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Death becomes her: A Brief List Of Everyone Who Died @finborough

For a natural process, death is not a topic that comes up naturally for people. We ask how people are doing but expect the response to be “I’m great”, not “I’m not dead yet”. And so for the main character in A Brief List of Everyone Who Died, Graciela has a death issue. Starting with when she was five and found out only after the matter that her parents had her beloved dog euthanised. So Graciela decides that nobody she loves will die from then on. And so this piece becomes a fruitless attempt at how she spends her life trying to avoid death while it is all around her. It’s currently having its world premiere  at the Finborough Theatre . As the play title suggests, it is a brief list of life moments where death and life intervene for the main character, from the passing of relatives, cancer, suicides, accidents and the loss of parents. Playwright Jacob Marx Rice plots the critical moments of the lives of these characters through their passing or the passing of those around them. Howeve

Concert: Carmen Jones

Source: Carmen Jones publicity artwork http://southbankcentre.co.uk

I had been warned that Carmen Jones was a bit of a dated show. It is afterall a "modern" 1943 reworking of Bizet's opera Carmen into a musical. Given that piece of advice (and that I was still probably jet lagged) I figured the cheap seats at Royal Festival Hall would suffice to see this new production of the show. If it were a bit dull then I figured I could always have a sleep (especially during the overlong first half). Of course I forgot that the cheap seats means that you are surrounded by cheap people. In this instance it was cheap people with body odour problems, weak bladders, and noisy crisp packets. For the first half I was detracted by the cheap people around me who felt that the people's palace meant it was their living room. I was half expecting belching and farting since there was every other noise... Well that's where socialist idealism gets you in the twenty-first century...

By the second half I had moved myself to one of the empty seats closer to the stage and closer to where Fliss and Chris were sitting. They didn't want to have any part of my theatre economics so booked separately. The move it was a noticeable improvement on everything but the acoustics... While the London Philharmonic sounded fantastic, it was a bit hard to hear the dialogue and the singing and I suspect that wasn't the fault of the performers... I also had to contend with a largish glass of white wine to consume which for a lightweight such as me guaranteed that I was going to have a good time no matter what in the second half...

Anyway it turns out Carmen Jones isn't that bad of a show. This fully staged concert version with a great cast had a lot going for it (when you could hear it) and was visually pleasing from time to time as well (which is not always the case with concert productions). At times you get the feeling that Oscar Hammerstein II had more fun conceiving this Carmen than you actually get from watching it, but modern translations of operas abound nowadays. And I certainly can appreciate the fact that "dats our man, the man with the wallop, hotter than a firecracker" is a great line to be sung by a chorus...

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