Gloria in Excelsis deo…

Translates in Latin to “Glory to God in the highest”. Never has the phrase been so prominent in my mind as it was last week. I realise this has become something of a mantra for me over the years but I do urge you, be you agnostic, atheist or ascetic, to avail yourself of some of the outstanding choral events that happen during Advent. Many are free (churches, cathedrals) and as my mother used to say, “if it’s free it tastes better” – o theos na din magarissi”.

The two that I attended were both part of the 34th Christmas Festival at St John’s Smith Square though one actually took place at Westminster Abbey. The former hosted The Choir of Christ Church Cathedral, Oxford with Christmas at Christ Church. The eclectic and bold programme featured familiar works by Rutter (What Sweeter Music) and Leighton (Lully, lulla, thou little tiny child) but it opened with A Spotless Rose, composed by Piers Connor Kennedy, one of the choristers. A profound and portentous composition, it included complex passages requiring very careful vocal calibration skilfully led by conductor Steven Grahl. It had an interesting effect on the audience as there was no applause until the end of Howells’s Sing lullaby, the third piece. The first half also included the premiere performance of Alexander Campkin’s Angels from the realms of glory, who happened to be in the audience. Both he and Kennedy received deserved applause for their ambition and talent.

The highlight of the second part of the concert was a superbly nuanced rendition of Quelle est cette odeur agréable, an arrangement by Willcocks of a French traditional song. The beautifully melodic sound created by the choir was matched in Warlock’s Benedicamus Domino, a completely different mood but thrilling nevertheless. It ended with a joyful and playful Twelve Days of Christmas (Bob Chilcott) which included lots of humming by one and all. A wonderful way to get into the spirit of Advent.

Meanwhile two days later, just up the road from St John’s, The Choir of Westminster Abbey regaled us with their Christmas Concert. Their offering included carols for all, religious and secular readings and some sublime interpretations of works by the likes of Britten and Tavener. The opening Rorate caeli desuper by Byrd was sung from behind the quire. A mellifluous sound emanating out of sight offering an opportunity to revel in our glorious surroundings and listen intently to the delightful music. An ethereal opening. This was immediately followed by Once in royal David’s City, that begins, as it does in most places of worship during Christmas, with the atmospheric treble solo that sets the scene for the birth of the Christ child. As the choir processioned into view we joined in for a rousing version of a favourite Carol as we did with others culminating in a roof-raising Hark! the herald angels sing, each of them beautified by the jubilant descant.

Britten’s A Ceremony of Carols, included excellent accompaniment by harpist Lucy Wakeford. Franz Gruber’s unforgettable Stille Nacht (Silent Night) seemed to resonate most strongly with the audience but for me it was Tavener’s Christmas proclamation, God is with us, that struck a chord with that surprisingly dramatic ending, the final organ fortississimo providing a pulsating finale. Phlegmatic conductor James O’Donnell led the consistently superb choir throughout and by the end of this evening and the one two days earlier I felt blessed to have had the opportunity to hear choral work of the highest quality. The other common denominators for the concerts were that my companions, not accustomed to choral concerts, cannot wait for the next one, and on both nights it rained like cats and dogs. From the sublime to the ridiculous (weather), the second took place on the day of the general election, an omen perhaps.

Meanwhile several of the team have been our and about to bring you a flavour of the cornucopia of offerings currently available. We begin with Kyriacos Zidane, who is in tears…

I didn’t mean for it to happen but when you’re sat in the The Royal Albert Hall watching one of your favourite childhood films, E.T. The Extra Terrestrial, with live orchestral accompaniment by the BBC Concert Orchestraplaying John Williams’ award-winning melodramatic score, conducted by Ben Palmer, who wouldn’t be in tears. Director Steven Spielberg’s heartwarming masterpiece which follows the moving story of a lost little alien who befriends a 10-year-old boy named Elliott is part of cinematic history and also part of my early years’ sensory education. The audience included several children and adults in their best ET attire, t-shirts, leggings and masks though none came close to being as loveable as the real thing. A fantastic afternoon which forms part of the venue’s Films in Concert series and their variety of Christmas events.

And Gracia Erinoglu is dazzled by a vision and shoes…

The best way to describe Radio and Juliet – Faun – MсGregor + Mugler (London Coliseum) is like a very stylishly choreographed fashion show, dazzling to watch but sometimes light on substance. A triple bill that featured the eponymous Radio and Juliet, performed to the music of Radiohead interspersed with film sequences it is a bizarre, dystopian work that has thrilling moments but doesn’t hang together as a whole. Edward Clug’s choreography loses its impact and the one hour duration became self-indulgent though the dancers, led by Denis Matvienko (Marinsky Ballet Principal) were enigmatic and very watchable.

Faun, the work of choreographer Sidi Larbi Cherkaoui, a woodland fantasy to the sugary sweet music of Debussy was very enjoyable with the duo of Vaychesla Lopatin and Anastasia Stashkevich giving a beautiful interpretation. However, it was the final part of the bill that created the strongest impression, a sparklingly visual duet choreographed by Wayne McGregor, the duo clad in light-reflecting armour and masks which are cleverly used to highlight the metaphysical nature of the work, portraying the meeting of two gods. Dazzling work by the dancers, Edward Watson and Olga Smirnova, that left me dazzled too. Ye gods!

