After a false start, (the indolent Tourist failed to wake up in time on the appointed on-sale day and this sold out fast), a couple of returns were secured so it was off to the Dorfman with MS in tow for Ella Hickson’s latest play. With high expectations given Ms Hickson’s last two outings, The Writer and Oil, both at the Almeida. Expectations that were, largely, met.
I say Ella Hickson but without the sound wizards of Ben and Max Ringham Anna would not have been possible. For, as I am sure your seasoned theatregoers know, the USP of the play is that the audience listens to the proceedings on stage through headphones. The action being set in the modish East Berlin apartment of Ann (Phoebe Fox) and Hans (Paul Bazely) Weber in 1968, expertly designed by Vicki Mortimer. Anna enters in the dark, potters about. Hans joins her, returning from work. They are about to host a party to celebrate Hans’s promotion. Their elder neighbour, Elena Hildebrand (the ever wonderful Diana Quick), joins them before Hans’s work colleague pitch up en masse, including his intimidating boss Christian Neumann (Max Bennett).
Anna is nervous of Herr Neumann and, with a nod to Death and the Maiden, we soon find out why. Or do we? Across the brief 70 minutes or so Ms Hickson pops in a few twists whilst ramping up the tension as the party drinks flow. We are listening in from Anna’s aural standpoint, as it were, so it’s pretty clear all is not what it seems, though to be fair I didn’t see the end coming. Maybe it didn’t quite hang together dramatically but as a way of conjuring up an atmosphere of claustrophobia, surveillance and suspicion, the cornerstone of Communist East Germany, the technology certainly did the job. And just to be sure we embrace the spying vibe. we are separated from the Dorfman stage by a glasss wall.
The cast, especially those aforementioned as well as Nathalie Armin, Jamie Bradley, Michael Gould, Georgia Landers, Lara Rossi and Duane Walcott, all rose to the technical challenge even if they had limited opportunity to get under the skin of the characters. And director Natalie Abrahami, and movement guru Anna Morrissey, deserve immense credit for orchestrating the party. Phoebe Fox has to portray a range of real, and fake, emotions as Anna and sometimes, much like the play itself, which has to support a number of themes inside its thriller structure, doesn’t quite manage to keepit together. But it is still impossible not to get immersed in the story, even if it warranted twice the length, and you never stop marvelling at what the Ringham boys are punching down your lugholes. Not sure I would want to experience theatre this way every day of the week, (the whole point is that this was not a communal experience), but, like Simon McBurney’s The Encounter, you need to try this once.
The Tourist has fallen embarrassingly behind on his documentation of a cultural life. Ironically because he has been on holiday. Unfortunately for you though this is not (yet) one of those countless dormant blogs, casualties of time and application. So back to early June, the Barbican and the inestimable Cheek by Jowl. But this time the Russian ensemble under the direction and design of Declan Donellan and Nick Ormerod. The last time they visited was 2015 with Measure for Measure, though I venture I recognised a couple of cast members from the rep season earlier this year of the Moscow Pushkin Drama Theatre (on this stage, of course) who make up the CbJ company.
Now The Knight of the Burning Pestle makes a fair claim to being the first work of meta-theatre in the English language. Written by Frances Beaumont in 1607, and first published in 1613, it is a satire on the chivalric romances of earlier centuries, in a similar vein to Cervantes’ Don Quixote, which specifically parodies the work of contemporaries Thomas Heywood, The Four Prentices of London, and Thomas Dekker, The Shoeman’s Holiday. CbJ stick fairly closely in this adaptation to the original plot, though of course, delivered here in Russian with English sur-titles. Which heritage provides inspiration for a further twist. Since before the grocer George and his wife Nell emerge from the audience to berate performers and director on stage, and subsequently promote the acting “talents” of their inept nephew, we are treated to some hard core minimalist European auteur theatre (of the type that CbJ itself excels at). Monochrome, mannered and mystifying, beginning with actors shuffling up chairs in hands, even a few minutes of this leaves the audience feeling like it is going to be in for a long, “high concept”, night.
So that the laughs which come when Alexander Feklistov and Agrippina Steklova, our “low” culture delegates, pipe up, are as much from relief as from the character’s gaucheness in breaking theatrical convention. They want to be entertained (we later find out they couldn’t get tickets for The Lion King!) and demands changes. Our bemused director Tim (Kirill Sbitnev), the spit of Brecht, eventually persuades then to sit stage left and we return to the staging of “The London Merchant” but it is not long before the couple call young Rafe (Nazar Safonov) to the stage and insist he be allowed to act out his own “knight (grocer) errant” role complete wit burning pestle heraldic device, apparently a medieval knob gag.
