the road.  But it is Staunton’s ‘Rose’s Turn’ which gets the emotions stirring, and which give her the standing ovation she rightly deserves.  On the debit side I felt ‘Mr Goldstone’ could have had more zip, but it is a small quibble.

The staging is simple – a fake proscenium arch with variety boards title each scene, the sparsed of sets indicate living and performance spaces.  This allows the lush orchestrations and the clever lyrics from a writer just beginning to flourish to come through.  I wouldn’t have used the area beyond the thrust stage, though: it isn’t fair to those in cheaper seats and adds little to the proceedings.  Better to let the orchestra (who are brilliant) stay seperate and do their thing.

Jonathan Kent’s sparkling revival (the first in London for forty years) is worth a look, and if you like the traditional, old musicals it will not disappoint.  If you’re used to the brash and modern pieces then you might find it slow (especially the lengthy overture), but be patient, and this ‘Gypsy’ will reward you.

For more on the real-life Hovick sisters, see here for Gypsy herself (in 1943):

and here for June (also 1943):

while Rose Hovick’s story is told in the book ‘Mama Rose’s Turn‘.


My Acorn DVD collection

Another popular archive TV label is Acorn, who publish titles both in the UK and the USA.

Titles owned:

  • Anna Karenina (Nicola Pagett)
  • Aristocrats
  • Berkeley Square
  • Broadway’s Lost Treasures I and II
  • Carrie’s War
  • The Complete Father Brown (Kenneth More)
  • Country Matters
  • Cousin Bette
  • Cribb volume 1 and 2
  • Dandelion Dead
  • Dear Ladies series 1
  • Dixon of Dock Green: set 2
  • East of Eden
  • The First Churchills
  • A Foreign Field
  • Foyle’s War: The German Woman/The White Feather
  • A Horseman Riding By
  • The House of Elliott: Series 1
  • I Remember Nelson
  • Jack Rosenthal at the BBC
  • Karaoke and Cold Lazarus
  • The Life and Adventures of Nicholas Nickleby
  • Lipstick on Your Collar
  • Lonesome Dove
  • Lord Peter Wimsey Complete (Ian Carmichael)
  • Lorna Doone
  • Lost Empires
  • Love on a Branch Line
  • Melissa
  • Midsomer Murders: Death of a Stranger
  • Murder Most English
  • North and South
  • Our Mutual Friend
  • Painted Lady
  • The Pallisers
  • Paul Temple Collection: colour episodes
  • Penmarric: Complete
  • Playing Shakespeare
  • The Politician’s Wife
  • The Prime of Miss Jean Brodie
  • The Rector’s Wife
  • Shakespeare Retold
  • Sherlock Holmes and the Baker Street Irregulars
  • Smiley’s People
  • The Strauss Family
  • Strumpet City
  • Testament of Youth
  • Tinker Tailor Soldier Spy
  • To Serve Them All My Days
  • Traffik
  • Wessex Tales

Stevie (Hampstead Theatre)

To Swiss Cottage this weekend for a revival of the 1977 play by Hugh Whitemore, about the writer Stevie Smith, which has now landed in London via the Chichester Festival.  It was filmed in 1978 with the original ‘Stevie’, Glenda Jackson.

This time around the role of the spinster poet who lives with her maiden aunt in Palmers Green is played by Zoë Wanamaker, with Lynda Baron as the ‘Lion Aunt’ and Chris Larkin as ‘The Man’.

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The set design by Simon Higlett is a perfect balance to Christopher Morahan’s direction, and the intimacy of the piece sits well in the Hampstead Theatre’s space – where the Smith living room is invaded by trees from the garden and is filled with photographs, books, and religious icons.  This ‘house of female habitation’, to quote one of Smith’s plays, is where both Stevie and her aunt pass the years, and during that time we see hints of both past and present through the last few years of her life.

Those of you who remember the film might notice one slight change it made from the stage production – it did not have the same actor playing both ‘The Man’ and Smith’s old beau, Freddy.  Here, Chris Larkin (who is so like his mother, Maggie Smith, especially when he plays the slightly camp friend who is used as a pseudo-taxi service by Stevie) plays both roles, and observes many scenes in quiet contemplation.

I liked Lynda Baron’s aunt a lot – she is both funny and vulnerable, and it is a great portrayal of a strong women growing frail and forgetful with age.  Wanamaker’s Stevie is also funny and fragile, although throughout I was reminded how good Glenda Jackson had been in the role, and how she could bring a sense of dangerous imbalance to the role which I didn’t see in Wanamaker – I also felt the play took a little time to warm up and get going, although the second half, on balance, is much better,

The strength of this play, though, is not in Whitemore’s ‘creation’ of Smith as a person, but in the reciting of her poems, which can stand on their own without embellishment.  Smith was a rhymer, and on the face of it a writer of fey simplicity, but that would be a great disservice to her.  In pieces like ‘Not Waving, But Drowning’, ‘The Jungle Husband’, ‘Infelice’ (not included here) and others there is a lot more going on that would originally appear.


Harvey (Richmond Theatre – now in the West End)

The 1950 film of ‘Harvey’, starring James Stewart, and directed by Henry Koster, is certainly a hard act to follow.  I’d seen the play (by Mary Chase) done by an amateur theatre group before, and found it entertaining.  This is the first professional production I had seen, and I wasn’t sure what to expect.

Yes, it takes a while to warm up and get going.  Maureen Lipman’s Veta has an American accent which wanders all over the place but then settles into something far less painful, but she is excellent as the fussy woman with aspirations to have a house-full of guests who are not scared away by her odd brother and his friend.

