'King Lear' at The Donmar Warehouse

Last night we went to see my last play of the year, 'King Lear' at the Donmar Warehouse. Now, shocking as it might seem, I've never seen 'King Lear' on stage or (and it's at this point my shame rises and blushes my cheeks) read the play - I am a virgin when it comes to Lear. We'd booked tickets to see Derek Jacobi in 'King Lear' back in the summer and it was nice to finally have it come round at last, especially since we were in the second row of the stalls.

I have history with Mr Jacobi. Yes, I watched 'I Clavdivs' when it was first broadcast (I did Latin at school y'know). I saw him on his tour with 'Hamlet' in 1977 or 1978 . I've seen him on stage in supporting parts a couple of times and in the audience at the Donmar and elsewhere - it's nice to see an actor that actually likes to be part of the audience for live theatre as well as it being his profession. But I've not seen him with the weight of an entire play on his shoulders since 'Hamlet' 30-odd years ago and, last night, he excelled.

'King Lear' is not a one-man show, of course, and, as well as Derek Jacobi in the title role, we also had the excellent Gina McKee as Goneril, Justine Mitchell as Regan and Ron Cook as the Fool, as well as a dozen other characters. It's the first time I've seen Gina on stage (but have seen her loads on telly) and was most impressed with her cool portrayal of Goneril in comparison with the almost manic playing of her sister and rival Regan. Cordelia was played by Pippa Bennett-Warner in, what I think is her first big role, and she was very good, a nice, subtle performance. I was also impressed by Michael Hadley as Kent, Paul Jesson as Gloucester and Gwilym Lee as 'young' Gloucester, spending much of the play in loincloth and dirt but delivering a subtle performance. It's a quiet joy to see a cast with such consummate acting skills playing off one another and clearly putting so much into their performance.

At some point in the first half I remember thinking that this was both excellent writing and excellent acting, bringing Shakespeare's thoughts to life in front of me on a bare stage. It might be quite a bleak play but the writing and intent are clear and easy to understand and that's partially what gives the play it's power and why it's still regularly performed. It must give the actors headaches though, trying to pitch that level of emotion for every performance. There were no frills or fancies, simple costumes, a stage empty of props most of the time and the direction led to a speedy play, bringing it in in under three hours.

The final scenes are, of course, full of blood and death - it's a tragedy, after all - most of which is off-stage. Lear dies on stage at the end of the play, an excellent death scene by Derek Jacobi, not over-played or over-long, but which, for me, was trumped by the last words from the Duke of Kent as he holds Lear's dead body, " I have a journey, sir, shortly to go; My master calls me, I must not say no." After the way he's been treated by Lear throughout most of the play it's odd to think that Kent still wants to follow his liege, but this suggests there are years of friendship before the play begins to warrant such devotion. It was very touching and excellent craftsmanship.

If you get the chance to see this production then do so - it's a reward to see it.

'Cinderella' at Sadlers Wells

My pre-Christmas treat was to see Matthew Bourne's 'Cinderella' at Sadlers Wells. Seeing one of Matthew's productions has now become a firm Christmas tradition, heading up to Sadlers Wells to inspect the Christmas tree and mingle in the always over-crowded foyer bar, wondering what sights were ahead of us and whether it would hold the imperceptible magic of his other Christmas treats.

The performance starts with the cast watching a short newsreel about the London blitz that places the show in time and space and then we shift to the house where a grey and speccy Cinderella lives with her family, disabled dad, odd collection of siblings and the ultimate Cruella De Ville step-mother. The first act is an extended introduction to the characters through dance and a few small props, and ending with the family all going to a ball at the Cafe De Paris except for poor little Cinders. Until her guardian angel intervenes.

The second act opens in a blitzed Cafe De Paris, with people and tables strewn across the stage in the bombed out wreckage of the Cafe, and then the angel dances back time and the glitzy Cafe takes shape before us and the colour explodes to wipe away the grey drabness of the first act. A glammed-up Cinders and her RAF pilot dance the night away until Cinders must rush off and is caught in the blitz, picked up by first aid workers and leaves a shiny glass slipper behind.

The third act tells the tale of the wounded RAF pilot searching for his Cinders in bombed out London, through the rent boys and prostitutes haunting Oxford Circus tube station and the toughs and posh people down on the Embankment. Eventually he ends up being taken to the same hospital as the now grey again Cinders. The nasty step-mother tries to kill Cinders for some reason, is caught and led off, the pilot and Cinders are reunited, get married and say farewell to her family in a train station in a small tribute to 'Brief Encounter'. It is also at the train station that the angel finds his next charge, another lonely young woman to help.