The actual play concerns the attempted elopement of Jasper Merrythought (Kirill Chernyshenko) and Luce (Anna Vardevanian), who is betrothed to toff Humphrey (Abdrei Kuzichev). The lovebirds dream up a fake elopement scam, Jasper’s long suffering Mum (Anna Karmakova) decides to leave his feckless Dad (Alexei Rakhmanov) taking younger brother Michael (Danila Kazakov), there is some jewellery, a coffin, fights, testing of devotion, but all ends happily. At the same time the hapless knight Rafe gets in on the action, swanning off to Moldavia, rejecting a princess, before, egged on by his employers, giving us his ostentatious death scene.
Amongst all this meta upon meta upon meta conflation, (the set is a rotating cube, each scene is announced by Brecht-like projections, there is live video, obvs, there is a psychedelic-dance-dream routine to thumping techno), the daft story is actually quite entertaining, the crack Russian cast, especially Mr Feklistov and Ms Steklova, actually manage to project real character, and there are a fair few laughs, even if of some of the theatrical in-jokes went over my head. And the serious point about what theatre is for and who “owns” it, audience, writer or performers, is deftly made. Of course the Tourist would expect nothing less from Messrs Donellan and Ormerod. And even if the main, conceptual, joke wears a little thin after a while the whole thing is wrapped up in 90 minutes and thus easily forgiven. Apparently in versions that stick to the original text this can top 3 hours.
Francis Beaumont started out as a lawyer before studying with Ben Jonson no less, and went on to write in partnership with John Fletcher who collaborated with Shakespeare on Henry VIII, The Two Noble Kinsmen and the lost Cardenio. On the strength of this it would be interesting to see a new take on the Beaumont/Fletcher collaborations which generally went down well with Jacobean audiences, in contrast to TKOTBP which bombed apparently as the punters failed to appreciate the irony and satire. Which, if you think about it, probably gave Beaumont a great deal of pleasure given that his play is about the failure of an audience to appreciate the play presented to it. I also wonder what they would make of current popular culture, dripping as it is, with self-reverential, meta-, post-modernism.
Go join the Shakespeare party down at the Bridge. Nick Hytner pretty much always nails the Bard and he has done it again here. Ignore the lukewarm reviews from the critics who seem to have got a little bit antsy with Hytner’s central inversion of Titania/Hippolyta and Theseus/Oberon. Yes this creates a couple of creaky moments, but what it gains in its celebration of non-binary, gender fluid sexuality, more than compensates. And it helps make this the funniest Dream I have ever seen. Add to this the sense, if not maybe the actuality, of immersion which comes from the promenaders in the pit, (though this may not be the best place to take everything in), and the multiple wow moments that flow from set, staging, costumes and cast, and, for me, this became unmissable. My only regret is being tucked away in a corner on my tod because I couldn’t persuade any of the usual suspects that this would be a Shakespeare production free from their usual misgivings. Should have tried hared.
Did I also say that the cast delivers the full text with perfect transparency? Because they do. OK so maybe a little of the poetry gets sidelined amidst all the activity, and there are some fairly unsubtle, though often very amusing, additional lines. But if you want a Dream to show exactly what is going on along the way then this is for you. The unpleasant nature of the genesis of the story is also not shirked. Theseus was the king in Greek myth who founded the Athenian democracy, having defeated the Amazons led by Hippolyta, whom he subjugated.. The play opens with a “celebration” of this event, here with the women dressed in religious habits and Hippolyta in the form of the imposing guise of Gwendoline Christie, (you know who in you know what), imprisoned in a glass cage. Oliver Chris, who I confess I am now even more a little bit inn love with, cuts a rigid Theseus. All the guff about the little baby and Egeus’s (Kevin McMonagle) demands of his daughter starts to make sense. Hippolyta looks at Hermia (Isis Hainsworth) and the brutal truth of the patriarchal norm is established.
Not for long though. AMND after all is all about the dreams. What happens when we are plunged into another, freer “reality.” And how that other “reality” affects our real reality, if you see what I mean. And it is joy, celebration, sexy time and swapping which defines this particular “reality”. So to invert the two dual characters makes perfect sense and lets fly the interventions which fuel all sorts of other passions, from the Athenian lovers, from the fairies and best of all from Bottom (Hammed Animashaun) and the now liberated Oberon. You would be hard pressed tp find a better double act on any stage than these two. Anywhere. Anytime. I am constantly amazed just how good a comedy writer big Will was and how, in sympathetic hands, even gags I have heard multiple times can still make me smile. Though here it is much what we see as what we hear that makes it so funny.
Anyway once all the shenanigans in the forest is over and we return to the city, and the weddings, and the mechanicals, the change in Theseus rings true. His world changed for good over one blinding night out. Like I say I cannot praise Oliver Chris enough. In my book one of the best comic actors on the British stage. As is Hammed Animashaun. A Bottom who might have stepped off any London street today.