That friend being the Harvey of the title, a large white rabbit, six feet three inches tall, who appeared to our hero, Elwood P Dowd, one evening, just leaning against a lamp-post.  He spoke to Elwood by name and commented on the intoxication of his friend, who had just been shepherded away by taxi.  And as Elwood tells us, later, he thought nothing of it because ‘when you’ve lived in a town as long as I’ve lived in this one, you get used to the fact that everybody knows your name.’

James Dreyfus, who was so good on television in ‘The Thin Blue Line’ and ‘Gimme, Gimme, Gimme’, is a fine Elwood, a little camp, a little fey, and nothing like Stewart.  That’s all to the good.  He makes the insane normal and the psychotic likeable, while all the normal people around him seem to be strange.

The thing about ‘Harvey’ as a play is that it has some great lines, whether it is the one about the ‘stranger in the bathtub’, or ‘For years I was smart. I recommend pleasant. You may quote me’.  The characters are well-drawn, if a little ridiculous, and if Elwood and his friend bring the doctor and nurse together, or the burly orderly and the niece, then that’s to the good.

In Lindsay Posner’s new production, there is superb and clever set design by Peter McKintosh, working largely on a revolve, while most of the lines and passages we know so well remain.  My particular favourites are the little speech by the taxi driver (here played by Linal Haft, who I recognised immediately from those 1980s BT ads where he played the son of ‘Beattie’, played by … Maureen Lipman), and the description by Elwood of how he gains friends in drinking places.

In fact I will repeat that lovely passage right here:  ‘Harvey and I sit in the bars… have a drink or two… play the juke box. And soon the faces of all the other people they turn toward mine and they smile. And they’re saying, “We don’t know your name, mister, but you’re a very nice fella.” Harvey and I warm ourselves in all these golden moments. We’ve entered as strangers – soon we have friends. And they come over… and they sit with us… and they drink with us… and they talk to us. They tell about the big terrible things they’ve done and the big wonderful things they’ll do. Their hopes, and their regrets, and their loves, and their hates. All very large, because nobody ever brings anything small into a bar. And then I introduce them to Harvey… and he’s bigger and grander than anything they offer me. And when they leave, they leave impressed. The same people seldom come back; but that’s envy, my dear’.

There’s an hilarious bit from David Bamber as Dr Chumley, who starts the day hiding in his room and ends it pub-crawling with a brand-new friend who makes him yen for cold beer and a girl who never speaks.  And, curiously, this comedy, which started so gingerly, becomes something rather more than fun.  It becomes rather moving in its finale.  And that is its gift, and Harvey’s.

‘Harvey’ is now on at the Theatre Royal Haymarket.  I strongly recommend it.


Remembering England’s great eccentric, Vivian Stanshall

On 5th March 2015 it will be twenty years since the wonderfully weird singer, musician, wit, poet, artist, mystic, songwriter and all-round ‘definitely not normal’ Vivian Stanshall (1943-1995) left our world for somewhere far more colourful, wild and magnificent.

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He may well be best known yet for his time as the frontman of the Bonzo Dog (Doo Dah) Band, a ragbag of art students who started by apeing the sounds of jazz and silly big band tunes by way of Spike Jones and Flanders and Swann.  They recorded ‘My Brother Makes The Noises For The Talkies’, ‘Button Up Your Overcoat’, and made a memorable, and early, television appearance performing ‘Bill Bailey’ on Blue Peter, before taking up residency on one of the shows which pre-dated Monty Python, ‘Do Not Adjust Your Set’.

Neil Innes provided the melodic music and the happy Beatly-type face of the Bonzos, but Vivian provided a sense of danger and fascination, which came to the fore during the band’s first album, ‘Gorilla’, in 1967, which featured such cuts as ‘Jollity Farm’. ‘Look Out There’s A Monster Coming’, ‘Mickey’s Son and Daughter’ and the delightfully subversive ‘I’m Bored’.  Vivian’s posh vowels and droll delivery livened up the songs and made them different to the mop-top popular music or the dreary psychedelic epics of the time.

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It was with their 1968 album,  ‘The Doughnut in Granny’s Greenhouse’, however, that the odd side of the Bonzos really took hold: ‘Can Blue Men Sing The Whites’, ‘My Pink Half of the Drainpipe’ and ‘Postcard’ all seemed to be railing against what the rest of the world accepted as dreary, everyday, and normal.  During this year their single ‘Canyons of Your Mind’ was played out on the German show ‘Beat Club’ – it was in repeats of that show that I first spotted Vivian Stanshall, thought he was a fascinating and unique creature, and became hooked for life.

Following the break-up of the Bonzos, what can only be described as the ‘Sir Henry Rawlinson’ phenomenon took flight – first with a run of radio extracts on the John Peel show, an album (strictly speaking two albums, but the second was released, unfinished, after being taken without consent from Stanshall), then a feature film in 1980 (with associated book, published by Eel Pie and full of wonders and snapshots from the film),   Sir Henry might well be his greatest achievement – and yet, and yet …

Watching ‘Vivian Stanshall’s Week’ from 1975, one might take time to adjust to the absurdity and surrealism of what passes as one man’s everyday life (as well as being quite shocked at his appearance at this time), but it is a slice of television quite unlike anything else that was around at the time.  During the 1970s he was also involved in the seminal ‘Tubular Bells’ project from Mike Oldfield, introducing the instruments, and in writing for Steve Winwood’s solo albums (notably the songs ‘Vacant Chair’ and ‘Arc of a Diver’).  These songs alone showcase a perceptive and sensitive lyricist rather at odds with the public image of a difficult and crude eccentric given to scatalogical humour and slightly offensive offbeat observations.

