Private Lives (4.0/5)
(by Noel Coward. Staring Kim Cattrall, Matthew MacFayden)
Vaudeville Theatre, London
6th March 2010
Kim Cattrall is superb as the honeymooning wife who discovers her ex. and his new wife in the next room. A comedy of manners unfolds as the ex’s renew their passion with observations on life as topical today as in 1930. Cattrall totally inhabits both the character and period, as do the supporting actors playing the two ex’s new partners. MacFayden is too much today’s man, but this does not detract from an enjoyable production.
Welcome to On Show 2010, the successor to On Show 2008 and 2009. This blog is for those who enjoy the arts whether performance-based or exhibited. It’s all down to personal taste. Figure out my tastes and you’ll know what to see and what to avoid. Or just do what I do – take the rough with the smooth and see as much as possible! Each review is limited to 75 words and marked out of five. For previous years see the link on page right.
Sunday, March 14, 2010
Thursday, March 4, 2010
Mark Morris Dance Group
Mark Morris Dance Group (3.0/5)
Behemoth, Looky, Socrates
Howard Gilman Opera House, Brooklyn Academy of Music,
New York
26th February 2010
Morris’ choreography is more movement than dance; formal and fluid but missing the grand elements of ballet it lacks some spice. Behemoth is without music, making the Dance Group’s precisely synchronized movements all the more impressive. Looky, a short fun item verging on mime with musical theatre overtones and a gentle poke at critics. Socrates sentencing and death to music and lyrics by Erik Satie is so reverential as to lack any sense of drama.
Behemoth, Looky, Socrates
Howard Gilman Opera House, Brooklyn Academy of Music,
New York
26th February 2010
Morris’ choreography is more movement than dance; formal and fluid but missing the grand elements of ballet it lacks some spice. Behemoth is without music, making the Dance Group’s precisely synchronized movements all the more impressive. Looky, a short fun item verging on mime with musical theatre overtones and a gentle poke at critics. Socrates sentencing and death to music and lyrics by Erik Satie is so reverential as to lack any sense of drama.
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