Mt Hytner has not neglected the rest of the play to perfect his central conceit. The mechanicals here are mixed gender led by Felicity Montagu’s sincere Quince. She is another comic acting genius. We all have our top ten funniest Partridge moments. An honest appraisal will see Lynn feature in many of them. (BTW if you don’t have a Partridge top ten I have to wonder why you are here as clearly you have no sense of humour). Ami Metcalf as Snout, Jamie-Rose Monk (I need to see her one woman show) as Snug, Francis Lovehall as Starveling and Jermaine Freeman as Flute are equally amusing. In both the rehearsal scene and Pyramus and Thisbe, every comic detail has been thought through to leave the real audience in stitches.
Yet, at the same time the lovers, Helena (Tessa Bonham Jones), Hermia, Demetrius (Paul Adeyefa) and Lysander (Kit Young) with their asides and silences as they watch the “performance” reveal that not all has changed gender-relationship wise in Athens. It isn’t entirely clear whether the two cheeky chaps, who even had a snog in the forest, are going to rise to their better selves with their new wives as they lay into the generous, if hapless, mechanicals. Nor do they see the tragedy, which they avoided, in the inadvertent comedy presented by the proles. Clever Mr Hytner and clever Mr Shakespeare.
Whilst in the forest the couples roam, romp , argue and sleep as you would expect. But here the set transforms into a magical world. As in the production of Julius Caesar last year, the stage hands and the marshals doing an incredible job of marshalling platforms and people into position. From which the beds, on which the various lovers frolic, and even a bath for Bottom and Theseus to soap up, create context and structure. Add to this the rise and fall of said beds, (a fair few of the cast spend an inordinate of time suspended, kipping), and the acrobatics of the fairies, Peaseblossom (Chipo Kureya), Cobweb (Jay Webb), Moth (Charlotte Atkinson), Mustardseed (Lennin Nelson-McClure, the leader of the troupe) and Bedbug (Rachel Tolzman), and even those with minimal attention spans would surely be satisfied. The teen next to me was a little restless in the first half and needed a minor dressing down from Mum. Come the second half though and she was as gleefully engaged as everyone around me was.
The fairies were a little wobbly on the lines but their movement and music, (Mr Rascal’s Bonkers a particular highlight), more than made up for this. I praise Nick Hytner so highly because he is the captain of the ship, and I know what he can do with Shakespeare, but frankly all his ideas would have come to naught without Bunny Christie’s set, Christine Cunningham’s costumes, Grant Olding’s composition, Bruno Poet’s lighting and Paul Arditti’s sound. And very especially Arlene Phillip’s movement. Though this went beyond movement into complex, three dimensional choreography. Just wonderful. And Suzanne Peretz also deserves a massive call-out for her wigs, effects, hair and make-up. I am not sure I would be going put looking like one of the fairies at my age but I would have killed for a make-over from her before hitting a club in the glory days of New Romanticism in 1981. The Tourist and partners’ homemade efforts at the time being exactly that, homemade.
Of course our fairies celebrated gender diversity but David Moorst’s Puck goes one step further, a pangender Pan with flat vowels, perfect comic timing and a nice line in exasperation with his now, female, mistress. And you try delivering Shakespeare whilst executing perfect aerial silks. In fact try either one and see if you get anyway close to Mr Moorst’s virtuosity. This is an actor who has not stood out for me before. He did this time.
Now I can see that if you want pure verse, gossamer wings and a donkey head this might not be the Dream for you. But then I am not sure that Dream is relevant, or mines the multiple layers of Shakespeare’s imagination, in any circumstances. I do not believe that even big Will realised the complexity of interpretation that the Dream affords, all that anxiety and repression of urges, though he probably had a pretty good idea, so it is up to each generation to examine its meanings, as well, of course, to entertain. Mr Hytner, as he always does, takes a view, and works it through to almost perfect effect, but he also never forgets to entertain us. These shadows mend all those who would search for offence in who we want to be.
The Pittsburgh (or Century) Cycle. Ten plays written by August Wilson (above) charting the African- American experience in the US in each decade of the C20. All bar one set in the same Pittsburgh Hill district, where August Wilson grew up. In the 1920s and 1930s this district was the hub of jazz culture. By the 1980s however, as the community was left behind and the planners, unsympathetically, moved in, Pittsburgh suffered the same fate as many other inner city areas in the US. The Cycle is not strictly chronological but is often connected. There were Pulitzer Prizes for Fences and The Piano Lesson. AW was inspired by, in his own words, blues music, the writing of Argentinian Jose Luis Borges, the African-American playwright Amiri Baraka and the African-American artist Romare Bearden, (most well know for his powerful work in collage).
So far the Tourist has seen this, Fences (with Lenny Henry as lead Troy Maxson) and the NT production of Ma Rainey’s Black Bottom with its A list cast led by Sharon D Clarke. And I have Two Trains Running coming up at the Royal and Derngate with the others on the bucket list. From the experiences so far this are slow-burn, emotional, painstakingly constructed dramas which carefully scrutinise characters, showing the joys, frustrations and disappointments of their everyday lives. Very specific in terms of time, place and setting, but universal in terms of message. Political with a small “p”. Measured and naturalistic.