1974’s album ‘Man Opening Umbrellas Ahead’ achieved almost-legendary status during its long period of unavailability between release date and 2010.  I remember obtaining a bootleg in the 1990s and being shocked and enthralled by the music I was hearing – dangerous, yes, but also sensual, troubling, wildly funny, and in places, rather beautiful.  It is a modern classic in many ways (particularly the epic ‘Strange Tongues’ and the troublingly weird ‘Yelp, Bellow, Rasp, Et Cetera’).  His follow up solo album (of songs) from 1981, was ‘Teddy Boys Don’t Knit’, a far more personal affair with tracks dedicated to his wife and young daughter, and reflections on his childhood and life as a ‘rock musician’.

Stanshall’s life continued to be troubled by addictions and mental breakdowns throughout the remainder of his life, but now and again there were peaks of brilliance – artwork, voice work on adverts (the 1980s Tennants Pilsner ones were superb, as were the two Creme Egg ones based on older Bonzo songs ‘Mr Slater’s Parrot’ and ‘The Intro and the Outro’), and a more recent discovery for me, the return of ‘Tubular Bells’, from 1993.  His last major television appearance was in ‘Crank’ (made for ‘The Late Show’) in 1991, while on radio he spoke about his parents, in 1994, for a special programme, and discussed losing his virginity at a surprisingly early age in the Pulp promotional film ‘Do You Remember The First Time?’

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It seemed that despite his frailty Vivian Stanshall would always endure, and so it was a great shock, and a great sadness, when he passed away in a house fire on that fateful night in 1995.  Since then his star has continued to shine bright and his influence on performers such as Stephen Fry and Adrian Edmondson has endured.  We might celebrate the Young Ones, Little Britain, or the League of Gentlemen, but I submit that someone else got there first – the man in the sharp suit and the lounge voice who appears in the cabaret spot in the Beatles’ ‘Magical Mystery Tour’, the man who contributed a couple of rock pastiche songs to the soundtrack of ‘That’ll Be The Day’ and parodied the King himself on ‘The Last Temptation of Elvis’, the man who crooned about being a ‘Big Shot’ and frightened passers-by dressed as a giant rabbit.

We will not see his like again, and we miss him like crazy.  However, his widow Ki Longfellow-Stanshall is currently planning to bring a showcase of Vivian’s work back to the fore through an exhibition of his work which will hopefully engage and excite a new generation.  I have a feeling the old boy might have been very pleased about all the attention.

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First Encounter: King Lear, 2012 – ★★★½

The Royal Shakespeare Company developed this truncated version of King Lear for young audiences through their education programme, and this version was taped in New York.

Running just seventy-eight minutes and starring Paul Copley as the King, this is set over a week at Christmas, with Lear opening his presents at court on Christmas Day and dividing his kingdom between his cruel daughters while banishing the one most true to him, and reaching the end of the play on New Year’s Eve.

Although the running time is short, the main elements of the play are there, although an audience may struggle to find emotional engagement.

There are some interesting parallels in costume – when we first see Edmund he is dressed as the red-nosed reindeer, the same as the Fool will be later – however, both Kent and the Fool have their parts much reduced, and although the blinding of Gloucester survives along with Edgar’s masquerade as ‘poor Tom’ (wearing clothes retrieved from the drains), it doesn’t have the same power as it might in a full-length version.

Vía Letterboxd – loureviews


Remembering AC/DC’s first frontman

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I have to give Radio 1’s ‘Friday Rock Show’ the credit, in the person of Tommy Vance, who, during the late 1980s, introduced a whole range of rock artists to the airwaves ranging from death metal outfits, 60s folk rock, to early tracks from big names like Quo, Purple, Sabbath and Zeppelin.

It must have been 1985 (shortly after a whole show had been devoted to a live gig by Motley Crue) that Vance played a track which made the twelve-year old me sit up and take notice.  The track was ‘Ride On’, and the band was AC/DC – a band which I had previously only associated with ‘Hells Bells’ and ‘You Shook Me All Night Long’, with a singer whose voice sounded as if he was scraping fingernails against a blackboard, a good rock voice, sure, but not this one that I was listening to on the FRS.

I was of course listening to the band’s previous singer, Ronald Belford Scott (known as ‘Bon’) who had passed away in 1980.  The 35th anniversary of his death has just been and gone, on the 19th February, and although their most enduring singer, Brian Johnson, has now been in the band longer than Bon Scott was alive, he is still one of my favourite frontmen, an attractive and vibrant personality with a huge sense of fun (Vance would play other songs from the era which played on this, from ‘She’s Got Balls’ and ‘Whole Lotta Rosie’ to ‘I’m a Rocker’ and ‘Up To My Neck’), but it was ‘Ride On’ which made me place him in that rare group of superb vocalists who stand head and shoulders above everyone else.

I love ‘Ride On’.  It not only has fantastic vocals but also great lyrics and perhaps Angus Young’s best guitar work – until I heard this track I hadn’t really rated him as a musician but here, he was the real deal.  It’s hard to find the song in the usual places – all the YouTube videos which feature it have been muted through copyright claims – but if you look on Dailymotion, you’ll find it.  I don’t want to deprive people of the pleasure so I’m not linking it here.

I will however link a little bit of fun, which was how Bon started off, in the 1960s, in ‘The Valentines’.  He isn’t the lead singer here, and he does look just a little embarrassed, but this is fun.

When Bon Scott died he was at the peak of his success and, so it seems from a Top of the Pops appearance less than two weeks’ before (‘Touch Too Much’), of his fitness too.  There have been all sorts of rumours around the events of that fateful night when he drank a little more than he should and died in a freezing car in the middle of the night that February – but whatever the truth, it still feels a terrible waste of an admittedly difficult but talented individual to pass away at the age of just thirty-three, but perhaps it was inevitable given his alcohol and drug addictions, and at least he did not become a member of the 27-club along with others of his contemporaries.

