Paul in London

Rumours-Teaser Trailer from Rob Watt on Vimeo . If the eighties were the decade of big hair, big angst and big dramas, then Neil Simon's comedy-farce Rumours probably fits in rather nicely. It is a sex scandal, political intrigue, power dressing fetish extravaganza rolled into one.  Farce isn't every one's cup of tea but I was in the mood for cheap laughs on Thursday evening and it did not disappoint. This production transfers the setting from its original New York to Oxford, which makes the cultural references more relevant. The premise is that as guests arrive at the home of the finance minister and his wife for a tenth anniversary celebratory dinner, there is an attempted suicide and the hosts are nowhere to be seen. Given the status of the hosts and the guests, everyone decides it is in their interests to conceal the truth rather than risk a political scandal. Cue pandemonium. While I wasn't sure if anyone in the cast was born in the eighties let alone li...

It's been a while since I have seen a truly satisfying crime film. This is probably the most interesting film since Animal Kingdom and worth catching, despite the luke-warm reviews from the press. It probably helps to have lived through the 70s and 80s when Vallanzasca was Italy's notorious bank robber, kidnapper, escapee etc. Characters come and go and you are taken on a whirlwind tour of fashion through the period. But even without the prior knowledge of the history (and the endless characters), it is a great (gory) ride helped by the performance of Kim Rossi Stuart in the lead. He's hot and for a gangster film he spends an unusually long amount of screen time in his underwear. One suspects he won't be single for long ...

Suffolk murder musical angers Ipswich by itnnews The Ipswich serial murders that took place around December 2006 quickly captured the nation's attention. So much so that I remember the tales such as: How do they know it's Christmas in Ipswich? Because they keep finding prossies under the trees... I also remember have a frightfully engaging conversation with the woman at the supermarket about how many strangled prostitutes had been found in Ipswich. It was all gripping stuff. And easy to make jokes and have silly conversations about something that was taking place in far away Ipswich. So I was intrigued to see London Road , best described as a play with music, that attempts to recount and make some sense about the serial murders and the community that lived through it. The red light district, seamen, police tape and neighbourhood watch meetings are all set to music in a sung-spoken kind of way. It has captured the immagination of the National Theatre -going public an...

To appreciate Handel's opera Ariodante , presented in concert form at the Barbican this week, I think you need to get into a baroque frame of mind. The trick is to appreciate the prettiness of it without falling asleep like the little woman next to me did. It was not too hard to get into this frame when an impressive cast headed by Joyce DiDonato and Il Complesso Barocco . As the first half of the performance closed with the incredibly dramatic "Scherza infida" sung by DiDonato for someone not familiar with the work it was easy to wonder how that could be topped in the second half. It was sublime music with an eerie bassoon accompaniment. But by her final aria, Doppo Notte, there was more breathless breathtaking music making that the audience could not help but cheer and applaud, even if the epilogue was still to run. There was some very fine music making here, which helps bring to life this piece. Even for a concert version, it was fairly dramatic. Costumes and s...

1000000903 Originally uploaded by Paul-in-London Taking a stand against the rivers of urine, it states: Please note - this is NOT (much underlining) a toilet (just one underline) so don't piss up it (sic). Go before you leave the pub or wine bar (for the posh pissers). Thank you (your mother).

If opening night was a sensation watching Rolando Villazon in the title role, closing night didn't disappoint either. At the curtain call Villazon was very excited and shouting like a very satisfied man. The audience was on its feet applauding. It was mutual admiration. Villazon's performance made Werther, a tragic story about a young troubled poet who falls in love with a woman committed to someone else, incredibly passionate and engaging. His act three aria was worth the price of admission alone. Even in the context of an incredibly melodramatic opera, you couldn't help but be drawn into this world. And at the curtain call I couldn't help but think he must be awfully fun at parties. Opposite Villazon was Sophie Koch  playing Charlotte, the woman who is his obsession sounded great too. But focus of the  opera is the tragic young poet. With Antonio Pappano in the orchestra pit, the music was incredibly lush and intense. All breathtaking stuff... It was enough to m...

It was only two years ago when I last saw a production of The Cherry Orchard . Either I have seen too much theatre, or this play is a favourite in this town. It is probably a favourite given its subject matter of class and the property ladder. Now that is something everyone who goes to the theatre here can relate to. And I really don't get out and see that much theatre surely? The last time it was at the Old Vic , this time around it was around the corner at the National Theatre , and in a new translation by Andrew Upton. The most discernible difference I could note about this new translation was that there are a few more potty-mouthed words, which in the context of the drama and its setting makes the performers come  across like they are frightfully naughty schoolchildren. This is not necessarily a bad thing as the characters in this play could be construed as being a little naughty I suppose (or at least incapable of making sensible decisions). There is also the problem tha...