A blissful lullaby of death

Gabriel Fauré is quoted as saying “I wrote my Requiem for no special reason or purpose; pleasure if I may call it that…someone has called it a lullaby of death”. That someone has a good ear because although it may not have the heavyweight gravitas and solemnity of the Mozart or Verdi, it remains a work of great beauty, reflecting the wish of the composer to imbue serenity and peacefulness as one passes. Last Sunday the Brighton Festival Chorus (St John’s, Smith Square), conducted by the phlegmatic James Morgan, gave us a version that was a rich tapestry of technical quality and contrasting emotion. From the opening homophonic statement that is the Introitus – Kyrie through to the final In Paradisum with the twinkling sound of the harp sending the poor soul to rest it struck an emotional chord. The two soloists, Jonathan Brown (baritone) and Kayden Payne (treble) were both excellent, the cherubic young lad overcoming his apparent nervousness with a sublime Pie Jesu.

The ‘Festival Chorus fared less well with John Tavener’s Invocations and Last Word (this being the London premiere). His work is notoriously difficult to perform and the opening bars were a little sharp. The idiosyncratic nature of the piece was summed up in a beauteous response chorus followed later by what is best described as a cacophony of chattering folk. Once they, and we, had recovered our respective composures thee was more Fauré, Duruflé and the gorgeous Caresse sur l’ocean from the Brighton Festival Youth Choir who demonstrated technique and sound quality beyond their years. An enchanting afternoon.

Meanwhile Gracia Erinoglu finds the perfect antidote to politics…

The streets of London will soon be paved with political party activists, as if the last three years haven’t been enough, trying to convince us that turkeys love Christmas. Forget that nonsense and get yourself along to The Peacock Theatrefor Zoo Nation’s high octane Some Like it Hip Hop. The show premiered in 2011 has been reborn year after year, this time with a fresh 1980’s vibe and vivacity that makes it a total joy, full of wit, heart and incredible energy. It has it all – dance, drama, comedy, love, heartache and a banging soundtrack. The cast’s passion and pizazz is totally infectious and I guarantee you will leave this show feeling happier and lighter in spirit. It’s all based on Shakespeare’s Twelfth Night and Some Like it Hot, what could possibly go wrong? The answer is very little and be you a hip-hop fan or not this sizzling show works wonders.

And Stellaria Embellou enjoys the new ride…

Londoners rejoice, a new theatre has opened, smack bang in the middle of Soho. The Boulevard Theatre sits on the site of the one-time seedy Raymond’s Revue Bar. Moving on…the opening show, Ghost Quartet, created by Dave Malloy, is exactly what is says on the tin. Spooky stories, not sure if there were actually four or more, brought to us by a quartet of performers (Carly Bawden, Niccolo Curradi, Maimuna Menon and Rubin Varla) who sing, play an impressive range of instruments and can act a bit too. Settling into my comfy seat, I stretched out my legs, sat back and enjoyed the ride. The spooks we are introduced to are a motley crew and don’t quite cut it as proper spook material but the performers are so affable and enchanting that we are charmed into the other worlds from where these characters come. The set is a hybrid antiquarian book shop and attic and director Bill Buckhurst deftly bridges the fine line between scary and soppy. A very enjoyable and topical (my pumpkin fell apart!) production to get The Boulevard rolling.

Finally, Iasonas Goundaris is bemused...

Dominic Dromgoole’s touring production of Oscar Wilde’s rarely performed A Woman of No Importance (Yvonne Arnaud) is a strange concoction or as a posh Greek might say assorté. It’s classic Wilde, full of wit and underlying wisdom and the star-studded cast, including veterans Lisa Godard as the hilariously forgetful Lady Hunstanton and Roy Hudd as a very upright Reverend Daubeny do a fine job. But the play really is all about women’s rights or the lack of them as it was in the 19th century and the production falls between two stools leaving me bemused. So I relaxed and rejoiced in the wonderful barrage of Wildean witticisms to sustain me. For that alone you should catch this ‘Woman’ next time she is revived.

Some Like it Hip Hop – 020 7863 8222

Ghost Quartet – www.boulevardtheatre.co.uk

A Woman of No Importance – on tour