Anyway, if it hadn’t been for Tommy Vance’s inclusion of these songs in his broadcasts I probably wouldn’t have known about the first few years of AC/DC’s existence, and what might have been.  He’s gone now, too, and although Radio 1 still rocks it isn’t quite the same.  On 6th March it will be ten years since we lost Vance, so I raise a glass to both him and Scott, and say we miss both of you, very much.


Horror of Darkness, 1965 – ★★★½

A visit to the BFI Mediatheque is always well worth it, and this time I had a particular Wednesday Play in mind, ‘Horror of Darkness’.

This play by John Hopkins was filmed in 1964 but held back for a year before its television transmission as one of the ‘Wednesday Plays’, perhaps due to worry from the BBC about its subject matter, which touches on homosexuality at a time when this was still a matter for the criminal courts.

Peter (a dour Alfred Lynch) and Cathy (Glenda Jackson in sparkling form) are a couple, not married, but rubbing along together. He’s an artist, illustrating biology books. She appears to be a homemaker. Into their world comes Robin (Nicol Williamson, playing in his native Scots accent), a fey and unpredictable friend of Peter’s from the past, who brings a sense of unease into the happy home.

Early on, we see Robin’s playful but disruptive side when he ruins Peter’s commissioned drawing, but we don’t know why he is like this. We also don’t know why Peter is so shaken to find Robin in the flat with a woman, listening to stereo instrumentals on the gramophone.

As Robin weaves a web in which he claims to be a successful writer, first of a short story in the magazine ‘Impetus’ and then of a produced play, his hosts seem to remain shaken by his presence.

There’s a great scene where Peter and Cathy are shut out from a party going on in their own house, a party we don’t see, and they share wine on the stairs before arguing, again, about their unpaying guest. “Where can he go?” “I don’t know.” “Sad, isn’t it?”.

Robin singing snatches of ‘Over The Rainbow’ probably gives us a large clue these days as to what’s going on – not sure that fifty years ago this would have been as obvious. But then there’s a lovely moment where Peter offers to light his cigarette, and Robin grasps his wrist and holds it just a fraction too long, and then we know, even as they continue to dance around the subject and goad and needle each other.

Then the moment. “I love you!” And an eyebrow raised, beautifully done by Lynch, rejecting his friend with a carefully phrased retort: “Cathy’s right. You can be something of a liability.” Cathy, for her part, is goading too, with a clumsy kiss filled with contempt and a warning to Robin that she knows he aims to take Peter away from her.

There’s music all the way through this play, whether from the LPs which play filling the room (a glorious scene with a classical chorus), or Robin, alone in his lonely bed, whistling. Everyone seems to be heading for breaking point throughout – this is a darker, more dangerous turn away from the niceties of Coward’s ‘Design for Living’ which balances a similar triangle. Peter even makes boiling a kettle full of menace. Robin is as desperate as coiled springs. Cathy is manically miserable.

I didn’t see the twist coming, and that probably makes it effective even now. Robin’s last line in the play is “I can be nice only so long. You know?”, and after that he proves it with his actions and the way they finally tear the couple apart. There’s also a mysterious visitor, who sheds light on what has gone before.

And Peter? Well, Robin said he was ‘just like him’ but ‘safe as houses’, and we understand that, and so does Cathy. The two ‘nicest people in the world’ have destroyed themselves, and there’s a chilling scene where Peter in an act of verbal and physical violence lets out his feelings on the girl Robin had to visit back in the early part of the play.

The three leads are extremely effective together, and there is a real sense throughout that something is going to explode, but we don’t know what – and it never quite does. The gay angle is handled well, and we completely understand what has been going on, and it is quite pathetic to watch this sad trio approach their own private darkness.

My visit to the Mediatheque was completed by watching the final episode of 1957’s television serial for children, the adaptation of ‘The Silver Sword’ by Ian Serraillier, which had been published the previous year.  A tale of four Polish children around the time of the Second World War (including familar names Melvyn Hayes (aged 21) and Frazer Hines (aged 12)) this does look as if it would be well worth watching were the whole series to become available.


Royal Opera Live: Der fliegende Holländer, 2015 – ★★★★½

Without having the ready money to spend on seeing a live production at the Royal Opera House, I decided instead to do the next-best thing, and watch the relay to cinemas for the final performance of Wagner’s popular opera of ‘The Flying Dutchman’.

Tim Albery’s production is now on its third revival, and the role of the Dutchman was played by Wales’ finest bass-baritone, the marvellous Bryn Terfel, who has really grown into this part over the years: one might say it is one of his signature roles.

Here his dour and dark captain, doomed to sail his ghostly ship through inhospitable waters for eternity, was complemented by Canadian soprano Adrianne Pieczonka. She is in her fifties, but managed to convey through her acting and singing a portrait of Senta, a young girl in obsessive love with a legend, with her toy ship and the stories she tells her co-workers about the pale seafarer and his need for redemption.

Some of Albery’s choices might be suspect to Wagnerian purists – the ending has lost the sense of the dramatic (instead of Senta plunging into the icy waves she instead collapses holding her ship while her friends look on), and there is a lot of water (using what resembles a shower curtain to throw water against before curtain up to convey the storm, and having various characters paddling in the stream where the toy ship is anchored).

No sound problems at the Westfield London’s Vue, though, although some were reported at other screenings. The staging and presentation was quite cinematic – I like to see close-ups and be in the thick of the action. Interestingly, the most melodic and memorable pieces of the score are not those sung by the Dutchman, but rather those by Senta, and by the Steersman and the crew.

The crew’s party was jarringly modern, with a feel of Newcastle on a Saturday night with short-skirted ladies and hard drinking men, but the appearance of the ghostly crew of the Dutchman’s ship was effective. I also liked the line of sewing machines at which Senta and her friends dreamed and sang.