As for Red Shoes (Sadler’s Wells), Matthew Bourne brings all his creativity and innovation to a mercurial production that ripples with metaphor and allegory. If you haven’t seen the original movie on which this is based fear not because that gives you an open book to accept this production for what it is, dance magic. It features Adam Cooper (Lermontov) who continues to provide a benchmark for male dancers who cross genres so effortlessly, even now just two years from fifty. His movement, his demeanour, his stature could be overwhelming but the rest of the cast are also fantastic, especially Dominic North in the role of Julian who has the perfect partner in Ashley Shaw (Victoria). The passion which turns from obsession to uncertainty is beautifully realised. The ballet itself, it’s like a dance within a dance, is a cornucopia of crazy fun and colour on Lez Brotherston’s kinetic set – I almost got dizzy trying to keep up with its amazing movement – and it is a vision of designer and director in creative harmony. Intoxicating.

While Jonoulla Bankiou is loving another Juliet…

Say it loud and say it proud & Juliet (Shaftesbury Theatre) is a fantabulous breath of fresh air, a production that thrills from beginning to end. Camper than Christmas it put me in a retro mood as I reminisced about my mad and bad clubbing days. Ostensibly it is all about female empowerment but really it’s an excuse to have a great time and Luke Sheppard’s production with banging choreography by Jennifer Weber features the effervescent Miriam-Teak Lee who carries the show with a high-octane performance possessing a voice out of the Whitney Houston school of singing. The crazy Shakespearean concept gets quickly forgotten as we rejoice in the onstage talent. I loved the outrageously entertaining David Bedella and Melanie La Barrie while Cassidy Janson is another voice to be reckoned with. A jocular, juxtaposing and jiggish jukebox musical that you really must see; girls, boys and all those who self-identify.

And Davit Brexit is enchanted by a classic…

Imagine one of those quintessential Victorian Christmas scenes, the shop windows frosted over and excited children dressed in colourful clothing peeping in to get a glimpse of all the toys and chocolates. Wayne Eagling’s production of The Nutcracker (London Coliseum) captures that essence and the dancers of the English National Ballet continue the magic with some charming performances that are a mixture of delightful and disturbing. That Mouse King (James Streeter is excellent) is a continued threatening presence who you feel could ruin the festive happiness in an instant.

The set is a picture of wonderment as are the gorgeous costumes, even for some of the more dubious characters that may not pass muster in this age of #MeToo. So be it, as a black man I get that but I also get that we cannot rewrite history and undo all that has come before. I was greatly impressed by Shiori Kase as the older Clara, a terrific dancer with oodles of personality. The other thing that impresses is how contemporary it feels and that just below the surface lurks danger and menace despite the sugar and spice on top. A spectacle and a dance fest so go enjoy.

And yet again Sotira Kyriakides finds Christmas joy…

The European Arts Company is currently recreating Dickens’s tradition of the public reading of his masterpiece ‘A Christmas Carol’ at Greenwich Theatre. It was first read before an audience at Birmingham Town Hall in 1853, and then performed as charity readings until 1858. Now spectators can once more take delight in watching the comeuppance and transformation of tight-fisted, covetous old sinner Scrooge after ghostly visitations.

Directed by Peter Craze, the performance focuses on the virtuosity of John O’Connor’s ability to reinterpret Dickens’s own readings. He displays remarkable versatility at portraying the individual voices and actions of Dickens’ well-loved characters, revealing the auditory power of Dickens’ descriptive prose and inherent humour underlying the dialogue. This is all enhanced by the cosy ambience of an intimate stage set and ingenious stage directions. Fittingly, all performances are in aid of Great Ormond Street Children’s Hospital, a charity which Dickens helped set up in 1852.

Fanoulla Fidou, on the other hand, is feeling regal but meek…

The ending of Henry VI was very messy (previously reviewed) and Sophie Russell picks up that mantle with a riveting portrayal of Richard III (Sam Wanamaker Playhouse). This is as close as you will get to a king who seems to have been reared below his status and ready to shout out at any moment “man what’s the word on the street?”. She is guttural in every sense and responds to the vitriol spat at her with a physicality that is like that of a contortionist. Then on a whim she becomes a figure of merriment and the Bard’s comedic qualities shine through, helped by a fantastic band who add to the feeling we are in a nightclub rather than a royal court. The actors double up throughout, brilliantly done, and by the end they are caked in mud. A masterly mess.

Finally, we end with a roof-raising event enjoyed by Suma Branket…

When Lionel Ritchie sang “let’s raise the roof and have some fun” I doubt that he had the London Community Gospel Choir in mind. But last week that’s exact what they did at The Royal Albert Hall with a programme that had just about everything. The two and a half hours flew by leaving us wanting more. It began with a wondrous O Come O Come Emmanuel and included the spine-tingling O Holy Night but without doubt it was Oh Happy Day that has us in raptures…again! Individual solos were also excellent as were the Royal Philharmonic Concert Orchestra. Co-hosts Angie Greaves and Bazil Meade were a warm and welcoming duo and then just when your heart and could take no more Annette Bowen sent us into a catatonic state with Faith, an ending worthy of this unforgettable event.

By Barney

& Juliet – 020 7379 5399

Red Shoes – 020 7863 8000

The Nutcracker – 020 7845 9300

A Christmas Carol – 020 8858 7755

Richard III – 020 7401 9919