King Hedley II certainly take its time, clocking in at near 3 1/2 hours, and starts small ending on a more melodramatic scale, almost Chekovian. All the action takes place in the back yard of Ruby’s (Martina Laird) brownhouse on Pittsburgh Hill, and silence, or any non-naturalistic trickery, is not part of the gig. So you have to want to hear these people speak. Fortunately the words Mr Wilson puts into their mouths are powerful, real and compelling. Which gives the cast here, under the direction of Nadia Fall, plenty to get their acting teeth into. Ms Fall’s first season in charge at the TRSE has been a triumph. Her second season looks like it will be a repeat. A combination of home-grown and brought in productions that celebrate diversity, are relevant and, above all, are entertaining. The house is filling up and reaching out. That’s impressive.
Anyway King Henley II was probably the pick of the crop on last year’s announcement, (though I would suggest The Village, The Unreturning and Equus, which is transferring to Trafalgar Studios and deserves your attention, all turned out to be better), on the strength of Mr Wilson’s reputation, the generous support of Mr Wilson’s widow Constanaza Romero, and the casting of Lenny Henry. As I know from Fences, Othello and The Resistible Rise of Arturo Ui, our Lenny is a magnetic stage presence and packs an emotional acting punch. In some ways he is almost too big a character. However here, in the role of Elmore, he takes something of, well I hesitate to call it a back seat, but he is not the linch-pin of the action. That role belongs to Aaron Pierre who plays the eponymous title character, and he is, properly, awesome.
Mr Pierre hails from Lewisham, where he went to the local college, before getting into LAMDA. His professional debut was as Cassio in last year’s Othello which marked Sir Mark Rylance’s return to the Globe. He’s done a bit of telly as well, (he will appear in Barry Jenkins’s The Underground Railway on Amazon), but this is this first stage lead. He will be a big star no doubt. And, just to be clear, he doesn’t play for Shrewsbury Town.
King Hedley II is an ex-con who returns to his childhood home after serving seven years for murder but is having difficulty adjusting back to life. He wants to provide for wife Tonya (Cherrelle Skeete) and start a family but employment proves elusive, this being 1985 in Reagan’s America/ So he conjures up a plan with his upbeat best mate Mister (Dexter Flanders) to sell knock-off refrigerators to the local community. Once they have saved enough they will then set up a video store. The plan, you will not be surprised to learn, doesn’t come off. King Hedley and Tonya share the house with Ruby. Hedley’s mother, though the relationship between mother and son is fractured. Ruby left Hedley to pursue a singing career so that he was brought up by his aunt, whose house this was, and is angry that she has returned to claim the house after his aunt died. Stool Pigeon (Leo Wringer), who is something of a fire and brimstone prophet, lives next door and, whilst we never see her, the death of Aunt Ester (“a washer of souls”), who appears in other plays in the Cycle, hangs heavy over the action. Many of the characters here first appear in Seven Guitars the play which premiered before KHII, in 1995, which is set in the 1940’s.
The opening act is not all doom and gloom, there’s plenty of bantz, but Hedley’s anger at the cards that life has dealt him, as he slouches in his chair in the yard, fiddles with his gun and tries to plant some seeds, is palpable. Into this volatile mix comes Elmore, Lenny Henry’s character, an ex-lover of Ruby and a hustler and chancer with a natty (if you like 70’s suits) dress sense. Hedley, as we find out, has good reason to resent Elmore and tensions build.
There are several strands to the story and Mr Wilson and Ms Fall are determined to give them all a fair hearing which does mean the play drags a little before it all comes together. The ending aims at tragedy but doesn’t quite scale the heights of the Greeks or Arthur Miller. Fate, male violence, the impact of the past on the present, the crushing of hope brought on by Reaganomics, individual responsibility, all are themes which are rehearsed in some often wordy monologues. Peter McKintosh’s set is a faithful retention of the brownstone terrace but there is little therefore to distract the eye. Howard Harrison’s lighting is a treat and there are a few, though maybe not enough, musical distractions, alongside Christopher Shutt’s electronic sound design.
Aurora Orchestra, Nicholas Collon (conductor), Pekka Kuusisto (violin), Kate Wicks (production design), William Reynolds (lighting design)
Queen Elizabeth Hall, 5th June 2019
Max Richter – Journey (CP1919)
Beethoven – Molto Adagio from String Quartet in E minor, Op.59 No.2 (Razumovsky)
Thomas Adès – Concerto for violin & chamber orchestra (Concentric Paths)
Nico Muhly – Material in E flat
Mozart – Symphony No.41 (Jupiter)
David Bowie – Life On Mars
‘There is geometry in the humming of the strings, there is music in the spacing of the spheres.’ – Pythagoras
You get your money’s worth from the Aurora Orchestra. A concept, linking music and the cosmos, the “music of the spheres”, (which preoccupied the big minds of Greek philosophers and those that seized upon their ideas in the Renaissance), a light show, animation, narration courtesy of Samuel West and this Orchestra’s trademark, memorised, largely standing, performance of a classical music classic, this time from the Classical period, in the form of Mozart’s Jupiter. All for a tenner.