Peter Rose as Daland might have been a little below par (we were warned before the start that he had a heavy cold) but the pro came out in decent voice and did well to make it through to the end. No harm done there.

Great production, and I’d heartily recommend these live relays for anyone not sure about opera, as well as those, like me, who have seen these pieces before and just go along to enjoy them in a different setting.

Vía Letterboxd – loureviews


My Network DVD collection

TV Comedy

  • The Complete Adrian Mole
  • Agony: The Complete Series
  • Catweazle: Series 1 and Series 2
  • Cilla’s Comedy Six: The Complete Series
  • Classic ITV Christmas Comedy
  • End of Part One: The Complete Series
  • Frost on Sunday
  • The Galton and Simpson Playhouse
  • The Goodies … At Last, A Second Helping
  • If There Weren’t Any Blacks You’d Have To Invent Them
  • The New Incomplete Complete and Utter History of Britain
  • Outside Edge: The Complete Series
  • Pipkins: Volumes 1-3
  • Ripping Yarns: The Complete Series
  • Romany Jones: Complete Series 1 and 2
  • Sadie, It’s Cold Outside: The Complete Series
  • Six Dates With Barker
  • Spitting Image: The Complete Series 1-7
  • The Strange World of Gurney Slade: The Complete Series
  • Sunday Night at the London Palladium: Volumes 1 and 2
  • Victoria Wood: Screenplays

TV Drama

  • The Adventures of Black Beauty: Best of
  • Adventures of Robin Hood: Complete
  • Adventures of the Scarlet Pimpernel: Complete
  • Alan Plater at ITV
  • Anglo Saxon Attitudes: Complete
  • The Arcata Promise
  • Armchair Cinema: The Collection
  • Armchair Theatre: Volumes 1-4
  • Armchair Thriller: Complete
  • Band of Gold/Gold: Complete
  • The Bass Player and the Blonde
  • Beasts: The Complete Series
  • The Beiderbecke Trilogy/Get Lost: Complete
  • The Blackheath Poisonings: Complete
  • The Brontes of Haworth: Complete
  • The Buccaneers: The Complete Series
  • The Caesars: Complete
  • Casting the Runes
  • Cause Celebre
  • Children’s Ward: Complete Series 1
  • Chiller: Complete Series
  • A Choice of Coward: Complete
  • Clayhanger: Complete
  • Codename Kyril
  • Coronation Street: 1972
  • Crown Court: Volumes 1-7
  • Danger UXB: Complete Series Special Edition
  • The Dark Angel: Complete
  • Dennis Potter at LWT: Volumes 1 and 2
  • Dick Turpin: Series 1
  • Disraeli: Complete
  • Dramarama: Spooky
  • Dramarama: Volume 1
  • Edward and Mrs Simpson: Complete
  • Enemy at the Door: Complete
  • Espionage: Michael Powell
  • Fireball XL5: Complete
  • Flickers: The Complete Series
  • Floodtide: The Complete Series
  • The Four Just Men: The Complete Series
  • Framed
  • The Gold Robbers: Complete
  • The Good Companions: Complete
  • The Hanged Man: Complete
  • The Invisible Man: Complete
  • ITC 50
  • Jack Rosenthal at ITV
  • Jamaica Inn: Complete
  • Jemima Shore Investigates: Complete
  • Jennie, Lady Randolph Churchill: Complete
  • Justice: Complete Series 1-2
  • A Kind of Loving: Complete
  • The Knock: Complete Series 1
  • Ladies in Charge: Complete
  • Lady Killers: Complete Series 1-2
  • The Last Place on Earth: Complete
  • Laurence Olivier Presents
  • Lillie: The Complete Series
  • Look-Back on 70s Telly: Issues 1-4
  • The Main Chance: Complete Series 1-4
  • The Male of the Species: Three Plays by Alun Owen
  • Mr Axelford’s Angel
  • Mr Palfrey of Westminster: Complete
  • Mystery and Imagination
  • Philby, Burgess and Maclean
  • Piece of Cake: Complete
  • The Plane Makers: Volumes 1 and 3
  • Plays for Britain: Complete
  • The Power Game: The Complete Series
  • The Protectors: Complete Series
  • Red Letter Day: The Complete Series
  • Redcap: Series 1
  • The Rivals of Sherlock Holmes: Complete Series 1-2
  • Robin of Sherwood: Complete
  • The Sandbaggers: Complete
  • Scoop
  • Scorpion Tales: Complete
  • Sergeant Cork: Complete Series 1-6
  • Serjeant Musgrave’s Dance
  • Shadows of Fear: Complete
  • Six Days of Justice: Complete Series 1-2
  • Smuggler: The Complete Series
  • Soap Box: Volume 1
  • South Riding: The Complete Series
  • Storyboard: The Complete Series
  • Strangers: The Complete Series
  • Tales of the Unexpected: Complete
  • Tales Out of School: Four Films by David Leland
  • Thomas and Sarah: Complete
  • Thriller: The Complete Series
  • Travelling Man: Complete
  • Twelfth Night
  • The Tyrant King: Complete
  • Upstairs Downstairs: Complete
  • Van Der Valk: Complete
  • A Very Peculiar Practice: Complete
  • Village Hall: Complete Series 1 and 2
  • Warrior Queen: Complete
  • The Widowmaker
  • Will Shakespeare: Complete
  • William Tell: Complete
  • Wish Me Luck: Complete
  • Yesterday’s Dreams: Complete
  • The Zoo Gang: Complete

