Lord of the Dance - Dangerous Games

On Thursday evening I excitedly headed to the London Palladium to see Lord of the Dance Dangerous Games. To give my excitement some background I spent a few years of my childhood learning Irish Dance and competed in a couple of Feis. I also saw Lord of the Dance at Wembley and met the man himself, and apparently I’ve seen Riverdance although was too young to remember.  I’ll be going back to see Riverdance this December.

So when I heard that a new Lord of the Dance show was coming to London I couldn’t wait to see it. However, and it really upsets me to say it, I just didn’t enjoy the show. It felt slightly cheap, gimmicky and too provocative than is actually necessary.

Moments in the show where the dancers were all in unison and wearing more traditional costumes were fantastic. Unfortunately these moments were overshadowed by gimmicks that felt unnecessary. The set itself was very, in a word, naff.  It was made up of a large screen at the back, which showed various mystical, futuristic scenes. While I understand the idea it just didn’t come across well. The colour of the stage floor itself was a beige/white colour and this made the whole set appear slightly amateur, particularly for audience members sitting in the circle (as I was). The costumes themselves also felt amateur, with a couple of noticeable mishaps in the show. All of these together just made the show feel a bit unpolished.

I hate to be so disappointed with the show but just as I tried to like it, something else took place that just put me off. At one moment all the girls were dancing in dresses, beautiful soft shoe dances. However suddenly the music changed and they stripped into just a bra and pants, to leering comments from men behind me. I wouldn’t say I’m a prude but sexing the show up like this was just completely unnecessary and also I felt quite sexist. While the men were shirtless in the second half they were never presented in such a provocative, and cheap, way. There was a big divide between men and women in this show which I don't think is necessary in 2014. 

The idea of the show is a fight between good and evil, over who will be crowned the Lord of the Dance. The narrative was lost at times, and it tended to loose its way. I felt quite uncomfortable at one point when the robotic evil characters were marching with the iconic Michael Flatley arm pose, it was slightly too reminiscent of another recognisable march for comfort.

Nadine Coyle from Girls Aloud was also in the show, singing a few power ballads. Although her voice surprised me (I hadn’t expected her to be so good) it again just felt a bit gimmicky and didn’t really add anything to the show. Although it did work well when she sang with male dancers in hard shoes accompanying her.  There were also two violinists who performed a few times, although obviously talented I hated the false grins and tiny tight dresses that took away from the music. All the other music in the show was pre-recorded. When there is a pit in the theatre it seems such a shame not to have a live band, that would have made a big difference to the show. 

Just to put the cherry on the cake of a somewhat disappointing evening, a large group of teenage tourists were sitting behind us and, without sounding too much like an old woman, were so badly behaved! Talking all the way through, kicking the backs of our seats, jeering at the stage. I lost my nerve in the end and asked them to be quiet. Come interval time we moved to the other side and the usher did say they had expected them to be trouble. To the credit of the Palladium they did deal with it well although overhearing the amount of complaints I think that the group should have been asked to leave.  I think that the issue of tourists seeing shows to tick it off their “to do in London” list needs to be addressed, as a few shows I’ve seen have been spoilt by audience members who don’t really want to be there. But that’s worth a whole other post!

Michael Flatley doesn’t appear until the end of the show, and it was exciting to see him perform. Despite his success his arrogance felt a little too prominent, particularly when we thought the show had ended and then we had to watch three holograms of Michael dancing with himself – and then another encore performance with the dancers. To be completely honest at that point we’d just had enough.

I really wish I’d liked the show, it had potential but it felt like money wasted on gimmicks could have been used to make a really refined performance. Moments that caused the audience to go wild were when all the dancers were in unison with their hard shoes. The surrounding gimmicks weren’t really necessary. Sorry Michael, but I left feeling really quite disappointed. Let’s hope my ticket to see Riverdance in December doesn’t leave such an impression.

Brief Encounter Screening at the Southbank Centre

One of my favourite films is Brief Encounter. this 1945 David Lean classic is just perfection! Celia Johnson plays Laura, a married women who meets Alec in a now iconic 'meet cute'. Laura gets something in her eye and asks for a glass of water in a station waiting room. Luckily Alec, a Doctor, is standing close by and comes to her rescue. This is the start of a dangerous and emotional love affair and the ending of the film breaks my heart every time.

So, it was with ridiculous levels of excitement that I saw the Southbank Centre was presenting Brief Encounter with the London Philharmonic Orchestra. Another element of the film I love is that the music throughout the film is all extracts from Rachmaninov's Piano Concert No. 2 in C minor Op. 18. So the idea of the film and live orchestra was too much to resist!

On entering the Southbank Centre we discovered that there was a pianist playing Noel Coward songs, it was a shame this was not mentioned to ticket holders as my Mum and I would have arrived earlier had we known.