The QEH was packed and for once the Tourist was one of the older patrons rather than one of the young’uns. Whoever is in charge of the AO’s marketing deserves a pay rise, though Gillian Moore, (who can always be seen at these gigs – good on her), and the rest of the music team at the SouthBank Centre also seem to have nailed the programming at the QEH and Purcell Room since the re-opening.
Now I enjoyed the show. Or at least all the various elements especially the lighting, (at times the floor was lit up like Heathrow on a busy Friday evening). However the concept, whilst long on design came up a little short on ideas. No matter. It was, at the end of the day, the music that mattered most. And, on that front, the AO and chums delivered.
I have bored you at length about the glory of the Jupiter elsewhere following relatively recent outings from the Philharmonia under Philippe Herreweghe and from the Australian Chamber Orchestra. Both were on modern instruments, though HIP informed, and both were high on drama. The AO’s take was in a similar vein. High on energy and exuberance and high on happiness. You wouldn’t know Wolfgang was on his last legs, dragged down by family misery, from this interpretation. Nicholas Collon played a bit fast and loose in places with tempi, but deliberately; in the Andante cantabile to underline the mystery of the string harmonies and in the five way fugal Finale, to spotlight the initial theme based on a motif derived from plainchant “The Creator of Light”. See space/religious stuff in line with the evening’s theme.
However the main event for the Tourist was “Concentric Paths”, Thomas Ades’s Violin Concerto Op 24, which was premiered in 2005 by the Chamber Orchestra of Europe. It comprises a slow central movement, Paths, sandwiched by two faster movements, Rings and Rounds. As usual with Ades the score is rhythmically complex, endlessly inventive, with a wide dynamic range, especially right at the top of the register, and combines cycles for violin and for the small scale orchestra, which complement and occasionally clash, but together create an atmosphere of constant. circular motion. Back to the theme see. Finnish violinist Pekka Kuusisto coped with everything Mr Ades threw at him and the AO were sublime with notable contributions from the flute and piccolo of Jane Mitchell and Rebecca Larsen. Mr Kuusisto encored with one of the deceptively simple, but oh so effective, post minimalist pieces from Nico Muhly’s Drones and Violin.
The evening kicked off with a new commission from another post minimalist Max Richter, Journey (CP 1919). It consists of a series of repeated rising lines, Part-like, which pulsate at different speeds. It doesn’t really resolve, just keeps going up and it is intended to be played in darkness. The relationship between the lines is intended to reflect the way that ancient astronomers mapped the orbits of the visible planets and the properties that their modern successors have identified in pulsars. Pleasant enough but since there is no real development a few minutes was probably enough. Mr Richter studied with the genius Luciano Berio and, in his solo albums to date, he has collaborated with the estimable likes of Tilda Swinton, Robert Wyatt and Wayne McGregor, and has plundered the likes of John Cage, Antonio Vivaldi, Gustav Mahler, phone ringtones and various heavy duty poets in his work. The boy plainly likes a concept and a bit of political commentary but doesn’t seem to take himself too seriously. And he has no qualms about film and TV composition. His score was used for Nosedive, still one of the Tourist’s favourite Black Mirror episodes.
A little bit of a music lesson from big Sam to introduce the Molto Adagio from the No 2 Razumovsky courtesy of a scratch string quarter drawn from the AO. It is, as the programme says, “a work of radiant and mysterious beauty”. Not best served by the context. Extracting it from the complete work and setting it in this busy evening didn’t do it any favours. It’s Beethoven so cannot be criticised but I’ve heard it played better.
Now if I tell you that the encore was a version of Life on Mars, initially from Sam Swallow on piano, before the AO gradually joined with an orchestral accompaniment, with a giant glitter ball, you will get some idea of just how hard the team worked to press those cross-over buttons. It should not have worked but it did. Mr Swallow is a go-to fella when it comes to orchestral arrangements of pop and rock with an eclectic client list. The most important of which is Echo and the Bunnymen, who, as I am sure you already know, are the greatest rock’n’roll band of all time.
Nice ending to a cracking evening. Can’t say I care for the next leg of the AO’s outreach programme, some Berlioz, but next year they are back here with Pierre-Laurent Aimard for an evening of Beethoven. Tempting. Unfortunately in all the Beethoven 250 year brouhaha of next year they have been trumped by no less than Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique who will be rattling through their version of the Choral. Which might just be the standout gig of the year.
Sainsbury Theatre, London Academy of Music and Dramatic Art, 4th June 2019
Last minute jaunt to Hammersmith to see one of LAMDA’s summer season offerings. If there are times when you start fulminating about paying close to a ton for a cramped perch in a dingy West End mausoleum, then can I recommend again the end of year productions from London’s top notch drama schools. A ticket, a programme, a snack and a drink and still likely change from a pony, all supported by professional creatives and maybe with the chance to see the next big star of stage and screen.