TV Other

  • 56 Up
  • Buster Keaton: A Hard Act to Follow
  • Charley Says: Limited Edition
  • Frost on Coward
  • Frost on Friday
  • Frost on Saturday
  • Six Centuries of Verse: Complete
  • The Story of Film: An Odyssey
  • Tempo: Volume 1
  • Unknown Chaplin
  • World in Action: Volumes 1-4

Films:

  • British Musicals of the 1930s Volume 1-3
  • The Ealing Rarities Volumes 1-14

Berlin Philharmonic/Rattle (Royal Festival Hall)

A London visit from the Berlin Philharmonic is always an occasion, and this Valentine’s Day visit from them, with their conductor Sir Simon Rattle on the podium, did not disappoint, especially as they were playing their signature piece, Mahler’s Symphony No 2, the Resurrection, in an emotional and absorbing rendition assisted by the London Symphony Chorus, the CBSO Chorus, soprano Kate Royal, and mezzo-soprano Magdalena Kozená.

The orchestra could very well play this piece in their sleep, but the strings, the woodwind, and the percussion all gave it life and energy, and the solo arias from Royal and Kozená were beautiful.  But it is the chorus, that chorus, that soar of voices which makes this piece so special, and which brings tears now and then from audiences.  The human voice is probably one of the greatest of all instruments – and even if this choir performs much of their singing seated in Rattle’s voice of the piece, it remains an effective piece of ‘theatre’.

Before the Mahler, we were treated to Helmut Lachenmann’s Tableau for orchestra, which is a very modern and sparse piece, enjoyable and very different to the melodies of the 19th and early 20th centuries.  A good companion piece, then, to the mighty Resurrection.


History Is Now – exhibition at the Hayward Gallery, Southbank Centre

Any exhibition which aims to present a history of British culture from 1945 to the present day has to be wide-ranging and risk-taking, and the Hayward Gallery’s new exhibition manages to be both.

Seven curators have presented six exhibitions within this space and generic umbrella of ‘History is Now’, and although there are no obvious links between the different shows, together they present an immersive snapshot of the country as it was, and where it is going.

Richard Wentworth’s section, on the top floor of the gallery, goes back the furthest, presenting photographs, sketches and texts around the immediate aftermath of the war, along with books about the period arranged above head height, covers facing downwards, on glass shelves.  His vision also includes a surface to air missile which sits outside in the Southbank Centre’s space, aimed towards the financial heart of modern London.

Hannah Starkey’s set of images includes collages of advertising from the 1970s, hugely sexist and geared towards a culture which has all but disappeared, where shoes, household appliances, and politics could be presented in ways that – if you remove the sexual politics and objectivity from the equation – remain startling and innovative.  Her section also includes real life photographs of destitution and degradation which are at odds with the glossy images depicted in the advertising.

John Akromfrah presents seventeen films which look at Britain’s artistic past and future – in themselves they represent hours of footage on which we only quickly glanced on our visit – but there is material from Hepworth, Bacon, and others, which could repay repeat visits.

The Wilson twins Jane and Louise focus much of their attention on Northern Ireland and the Troubles, in a thought-provoking set of images, paintings and texts which focus on both sides of the issue.  The most powerful piece in their section though might be the cage of gloves, each representing a person unemployed with hands idle at the height of the employment crisis of the 1980s.

Roger Hiorns presents a whole room devoted to BSE and the hysteria around mad cow disease – hard to remember now how this was headline news for so long, but newspaper covers, articles, reports, photographs and other artifacts remind us of the fact – a peripheral side effect of this is seeing what else was news at the time, which caused some nostalgia when viewing this particular exhibit.

Finally, and the first section you will see on entering the Hayward, Simon Fujiwara shows us David Beckham sleeping, Meryl Streep’s costume for ‘The Iron Lady’, some plastic cutlery, a couple of bin bags, and Damien Hirst’s dot painting (his cattle heads in formaldehyde are in Hiorns’ section).  This is the most ephemeral and the least engaging part of the exhibition, but the one which is the most flash – even including a section of balcony from a Canary Wharf apartment.

A mixed exhibition, and one which does require some attention to be paid to its messages and juxtapositions – we took nearly two hours to circulate on its preview night and could have stayed longer, had we engaged with every film on show.  I particularly liked the photographs from Erin Pizzey’s Chiswick Women’s Refuge, the items from Greenham Common peace camp, and the sense of history once you move away from the throwaway nature of Fujiwara’s vision into something with just that bit more depth.


Twisting the Dial (BBC Concert Orchestra, Queen Elizabeth Hall)

This second concert in the series by the BBC Concert Orchestra was of rather more pedestrian fare than the one presented last week as part of Friday Night is Music Night.   Grant Llewellyn was the conductor, the singer was Anna Jane Casey, the solo flautist was Ileana Ruhemann, the MC was Ian Skelly, and the concert was transmitted live to BBC Radio 3.

Although there was a mix of music from television, the radio, and the cinema from the years 1959-1979 included in this concert, it didn’t really give a sense of the changing times, although there was some discussion between Skelly and a historian who specialised in the period (I didn’t catch his name).

So the songs – the theme to the Bond film ‘You Only Live Twice’ (John Barry/Leslie Bricusse), ‘Alfie’ (Burt Bacharach/Hal David), ‘Yesterday’ (Lennon/McCartney), and ‘As Long As He Needs Me’ (Lionel Bart’s song from the musical ‘Oliver!’) – were well enough delivered, although the sound mix sounded a bit off in the hall itself.  The musical pieces varied from the buoyancy of the ‘Thunderbirds’ theme by Barry Gray, the ‘Carry On Doctor & Carry On Again Doctor’ suite by Eric Rogers, and excerpts from the opera ‘Our Man In Havana’ by Malcolm Williamson to a truly dull ‘Suite on English Folk Tunes’ by Britten and a well-performed but forgettable ‘Flute Concerto No 2′ by Malcolm Arnold, and nostalgic pieces like Johnny Douglas’ theme to the film ‘The Railway Children’ and Walton’s prelude for Granadaland.