Needless to say, I thoroughly enjoyed this show. The chronology was a bit odd but it's the characterisation that I love. The brother with the shoe fetish going round trying to sniff ladies shoes, the other brother who's gay and meets a random soldier in the Cafe who turns out to be Mr Right that he then says goodbye to at the final railway station scene, the haughty and nasty step-mother (boo!), the soldier coming down the steps in the Cafe doing up his flies, the menacing toughs on the Embankment - great story-telling through dance. I wasn't too engaged by Cinders and her pilot since you know what's going to happen to them, it was the minor characters I watched. It was also touching to see the woman at the train station waiting for her love who never arrives and she wanders off to be found sitting alone at a table at the end when the angel walks up to her and touches her shoulder and you know that a new story is about to begin as the lights go down.

It's the little touches that Matthew Bourne devises that I love and that pull at the heart strings or the comedy bone, like the Swan and his Prince looking through the window at the end of 'Swan Lake' or the characters going round licking each other in 'Nutcracker'. His mass dance scenes are excellent, with every couple dancing their own dance within the whole rather than a load of people doing exactly the same dance, each having their own characters and movements. And, as has happened a couple of times before, Mr Bourne was out in the foyer chatting to friends and supporters as the audience left at the end of the show.

There's something rather magical about walking up to the Angel tube station after seeing a Matthew Bourne production on a freezing winter's night with Christmas lights in the air, speculating on what happens next in the world I've just glimpsed and why this character did this and that character did that, and then the long ride home mulling it all over. That means it must be Christmas...

Advent 24 - Merry Christmas Everybody

What could my advent song possibly be on Christmas Eve but the classic 'Merry Christmas Everybody' by those Lords of Noize, SLADE. I loved it instantly back in 1973 and bought it the day it was released. I still love it and bought it again last weekend with a great live version and Noddy shouting out 'merry Christmas' to the audience.

And with that, all I can say is, Merry Christmas!

Advent 23 - Christmas Wrapping

One of the most original and fun Christmas records, 'Christmas Wrapping' by The Waitresses - I can't find a video of the band performing this song but this is quite fun. Whenever this pops up on mu iPod it puts a smile on my face and a jaunt in my step but I can never keep up with the words...

Viv Albertine - 'Home Sweet Home (...at Christmas)'

I'm very pleased to have found this new song just in time for Christmas, Viv Albertine's 'Home Sweet Home (... at Christmas)', available to download from Viv's website for the grand total of 0 pence - go and download it now. Apparently it's a re-working of a song that will be her new single in the new year, 'Confessions of a MILF'. I didn't know that Viv had started making music again - how are you supposed to find out about these things? For the last 28 years or so since the demise of The Slits Viv has been a film director and artist but released her first four-track EP earlier this year, 'Flesh', and has a cover of 'Letter To Hermione' on the latest David Bowie tribute album. And, delightfully, both are available to download from Amazon and iTunes. If you liked The Slits or just like alternative takes on what music could sound like, then go on and download Viv's songs - I'm thoroughly enjoying them. I also like the potted biography of Viv on the home page to her website (such as Joe Strummer taught her to tap her foot and play guitar at the same time) so click on over for a read!

Advent 22 - Black Christmas

The message went, 'Poly's back!' and lo and behold, Poly Styrene did emerge with her new single, the free download of 'Black Christmas' and the angels did skank along to it. And what a return, Poly and her daughter, Celeste Styrene giving us a different take on Christmas.

Advent 21 - We Three Kings

Blondie's 'We Three Kings' was last years' winner in the 'new song' category of the Plastic Bag Awards and it justly features in my Advent Calendar. Play it loud and bounce around the room!

Ray Davies at The Royal Festival Hall

My pre-Christmas gig this year was seeing Ray Davies at The Royal Festival Hall on Sunday night, accompanied by his chums over the last couple of years, the Crouch End Festival Chorus. I saw Ray at the Royal Albert Hall back in May and, before that, last Christmas, at Hammersmith Apollo. So he's fast becoming a Christmas tradition.