Especially if you have a yen to see a particular play. In this case, for the Tourist, a reminder of just how good a play Caryl Churchill’s Serious Money is. We have had the slightly underwhelming, but still wonderful, revival of Top Girls at the NT earlier in the year, and we have a new, now quartet, of shorts to look forward to at the Royal Court come September, but London’s major houses have not, to my knowledge staged this play in the last few years. Which is daft given its continuing relevance and the fact that it is, trust me, highly entertaining.
It is, to be fair, of its time. Its time being 1987. It is now over three decades since Big Bang revolutionised London equity markets, during which financial capitalism has run riot through the global economy. Global capital (debt and equity) stock now totals well over USD 200 trillion up from around USD 30 trillion in 1987. The notional value of global derivatives contracts is well over USD 500 billionn and some might have you believe that it is actually over a quadrillion (thats 16 zeros). Take comfort the gross value of the contracts is “only” north of USD 10 trillion. But the fact is no-one knows and when this goes tits up it is going to hurt you even if you have absolutely no idea what this involves.
Open outcry on LIFFE, (London International Financial Futures and Options Exchange), which is the setting for part of the play, may be long gone, with the electronic exchange now part of a global network, the financial regulatory functions of the DTI, (Department of Trade and Industry), handed over to successor organisations, Brexit probably means the British Government doesn’t have time to bump off dodgy stockbrokers and I doubt anyone plays Pass the Pigs anymore.
Otherwise CC’s satire, in terms of behaviour and consequences, is still pretty much spot on. Fear and greed still drive market “volatility”and worse. That is baked into the DNA. That has been true from the beginnings in the C17 as CC shows at the opening of SM with the extract from Thomas Shadwell’s 1693 Restoration comedy The Volunteers or Stockjobbers. A few years years later in 1720 the Mississippi and South Sea Bubbles brought European economies to their knees. Pretty much every decade since then markets have imploded. It’s just that the numbers have got bigger and bigger. No capital markets means no growth though and none of the lovely things we all prize but now the global body politic is hooked on the free money which the “independent” central bank pushers have no choice but to supply. Which only underwrites today’s equivalents of all the naughty boys and girls who toss away their moral compasses in Serious Money.
The play opened at the Royal Court in March 1987, was in the West End by July, (where the Tourist first saw it), and New York by November. In between, on 19th October, we had the Black Monday global crash. CC looked prescient. Not really. She just identified the nature of the system and set about puncturing it. Mercilessly. Surprising really given how far CC is normally ahead of the curve.
At the turn of the C20 stock markets collapsed again following the bursting of the dot-com bubble, in 2007/08 the grandiloquently named Global Financial Crisis arrived which you may have heard of, there was the flash crash of 2010 and then another sell-off through 2015/16. At the end of last year markets tanked 20%. Did you notice? Thought not. I seem to recall ever Her Maj had a pop post the GFC asking why no-one had warned of the pending catastrophe. Ma’am. They did. Not enough people listened. Until they finally did. Markets, never forget, are driven by largely excitable people acting “fast” pretending they are clever and thinking “slow”.
Playwrights, as CC’s reference to Thomas Shadwell shows, have been on to this story from the off. Indeed you can go back further, to the Restoration city comedies, and Ben Jonson for example. There isn’t much about the behaviour of the characters in SM that BJ didn’t nail in Volpone and The Alchemist. However punters, and reviewers, do get a bit antsy about all the jargon it seems in these entertainments. True of SM and, moreorless, true of more recent forays into the “financial markets” genre such as Enron, Labyrinth, Dry Powder, Other People’s Money, The Invisible Hand, Other People’s Money, Glengarry Glen Ross, American Psycho. And that’s just what I have seen in the last few years, (and can remember). To which I respectfully suggest, find out. See above. This stuff matters to you. That is partly what CC is trying to say. Interrogate don’t abrogate. It’s often, one way or another, your capital these punters are playing with.
“Financial” plays also usually come with ambiguous morality baked in. Writers, in seeking to avoid killing plot and drama with one-sided polemic, (I am making the assumption that no-one is in the market for writing a play which celebrates financial capitalism), try to offer up “rounded” characters. Which makes sense. Behaviours in markets may turn venal, and markets themselves need close and careful regulation, but, generally, the people in them are not “evil”. They are just like you and me. Well I confess me. They are there because they are clever and lucky. The paradox between, generally, the determination of the individual to be “good”and for structures, forces and processes at the societal level to turn “bad”, is as acute in a bank as it is in government or down the pub on a Friday night.
