Beyond circus: Even When I Fall + Circus Abyssinia – Ethiopian Dreams

Such are the cultural riches in London that there’s scarcely time to discover everything that’s on, never mind see and review it all. So choices inevitably have to be made and mine tend to fall on the side of theatre – the likes of dance, opera and circus falling by the wayside. But it is something of a vicious circle. My rationale is that I don’t feel I have the expertise, the language, to speak about those other art forms with the same confidence that I express my opinions about theatre; but since I don’t go, I’m not building up that knowledge base, that necessary experience.

So when a serendipitous set of invites fell my way, I thought I’d spend a Sunday starting to rectify that a little, as far as circus is concerned. And the thing that properly caught my attention here was that both involved defiantly non-traditional approaches to the art-form, we’re a long way from The Greatest Showman here. First up was documentary film Even When I Fall by Sky Neal and Kate McLarnon, part of the Roundhouse’s CircusFest and a thoroughly sobering look at the circumstances that led to the founding of Circus Kathmandu, Nepal’s first and only circus. Continue reading “Beyond circus: Even When I Fall + Circus Abyssinia – Ethiopian Dreams”

Countdown to new Who: Doctor Who Series 6

“Demons run when a good man goes to war”

And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)

Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”

Review: The Beautiful Game, Union

“I’m an atheist and an internationalist – I don’t believe in God or country”

Andrew Lloyd Webber and Ben Elton’s The Beautiful Game managed a run of just under a year at the turn of the millennium. It was then rewritten and retitled The Boys in the Photograph for a 2009 North American premiere in Canada, and it is that version which now makes its London fringe debut at the Union Theatre, but under the original title of The Beautiful Game. Got it? The endless tinkering of musicals is nothing new – ‘Our Kind of Love’, the best known song in the original was filleted out and repurposed as the title song for Love Never Dies – but the clumsiness with which the ending has been redone here is ridiculously clunky.

Which is a shame, as there is much good work here in Lotte Wakeham’s production. David Shields’ simple design makes clever use of benches and Tim Jackson’s choreography finds a remarkably effective middle ground between soccer and soft shuffle in bringing the football sequences to vibrant life on the limited traverse stage. An appealingly fresh-faced cast, spearheaded by an excellent Niamh Perry, deliver performances of spirited energy and graceful enthusiasm. And musically, MD Benjamin Holder introduces an interesting range of textures to enhance the score and alleviate some of its repetitive longueurs. Continue reading “Review: The Beautiful Game, Union”