Cambridge
Matt Wolf
How do you make Bernard Shaw sear the stage anew? You can trim the text, as the director Dominic Cooke has, bringing this prolix writer's 1893 play in under the two-hour mark, no interval. And you can introduce a non-speaking ensemble of women in period bloomers and the like as a silent commentary on the depredations indicated in the text. Best of all, perhaps, is to cast as the brothel-keeper, Kitty Warren, and her Cambridge-educated scold of a daughter, Vivie, the actual mother-daughter pairing of Imelda Staunton and the stage legend's own daughter, the splendid Bessie Carter, who was Read more ...
Thomas H. Green
How do you solve a problem like Sports Team? Taking them at face value, they’re a living metaphor for the slow music biz relegation of the working class in favour of the privileged, a bunch of snarky ex-Cambridge University students who make smug guitar pop, a Brideshead Revisited version of The Kooks. And yet, and yet, that’s too trite, too obvious; they mine their background and image with self-awareness, their songs smart, ironic observations of the world they’re perceived to inhabit. They’re gunning for Roxy Music’s elegant trick of rendering monied louche wryly cool. On their third album Read more ...
First Person: St John's College choral conductor Christopher Gray on recording 'Lament & Liberation'
Christopher Gray
When I arrived at St John’s College, Cambridge, in April 2023, it was a daunting prospect to be taking over the reins of a choir with such a distinguished recording heritage: there have been more than 100 albums since the 1950s on some of the UK’s top labels. As a teenager, growing up in Northern Ireland in the 1990s, I could often be found in the small number of specialist classical CD sections in Belfast shops such as HMV. The choral selection in such shops back then was dominated by a tiny number of pioneering groups that included St John’s College Choir under George Guest. Like many Read more ...
Adam Sweeting
An opening sequence of a drone flying over a busy street in Baghdad, followed by a huge explosion that leaves many casualties and a gaping hole where a row of buildings used to be, suggests that Prime Target is going to be another special forces, war-on-terror type of drama. Refreshingly, that first impression is quickly dispelled as the action abruptly detours to bucolic Cambridge, where we meet brilliant PhD student Ed Brooks (Leo Woodall), who lets off steam outside the groves of academe with a blast of power-rowing on the Cam.But his real mission in life (we will learn) is his fascination Read more ...
aleks.sierz
Can men really love each other – without sex? Or, to put it another way, how many different forms of male love can you name? These questions loiter with intent around the edges of Tom Stoppard’s dense history play, which jumps from 1936 to the High Victorian age of the 1870s and 1880s, and is now revived by the Hampstead Theatre starring Simon Russell Beale.First staged in 1997 at the National Theatre, the play tells the story of AE Housman (Beale), the Victorian classical scholar and poet who wrote A Shropshire Lad, that collection of yearning lyricism. This revival, however, raises Read more ...
Helen Hawkins
The latest incarnation of David Mitchell, TV actor, looks at first sight much like the familar one from Peep Show and Back. Not a pufflepant in sight. His only costume change for Ludwig is a pair of wire-frame spectacles. HIs role is pretty familiar too: a buttoned-down individual who culturally favours the classics over the popular, the corduroy sports coat over the tracksuit. Presumably a fan of Beethoven, he has adopted the pen-name Ludwig for his line of work; behind the name he is John Taylor, bachelor. But fate calls him to apply his skills forensically, and he joins the line Read more ...
aleks.sierz
There is a song by Syd Barrett, founder member of Pink Floyd, called “Golden Hair”. It’s on his album The Madcap Laughs, released in 1970, a couple of years after he left the band, and every time I hear it I feel like I’m falling in love again. It also features in Tom Stoppard’s 2006 epic, the aptly named Rock ’N’ Roll, now revived at the Hampstead Theatre by playwright and director Nina Raine.The figure of Barrett – an antic madcap whose use of LSD both inspired his psychedelic music and destroyed his mind – runs, skips and somersaults through the play, which spans European Cold War history Read more ...
Sebastian Scotney
“Let his words resound on high,” sings the choir in the final chorus of The Creation. In King’s College Chapel in Cambridge, it is hard not to want to look up, to admire the splendour of the largest fan vaulting anywhere in Europe. King’s truly is hard to beat as a setting in which to hear Haydn’s oratorio.And whatever else is going on in the world, there would seem to be a good fit here: the 500-year-old building speaks of dignity, importance, grandeur. And Haydn’s work, on one level at least, lives and breathes the unquestioning affirmation of faith in a God who is “exalted” and “almighty”. Read more ...
Liz Thomson
It’s 15 years since Judy Collins last stepped out at the Cambridge Folk Festival. She was a mere 68 then and, in the time since, little has changed except her hair, the famous rock-star mane lopped so that she now resembles the cover of those classic early Sixties’ albums.By the time she recorded Wildflowers in 1967, Collins had already become the woman whom Stephen Stills would immortalise in song (“Chestnut-brown canary/ Ruby-throated sparrow/ Sing a song, don’t be long/Thrill me to the marrow”). Stills would play on her 1968 album, Who Knows Where the Time Goes, the title song of which put Read more ...
Liz Thomson
On the last weekend of July, as they have every year since 1965, when an enlightened city council decided that Cambridge – like Newport, Rhode Island – would have a folk festival, thousands of people trekked to Cherry Hinton to enjoy what is now Britain’s premier folk event. One of the biggest in Europe and celebrated throughout the world, Cambridge is a calendar fixture and its return after the inevitable Covid absence was clearly very welcome.Some 1,400 people came to that first festival, which featured the Clancy Brothers and Tommy Makem, Shirley Collins, Bob Davenport, Peggy Seeger, Hedy Read more ...
Adam Sweeting
Last night I dreamt I went to Manderley again, except somebody had renamed it The House at Knockdara. This was the title of the first novel by Michael Callaghan, Cambridge literature don, aspiring writer and serial seducer of his female students. Played here by Emmett J Scanlan, in young-fogey tweeds and Ernest Hemingway beard, Callaghan had “F for Fake” running all the way through him.Running over four consecutive nights this week, The Deceived sounded promising on paper, not least because it was written by Derry Girls creator Lisa McGee and her husband Tobias Beer, but is proving to be less Read more ...
Adam Sweeting
Singing in a choir can be terrific therapy for anxiety, depression or loneliness, but one of the cruellest effects of the coronavirus is the way it has restricted normal human interaction. The notion of social distancing might have been designed to sabotage the proximity and togetherness which is so much a part of collective singing.However, choir supremo Gareth Malone (now sporting a shaggy lockdown hairstyle) doesn’t give up easily, so he’s made the best of what technology has to offer to create an online facsimile of the choir-singing experience. He’s the first to admit that hooking up a Read more ...