Hard to say why this concert didn’t quite succeed – perhaps the programming was slightly on the heavy side, perhaps the sound balance was a factor (we couldn’t hear Skelly’s introductions as I am assuming he was miked up only for radio), perhaps we needed an MC and a conductor with a bit more energy.  Whatever the reason, the applause tonight was polite rather than enthusiastic.


The Hard Problem (National Theatre)

hardproblem

Tom Stoppard’s new play for nearly a decade is also Nicholas Hytner’s last directing job before he stands down as Artistic Director at the National Theatre, so here we are at the new Dorfman Theatre (Cottesloe as was) to see it.

The picture above shows the set design by Bob Crowley which includes a very clever metal and light structure which buzzes with music (Bach) and fizzes with fireworks in order to distract from scene changes or enhance one key dinner party set piece.

The Hard Problem’s focus is on the mind, the brain, psychology, and coincidence, and it centres around a fairly large and unlikely coincidence between Olivia Vinall’s totally unconvincing professor (she looks too much like Elsa from Frozen) and Anthony Calf’s well-acted Jerry Krohl (a spiky billionaire who is a bully in the office and a benign domestic at home).  This weakens the play somewhat, as does the pre- and post-coital interplay between Vinall’s Hilary and her tedious lover-tutor Spike (Damien Molony).

This play has a lot to say about academia and publishing (fairly accurate, as it happens), office politics and rivalries, family, life choices, and systems of belief – Hilary is a believer in God who kneels to pray by her bed each night.  But it is mired in cliche – the over-achieving Indian scholar (Parth Thakerar), the brilliant female Chinese mathematician (Vera Chok), the sunny lesbian pair of academic and Pilates instructor (Lucy Robinson and Rosie Hilal).  There’s also the sexist academic who interviews candidates in the men’s room (Jonathan Coy) and the fiercely intelligent privileged child (I think this was Eloise Webb of the three Cathys cast).

Broad characterizations aside, this does try to do something interesting, and to see a more cerebral play than most fill its 100 minute running time is not without interest.  Not vintage Stoppard, or vintage Hytner, but worth a visit.


Friday Night is Music Night (Queen Elizabeth Hall)

A finely nostalgic night about The Light Programme, titled ‘On the Wireless and Off the Box’, on stage at the Southbank Centre’s Queen Elizabeth Hall and live on Radio 2, with the ghosts of Hancock and Semprini, Jimmy Edwards, Flanders and Swann, Gus Elen, Max Miller, and others jostling for space with songs from My Fair Lady (‘Show Me’) and Carousel (‘If I Loved You’), as well as Noel Coward’s sparkling Nina.

Bringing these to life for us, under the watchful eye of Master of Ceremonies Ken Bruce and conductor Gavin Sutherland, were the BBC Concert Orchestra, Kitty Whately, Simon Butterkiss, Roy Hudd, and Tim FitzHigham/Duncan Walsh.  It’s quite a feat the move from the fun of ‘In Party Mood’ to the pomp of ‘Orb and Sceptre’, to the music hall high jinks of ‘It’s A Great Big Shame’ and ‘Lucky Jim’ to the crowd-pleasing singalong of ‘Mud, Glorious Mud’ and the patter song ‘My Name is John Wellington Wells’ (from Gilbert and Sullivan’s The Sorcerer).  The most touching thing was to see Roy Hudd, a man who appears more elderly when he isn’t in full flight, deliver ‘While London’s Fast Asleep’, by Harry Dacre, which could indeed “have been written yesterday”.

Funny, too, to see an audience delight in banter between Tony Hancock and Kenneth Williams, relayed over the years, and snicker at Dick Barton.


Taken at Midnight (Theatre Royal Haymarket)

This new play by Mark Hayhurst transfers from the Chichester Festival and brings the story of the incarceration of Hans Litten to the stage, timely so in this lead up to Holocaust Memorial Day.  Litten’s mother, Irmgard (Penelope Wilton), at the start of the play, claims that the name of Sonnenburg concentration camp would stand for shorthand for the cruelty of the Nazi regime, but of course the events of the post-Reichstag Fire round-up of political prisoners into long-term ‘protective custody’ was only the start.

midnight 1midnight 2

I hadn’t been that aware of Litten before seeing this play, although the programme makes reference to an earlier drama ‘The Man Who Crossed Hitler’ and documentary ‘How to Stop a Tyrant’ from the same writer, both of which are easily located online, to give a full picture of the story which is finished, here, in the stage play ‘Taken at Midnight’.

Litten (Martin Hutson) was a bright lawyer who identified as a Jewish atheist, the adoption of the ‘Jewish’ being taken from his father, who had himself converted to Christianity some time before.  The bright lawyer subpoenaed Adolf Hitler to the stand and humiliated him during a lengthy cross-examination and so when the Gestapo take power he is one of the first in line to face arrest and a form of revenge in torture and degradation in custody, while his mother uses her quiet and righteous rage as a German woman to tackle his freedom head-on, notably in exchanges with the initially sympathetic Dr Conrad (John Light).

This play is about Irmgard Litten and her crusade to free her son just as much as it is the story of Litten and his comrades in captivity – Carl von Ossietzky (Mike Grady), a pacifist who gains the Nobel Peace Prize while under arrest; and Erich Muhsam (Pip Donaghy), a cabaret performer and satirist.  We also see Litten’s father, Fritz (Allan Corduner) a man who lacks the conviction to make the difference his wife feels she can, as well as an English aristocrat, Lord Allen (David Yelland) who is ultimately powerless to intervene in the Fuhrer’s detention and murder of political prisoners for reasons of his own country’s political expediencies.

