Thursday 17 March 2016

Natalie Merchant @ The Royal Albert Hall, London


A much waited for gig, never thought she would come over to the UK again so when the gig was announced, snapped up two tickets immediately although was rather disappointed with our location.
The ability to get even a half decent video clip disappeared fast, not only because of the ushers who were on the look out, but the sheer distance to the stage. My big Nikon was more than match for that but having a large screen showing would have curtailed that opportunity. Was in fact stopped videoing using the small GoPro I also came armed with, and still amazed that I was stopped because I thought I had disguised it in my hand rather well. Did shot off two songs but the result as I was aiming by instinct was not what I hoped for. Here is that evidence.

But the gig, a very pleasant two and a bit hours including three numbers sung in a continuous encore. She started the first number five times forgeting the lines to her own song. A first for me, was she nervous? That all disappeared once she got going. One number near the end she ended up crying with the emotion she had put into the song. Then at the end another sight I cant recall seeing before as she went down and hugged a large number of the audience.
The band consisted of keyboards, acoustic bass, drums and guitar and a string quartet. Several shouts for various songs was dismissed by reminding the audience that with a string quartet on stage, those sort of songs just would not get performed.
Midway through she gave a very tempered rant against Donald Trump, hoping that he would just implode.
So an evening of introspection, reflection and lament. and THE VOICE, which soared un-restrained through the vast domed cavern that is the RAH.
Final thought, she was rather respectful of the setting, her set totally fitting the venue.

Sunday 13 March 2016

wonder.land @ The National Theatre, London


At times, visually spectacular, musically a great disappointment. The lyricist should be shot imposing old style musical songs into an inner city urban environment. Albarn should also be shot for pandering to such crap, |What happened to Gorillaz, what happened to Blur.
This had the feel of under development, the basic concept is so good but has not been taken through to its logical, and theatrical conclusion, which is a shame on the NT.
If you get to see it, make sure you are in the centre with a viewpoint about head level with the actors. Olivier's stage is just to wide for the production.
And there is one jaw dropping moment that nearly was just worth the entrance fee alone.

Hail Caesar



 Mildly amusing which keeps a grin on your face throughout. One for the film buffs. The on-set sequences are the most interesting and captures the era so well.
Josh Brolin convincing as Mannix, the Hollywood fixer at the time, and on reflection, fixes his own part again in the Hollywood story.
It did however from very early on remind me of Punchdrunk's brilliant production of The Drowned Man (a Hollywood Fable) which we saw in the summer of 2013. I just wonder if the Coens saw that production as it appears that late in 2013 they took an old idea of the shelf and reinvented it.

Good