Which also can mean the actions of the “heroes” in the financial play, or more obviously film, think Wolf of Wall Street, can become a cause for celebration for some. CC tried to get round this by making everyone in SM a c*nt in some for or another, by having 20 named characters, (even managing 6 women in this macho world, who are all flawed), overstuffing the action, there are 24 scenes across the 2 acts, and incorporating song and dance. Apparently this didn’t stop entire floors of investment banks pitching up to the original production. Whilst individuals may just be “doing their jobs” the cultures they create and the rewards they enjoy have, over the last few decades, ended up near the top of the aspirational pile. Markets are addictive for participants such that they cannot see the world outside. Markets are opaque for non-participants, making it easier just to reject them. This is not healthy.
Anyway back to SM. CC is rightly lauded for her imagination and innovation of dramatic form. And for the breadth of her practice. For me though she is also a genius because she is so clever and learns so quickly. SM is filled with detail, not just about how things work, that’s not too difficult, but more in the understanding of what motivates this array of characters. As usual CC gets straight to the heart of things with the minimum of dialogue. Whilst presenting that dialogue as rhyming couplets in a nod to the past and to reflect the rhythm of markets. If there is a better summation of a market when the shit hits the fan, (and that still happens even in a quant and liquidity driven electronic trading world) than “Sell! Quick! Prick! Yes! No! Cunt!” then I haven’t heard it.
And this all comes with a proper plot. A detective story of sorts as Scilla Todd tries to uncover the facts behind the mysterious death of her brother Jake. And CC doesn’t hold back on the innovation. The first contemporary scene after the Shadwell opening takes place in three locations simultaneously. Greville Todd, old school broker, buttering up a client. Scilla, a rare women salesperson on the floor of a post Big Bang bank in London and her slimey sexist colleague Grimes, and brother Jake on yet another floor, broking with his sales and trader colleagues.
Next the champagne bar. The dialogue of the pissed nails the aspirations of the young and greedy, Then US banker Zac explains, clearly and succinctly, how the stock market changed post big-Bang and the scions of UK merchant banking sold out to the US behemoths. And how, within the US banks the traders, who make the money pushed the bankers, who carry the prestige, aside. Less than 15 minutes in and this crucial change in the direction of Western capitalism has been nailed. In verse.
Next the hunt where we see Frosby, the disgruntled old guard jobber who shops Jake when he passes insider information to Marylou Baines, the arbitrageur with comic assistant TK, based in NYC. We learn that Jake was being investigated by the DTI and was worried he was in too deep. We then meet Corman, the private equity raider, taking a tilt at Duckworth’s company Albion, his various advisors, white knight Biddulph, Peruvian Jacinta happy to sell out her country for a few quid, improbable cocoa trader Nigel, a US business patsy who is wheeled in to take out Corman’s company and finally a UK politician, stepping in to stop Corman’s “vote-losing” take-over.
The plot is, in the manner of the Jacobeans, deliberately a little tortuous. Yet the stagecraft that CC employs makes it easy-ish to follow. And the characters are stereotypes. That is the point. It is satire. Everyone is greedy. Everyone wants more. CC shows that there is never “enough” for players in a market. Someone always gets more. The “game” is all about the winning and revenge is served piping hot. “Truth” is elastic and just part of the armoury. Even Scilla, who is closest to a conventional character who “changes” through the play, gives up investigating her brother’s death to take up the offer from Marylou. CC doesn’t stop with financial markets, stuffing in the abuse of power by the DTI and a shadowy MP into the mix. Media and advertising gets a slap as well.
It is fair to say that, with all these riches, the setting, the message, the Brechtian alienation, the jargon, the flashbacks, (dead Jake keeps popping up), the lack of resolutions, the absence of redeeming qualities in the protagonists, (there are no romantic consciences taking on this corrupt world on behalf of the audience), the multiple dialogue, the often daft couplets which ape the commodification and financialisation of the “real” world, the sheer, accelerating pace of the action, that some audiences might lose their bearings. I think this is partly deliberate. After all those on stage have lost theirs.
In this production LAMDA spared us from significant doubling which can really vex some. Of course the perennial problem of such productions is the age of the actors but, in Serious Money, given its unreality, this is less of a problem. As usual it is unfair to pick out individuals but, arm twisted, I would post to Ryan Burch as Zackerman, Ivan Du Pontavice as Corman, Colm Glesson as Greville Todd, Elizabeth Hammerton as Scilla, Emma Lauristan as Marylou Baines, Charlie McVicar as Jake and Joe McNamara as TK.
I was mightily impressed with the direction of Emily Jenkins who is also, I see, a playwright, who definitely deserves my attention. Serious Money, as you have probably surmised from the above is not an easy play to put on. This wasn’t perfect but it was a very convincing account and Ms Jenkins surely takes much of the credit for this. As do Assistant Directors, I assume from LAMDA, Thea Taverner and Mariagrazia La Fauci. And designer Adrian Gee wisely struck with all the trappings of 1987. SM requires no updating. Its universality stems from its very particularity.