‘Taken at Midnight’ is a powerful watch, and a difficult one, especially in the second half where the lightness, where there was lightness, of the earlier scenes, becomes very bleak indeed.  To see the growth of a regime which is just as corrupt as the one it replaced, but with a dictator in charge who is revered by diplomats outside of Germany, is chilling in retrospect when you have the knowledge of the full impact of Kristellnacht and the Final Solution.  Dr Conrad’s words to Mrs Litten about Hans not having the choice to be Jewish makes one stop and pause, and the final speech of the bereaved mother, about events in Dachau, and not having stopped screaming, is one which can only provoke devastation.

Wilton is frankly superb here but she heads an excellent cast, and it is a true privilege to be able to spend time in their company hearing this tale which is just one of many, but one which should not be forgotten, especially in these dark days where the freedom of speech is under threat.


Elvis That’s the Way It Is, 1970 – ★★★★

It is Elvis Presley’s 80th birthday tomorrow, the 8th January, or would have been had he not died prematurely at the age of 42 in 1977. His fan-base remains huge and diverse, and his musical and cultural influence is wide-ranging.

‘That’s the Way It Is’ was his first concert film for the cinema – the ’68 Comeback Special had been originally presented on television. I first saw this film (the original 1970 cut) in about 1982 or 3, when we had a copy on laser disc. That version was in stereo which did justice to the wonderful range of songs presented in both the informal jamming sessions in the early section of the film, and the full concert in the later half.

EPE, however, had an idea up their sleeve and in 2001 they released a ‘Special Edition’ of TTWII. I remember going to see this at the cinema and, yes, it was excellent to watch The King in his prime, but some favourite songs had been completely cut (‘I Just Can’t Stop Believin”, ‘Bridge Over Troubled Water’).

I point this out to emphasise that there are now TWO versions of this film, and the one EPE give the full bells and whistles treatment is the later version. This original one, in the version now available on DVD as a second disc, is in mono, with muddy sound and un-restored picture. Happily I have a recording which I made to VHS and then to DVD of the laser disc version, but new fans coming to the film will not be so fortunate.

OK – this version has a lot of off-stage stuff with fans, promoters, and vox pops. A lot of this was snipped from the 2001 special edition, to present a different mix of songs with a much more rock and roll bias, but I like these informal bits, which give the film some humour as a documentary as well as a concert film.

And Elvis – well, for me, he is the greatest of all singers and at this time, was at the height of his physical peak as well. Although he only earned a co-writer credit on a handful of his early records, he was a gifted interpreter of other people’s songs, especially early rock numbers like ‘That’s All Right, Mama’ and contemporary classics like ‘Polk Salad Annie’, ‘Words’, ‘You’ve Lost That Lovin’ Feeling’.

That’s what you get here, with his gifted backing band (the TCB ‘Taking Care of Business’ Band – James Burton, Glen D Hardin, Jerry Scheff and Ronnie Tutt); the Sweet Inspirations (Cissy Houston, Myrna Smith, Sylvia Shernwell); the Imperials Quartet (Jake Hess, Jim Murray, Gary McSpadden, Armond Morales) and the recently deceased Joe Guercio and his Orchestra, is a slick show, well-choreographed.

This film is directed by Denis Sanders and is really recommended viewing for any Elvis fan – but for goodness sake, I wish that the EP estate would release the thing with its original 4-track stereo mix.

Vía Letterboxd – loureviews


2014 in review

The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.

Here’s an excerpt:

The concert hall at the Sydney Opera House holds 2,700 people. This blog was viewed about 8,200 times in 2014. If it were a concert at Sydney Opera House, it would take about 3 sold-out performances for that many people to see it.

Click here to see the complete report.


Goodbye Piccadilly, exhibition at London Transport Museum

Running until the 8th March 2015, this is the latest exhibition to use posters and artefacts from the collections of the London Transport Museum.

Goodbye Piccadilly is about the First World War, and more specifically, about the fleet of London buses which were sent into Europe and beyond, along with their drivers, to assist with the war effort.

piccadilly 1piccadilly 2

The posters on show present quite a naive and chilling message to those back in Blighty at the start of the war, as the examples above indicate – ‘the childrens recruiting depots’ being an example which made me particularly shudder.

Other notable artefacts include the plate which adorned ‘Ole Bill’, one of those commandeered buses, the war memorial to the fallen, a bus conductress’ uniform, and more.

piccadilly 3

There are two books to accompany this exhibition, and both are well worth getting (and currently available in the Museum shop at £20 for the pair).

There is also a wall where you can add your own message to the soldiers and civilians of the Great War, and one such item, drawn by a child, simply said ‘Thank you’.  With all the commemoration of the 1914-18 conflict we sometimes forget the scale of sacrifice, and how everyone joined up, expecting the conflict to be ‘over by Christmas’.


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Ritchie Blackmore's Rainbow - the ultimate resource

So much content, so little time...

Just another review blog

Hollywood Essays ♛

by Alicia Mayer

Spectacular Attractions

film in all its forms

Mingled Yarns

Anyone who says they have only one life to live must not know how to read a book

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Thoughts on theatre, scribblings on the stage, commentaries on culture. / All feedback welcome! Please comment here or tweet me @LauraKPeatman

Travalanche

Being a web log for the observations of actor, author, cartoonist, comedian, critic, director, humorist, journalist, master of ceremonies, performance artist, playwright, producer, publicist, public speaker, songwriter, and variety booker Trav S.D.

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libraries & librarianship today

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AustenBlog

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The Elbow Patch

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hitchcockmaster

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