The format of the gig followed the same format as when he played Hammersmith, opening with Ray and guitarist doing an acoustic set and then the band joining in followed by a half time break. After that, the Chorus joined Ray on stage for versions of Kinks songs from the 'Kinks Choral Collection'. Ray was on top form, happily joking, exhorting us to clap and sing along, telling tales of the old days and improvising every now and then, responding to shout outs for the audience and launching into a rendition of 'Harry Rag' and then of 'Father Christmas' (how does he remember the lyrics?). When you've got a back catalogue like Ray's it must give him tremendous scope to play with songs and, in a way, that's what he does in his acoustic set.

Ray opened with 'This Is Where I Belong' despite saying later that when he saw Chuck Berry at the Royal Festival Hall ten years ago that he swore he'd never play in the place - I know what he means, though, it's not the most rock venue in London. We then had lovely renditions of 'Dedicated Follower Of Fashion', 'Dead End Street', 'Autumn Almanac' and band joining the acoustic duo on stage to fill out the sound.

The second half kicked off with the Chorus taking their places, followed by the four-piece band and then Ray. We were treated to most of 'The Kinks Choral Collection' and particular favourites were ' Celluloid Heroes', 'See My Friends' and 'Working Man's Cafe'. It was great fun to listen to Ray explain how he'd written 'You Really Got Me' and how Dave had invented the classic guitar riff. The set closed with a great series of songs: 'Postcard From London', 'Days' and 'Waterloo Sunset', a trilogy of songs that worked really well. And a single encore of 'All Day And All Of The Night' which had everyone on their feet and loads of people dancing down the front of the stage. My one disappointment was no 'Lola' - how is that possible?

It's great to see Ray and it's great to see him re-interpret and re-present his old songs, but you know what I'd like? I'd quite like a straight rock gig - he proves he can do it every time I see him, letting the band rock out and Ray singing on top of the wild rock sounds. He's a great performer and has nearly 50 years of showing us how to respond to his gigs - long may he continue!

Martha Reeves & The Vandellas at The Jazz Cafe

Last Thursday we went to see the marvellous Martha Reeves & The Vandellas on the last night of their short residency at The Jazz Cafe up in Camden. I first saw Martha and her sisters Lois and Delphine at the Jazz Cafe so it was nice to see them on that little stage again. Martha fills the stage with her presence let alone with her sisters and the band.

With Martha you're guaranteed a 'greatest hits plus' show with all the goodies from the '60s, 'Heatwave', 'Nowhere To Run', 'Jimmy Mack' and a host of others plus some gems like an extended version of 'What Going On' and a 'best of Motown' medley (I particularly liked the 'Sugar Pie Honeybunch' section). Martha's voice isn't what it was but it's easy to forget that when she's on stage - she's been around for nearly 50 years, for virtually the whole history of pop and soul music, one of the originals and still one of the best.

It's not just the songs, with Martha and her sisters it's all about the show, about giving the audience a fun time and sending us away with a smile. I love the way that Martha, Lois and Delphine still observe the old Motown rules of a low curtsy after every song and Lois in particular sticking to the old dance routines she's been doing since 1968 (Delphine's a relative new-comer, only joining the Vandellas in 1980). And what lovely, gracious ladies they are, giving us a show to remember.

One of the highlights was Martha singing 'No-One There' a song I've not seen her perform before and which got Chris excited, a lovely, gentle song. I also loved (of course) 'Dancing In The Street' which she preceded by listing some of the big names who've recorded it and ending with, 'but it's *my* song' and so it is. Another favourite for me was 'Nowhere To Run', with all the running round the stage as best they could in the small space.

It was a scrum to queue up to meet Martha afterwards, not the best organised of signings, but Martha sat there with a pint of Guinness happily signing whatever her fans gave her (including piles of records) and not just signing, but writing a message. She then passed them to Lois and Delphine to sign as well. They were there for ages directly after the show - I know, because we were there for ages, patiently waiting our turn to say 'hello' and 'thank you'. While Chris chatted to Martha I said a few words to Lois and Delphine, reminding them of the great show at the Bloomsbury Ballroom a couple of years ago at which these photos were taken.

Advent 20 - City of Christmas Ghosts

We're getting closer to the Big Day and that means it's time for the big Christmas guns to come out. And here are those nice Goldblade lads with Poly Styrene and 'City Of Christmas Ghosts', my Christmas joy in 2008 when it was released. It's not a high tech, high quality video, but what it lacks in slickness it makes up for in raw power.

La la la-la, Christmas Ghost!