I couldn’t tell you which is Caryl Churchill’s greatest play. Mostly because I haven’t seen them all. But this will always been near the top. It is very funny, breathtakingly theatrical, bitingly intelligent, brilliantly inventive and always urgent. And the kids here did her proud.
Mantra for 2 pianos with 12 antique cymbals, woodblock & 2 ring modulators (and shortwave radio/tape)
I confess. I was defeated by the performance of Donnerstag aus Licht by Le Balcon and the London Sinfonietta in the Royal Festival Hall a couple of weeks before this. This is the “accessible” Thursday instalment of Stockhausen cycle of operas taken from the days of the week and mixes his own personal history with that of the Germany of his youth before, and this is where I ducked out, going off into a load of cosmic mumbo jumbo as was the maestro’s want. That is not to say that I wasn’t fascinated by the first act and a half, musically and in terms of the performance, just that I couldn’t engage with whatever message is being conveyed. And I was a bit tired.
So maybe I had to conclude that I was just not up to the task of understanding the work of the man who revolutionised contemporary classical music. I would expect that the vast majority of you, (vast in this context being an abstract concept), if you can even be bothered to YouTube a bit of Stockhausen’s music, will think it a mighty load of old shite. I sympathise. But if you find yourself being stealthily drawn into the world of modern and contemporary classical music, for sure there are no tunes but structures, forms, sounds, ideas, emotions, inventions, in fact everything music is, is all still present and correct, and you are of a slightly nerdy bent, fascinated by the “maths” of music, then old Karlheinz needs to be tackled. Even if he was a grade A space cadet, believing he emanated from the star Sirius.
So imagine my surprise when, here in this recital, and in other smaller scale and earlier works I have subsequently explored, I discovered that there is far less to be intimidated about that I had imagines. In fact some of KS’s music positively rocks.
Case in point. Zyklus for percussion. Zyklus means cycle I gather in German. So the instruments are arranged in a circle. The “score” in a ring binder. The soloist can start where he/she likes and go round until he/she gets back to where he/she started. The notation is readable either way up as well. The keyed instruments, (marimba, vibraphone), are represented with traditional notation, but only for glissandos, but for the unpitched instruments, (drums, tom-toms, cymbals and other assorted metal and wooden paraphernalia,) KS dreamt up a new, graphic, depiction of the rhythms. All instruments are within easy reach of the player.
Given the freedom afforded the percussionist, and the vast array of instruments, this is as much theatre as music. Dirk Rothbrust, who works out of Cologne, is plainly a dab hand at this sort of caper and a born showman, channeling his inner Bonzo Bonham. However, clocking in at 15 minutes, Zyklus avoids the worst excesses of the 1970s heavy rock gods. And it is way more interesting in terms of textures and qualities.
The main event, the Mantra for 2 pianos and other stuff, was a far meatier affair. Over an hour in fact. I was expecting much from Pierre-Laurent Aimard and Tamara Stefanovich, who are the unparalleled champions of this sort of music. And they delivered. This is a heck of a piece of music. Can’t say I was transfixed throughout but there is still much to take in, admire and, yes, even enjoy.
The piece, premiered in 1970, marked a return to fully notated music after the years of experimentation with more esoteric “indeterminate” instructions for performers. It wears its Asian musical influences on its sleeves and, surprise, surprise, it actually has a tune you can hum. Namely the counterpointed melody, (“formula” in Stockhausen speak), of the “Mantra” which is subsequently subject to seemingly endless expansion and contraction. Not the kind of easy to follow repetition offered up by minimalism, nor the classic theme and variations, (as no notes are varied), but, mostly, very structured transpositions and transformations of the four segment, thirteen note, mantra, initially just four very condensed chords.
With electronic manipulation via ring modulators, (nope, me neither, but fortunately your man Marco Stroppa in the middle of the hall was handy with electronics), and some antique cymbals (crotales) and wood blocks thrown in for texture and to allow the two pianists to signal the change of sections to each other. Quick, slow, loud, quiet, inversions, oscillations, vibratos, some burbling morse code from a short wave radio, (it was the 1960s kids, no mobiles or Spotify), fights between the two pianos, even some vocal squawking from M Aimard and Ms Stefanovich at one point. It all ends with a kind of 10 minute speeded up reprise of the previous hour before the mantra growls into the end.
Read Wiki if you want to learn more about the ingenuity of the structure. Let’s be honest though it will only make sense to the ear of the expert. But, I repeat, what is amazing is that even a dummy like the Tourist, whose only qualification for enjoying this sort of stuff is open enthusiasm, can discern the patterns and can be intrigued, and at times amazed, by the results. Like Zyklus the “performance” adds to the impact of the music.
OK so it won’t be the opening number at the next demeaning shindig Chez Tourist, nor am I likely to invest in a recording, but this was undeniably worth the investment of a few quid and an hour. And the QEH has the ideal acoustic to present such a piece now all the junk has been cleaned out. Certainly better than the RFH next door.
Go on give this sort of stuff a whirl. I dare you. You never know.