An extra thrill on the night before the screening began was an introduction from Celia Johnson's daughter, Lucy Fleming. It was a treat to hear stories from the set, and I felt honoured to be hearing her speak about her mother. I was already emotional and the film hadn't even started yet.

Firstly the orchestra played the concerto in it's entirety with Leon McCawley on the piano. Then came the film and the orchestra! Although I love the film I have to admit I expected the orchestra to be more present, it may be the acoustics of the hall but it just wasn't as prominant as I had hoped. It wasn't that different from watching the film in a cinema, unfortunately. Another thing I didn't like was other audience members finding parts of the film hysterically funny, moments that aren't funny except from the fact that the film is obviously very dated - having been made in 1945.

All in all the night was great, and I do wish I had dressed up in 1940s clothes as many had! As I left my Mum and I decided to have the cocktail suggested in the programme notes. A cocktail that was publicised as being specially created to accompany this screening. However after asking many members of staff, noone knew about it! Although the staff were all lovely it did leave a slightly anti-climatic feel to an otherwise wonderful evening.

IJAD - my thoughts on In-finite Space at The Vaults

On Thursday night I found myself walking round Waterloo station trying to find the mysterious Vaults and the Vault Festival. Eventually stumbling on a graffiti artist’s heaven I found the right place – it is a brilliant place for a venue as you feel you’ve discovered a secret that few people know about.  Entering the space faced with a maze of corridors and crazy décor the venue becomes more and more intriguing.  Stumbling across an air raid shelter while trying to find the toilets and with a toy train suspended on the ceiling in the bar area it is like a mismatched old pub, but much cooler.

But I wasn’t just there to admire these secret tunnels.  I wanted to see how In-finite Space had developed since the Science Museum event – and I was not disappointed! The whole performance has changed significantly, with only a few recognisable elements.  The jugglers have completely gone, and so has the literal demonstration of the universe.  Instead the show explores your favourite spaces and you, the audience, contribute your favourite spaces (either physical, emotional or virtual).  The dancers then take these and work the spaces into their routine.

We are encouraged to tweet our favourite spaces before entering the performance, as well as during the show.  As with anything this participatory, the performers are relying on the audience.  And at times, it felt that the audience that I was part of weren’t particularly useful.  Tweets of favourite spaces seemed to keep repeating themselves on the screen and dancers had to repeat what tweet they were interpreting which was a shame. If the audience had all tweeted there would have been so much more material on offer.  Always a risk I suppose but one that could pay off had the audience engaged more. 

On entering the performance space everyone was given torches, and encouraged to wander around the dancers positioned around the room, who appeared to come alive once the torches were pointed at them.  I enjoyed this, it felt like an art installation that you had control over.  The show started with an energetic and exciting dance by two of the dancers – they had brilliant chemistry and seemed to bounce of each other as they flew around the room.  Particularly funny moments occurred when they paused and mimicked members of the audience. 

The tweets that were sent were very cleverly interpreted.  Rather than literally mimicking the actions described in the space, the dancers created brilliant improvisations that bought the sensations of those spaces alive. It was also interesting how one of my spaces was interpreted completely differently to how I felt.  I said that one of my favourite spaces is when you’re on a long train journey, and you’re listening to your favourite music.  For me, that would mean quite chilled and anthemic music as you’re whizzing through the countryside. However the dancer who read my tweet obviously thought it meant really upbeat dance music and proceeded to perform quite a manic dance.  Not really what I had considered but fascinating! Another great thing about seeing other people interpret your thoughts.  Overall the social media aspect worked much better than in the Science Museum show as it was obvious how our tweets were being used – again just a shame that not all the audience are as engaged.

There were a couple of things from the Science Museum show that I missed, the set and costumes were much more basic and given the fascinating space I think more could have been done.  Also, the live beatboxer worked so well at In-finite Space #1 I was disappointed to see he wasn't back.  The music was good but it lacked the thrill of being created right in-front of you.

Overall IJAD have done it again – created a performance that completely engaged and excited me in a unique venue.  I can’t wait for the next one.

IJAD - Infinite Space Returns

Back in October I was fortunate enough to spend some time with the phenomenal dance company - IJAD.  I was following the progress of their new performance, Infinite Space, which was to be performed at the Science Museum as part of their Space Late. I loved seeing the progress from initial rehearsals, when the performers saw the space for the first time, through to the final dress rehearsals and the performances on the night.  I felt privileged to be part of such an exciting creative process, and in awe of the talent of the dancers and the vision of Artistic Director Joumana Mourad.  So it was with great delight that I spotted IJAD on the VAULT Festival programme.

VAULT Festival is only in it's second year, it all takes place in the labyrinth of tunnels underneath Waterloo, this alone is enough to intrigue me.  It has a really varied programme, and you can also go at any time just to explore - something I will definitely have to do in the next week. Put VAULT Festival and the promise of IJAD returning with Infinite Space - evolved since it's premiere at the Science Museum back in October - together and I'm jumping out of my seat to make sure I'm there.

I'm really intriguied to see how the show has developed, and especially how they will develop the way Twitter is intergrated with the performance. Looking at their current Twitter activity they are again asking questions to make you ponder life and the universe - so it will be interesting to see how these answers are made part of the performance.

As they say on their website -
Just find #InfiniteReach on Twitter and we’ll travel the cosmos together. Add your creative thoughts like shooting stars across IJAD’s constellation and watch how your words alter the performance making each night unique. Experience the dynamic vastness and cataclysmic expanse of The Everything. 


You can read about my past IJAD experiences here on this blog.  Here's a few of my highlights from the rehearsals for the last performance of Infinite Space and thanks again to Asemic for the music.

I've been spoilt this week …

This week I’ve finally manage to see two shows I’ve always wanted to see.  The Lion King, thanks to a very generous birthday gift from my boyfriend and War Horse (although this was a live streaming in a cinema I’m still counting it). 

I said I wasn’t going to review The Lion King, but I can’t resist a little comment…I had high expectations for the show and wasn’t disappointed.  The whole thing is a spectacle of colour, costume and dance.  It’s a very slick and clever show, as you’d expect from such a long running West End success story.  I was particularly impressed at the way Mufasa’s death was staged.  The best part of the show was the music, and not the big hits everyone knows from the film, but the incidental music.  The harmonies of some of the more tender choral moments were goosebump making! I particularly liked 'One by One’ performed immediately after the interval, the cast wore colourful costume and performed this stunning choral piece, making me forget all about the gin & tonic in my hand.   There are six different African languages in the show, and in the words of the programme “Africa (is) at the heart of the production”, with the music bringing Africa to the West End.

The only thing I want to get off my chest is how badly behaved the audience were.  A constant level of noise was in the theatre, with people talking at normal volume and people eating everywhere!  And, to top it off, people started clapping along during Hakuna Matata – one of my biggest pet hates. Why can’t audiences just watch something, and take it in, without joining in?  Especially when people can’t clap in time and continue when dialogue is taking place over the song.   Maybe that’s the problem with shows that become tourist attractions in their own right?  Most audiences are there to tick it off their to do in London checklist, rather than because they want to see amazing theatre.  Having said that the buzz of excitement as Circle of Life began and all the animals came into the theatre was something I won’t forget!

Last night I headed to the Curzon Cinema in Chelsea to see the National Theatre’s live streaming of War Horse. I’ve wanted to see War Horse for a long time, however looking to go recently the tickets are not cheap.  So when I spotted that it was being streamed to the cinema, for a much more do-able price, I was in buying my tickets immediately.  I’ve seen a Jamie Cullum gig streamed to a cinema before, which was weird at first but then you get used to it.  This was much the same, at first you’re very conscious you’re watching a theatre through a screen, however once the enchanting and heart-wrenching story of War Horse begins I was completely immersed.   The play is truly incredible; it’s amazing how quickly you forget you’re watching a puppet and feel affection for Joey.  I especially liked how they don’t ever hide the fact that the horses are puppets, the costumes of the puppeteers aren’t particularly hiding them although do match the colours of the horse.  With hardly any set, it really is a treat for the power of the imagination, whatever your age.  I was transported to a variety of locations from scenic Devon to the horror of the trenches through simple props and lighting – and of course the power of the story itself taking you to these locations.

The story is powerful and heart wrenching.  Billy raises Joey from a foal and they build a powerful bond, which we see is unbreakable.  Joey is sold to the Army and the two are split, this play tells the story of the two characters individual war experiences and the ending is so emotional I’m welling up just thinking about it.  It is a beautiful story and left my Mum and I in tears.  As if the performance itself wasn’t special enough, at the end Joey himself entered the cinema! Everyone burst into excited applause; it was a privilege to be there and meet Joey.  I think it may be the closest I’ve ever been to a horse! Everyone was commenting on how real he seemed, and as he walked around the cinema amongst a sea of camera phones and people trying to stroke him, he just showed how extraordinary a creation he is. 

NT Live is a great idea, bringing live theatre to cinemas. However I didn’t like the interval feature, it was behind the scenes videos, showing behind the scenes footage and interviews.  This would be great to see at the end of the show, or a few days later. But seeing this in the middle of the show slightly broke the magic that had been cast over the cinema, particularly as the clips showed parts of the play we had not yet even seen!

I’ve had such a great week seeing these two productions, and next week promises to be just as exciting as I return to see IJAD perform at Vault Festival (a post about this will follow soon!)