Debbie Gilpin - Page 4

“Can you tell me what it is, this capacity for emotion, this force of suffering that is wearing me out?” The focal point of Prom 58 was Hector Berlioz’s 49-minute “Episode in the Life of an Artist”, his Symphonie fantastique; written while he was still in his twenties and at the mercy of his infatuation with Harriet Smithson (who he had seen play Ophelia in Hamlet), it is a colourful and evocative tour de force. It’s also a piece that the Orchestre de Paris knows inside out.

“Never seen a TARDIS before?” For many in attendance at the Royal Albert Hall, this probably is quite likely! The Proms haven’t had any adventures in time and space since Doctor Who’s 50th anniversary celebrations back in 2013, so its return was well overdue - especially as there have been several incarnations of the Doctor in that time. With the BBC National Orchestra of Wales and the London Philharmonic Choir on hand, a spectacular showcase of the programme’s music was guaranteed.

'Age cannot wither her, nor custom stale her infinite variety.' Aside from a couple of Horrible Histories songs, most people probably know Cleopatra for her unique manner of death - almost certainly an apocryphal story (it's far more likely that she simply poisoned herself), but that and her ill-fated relationship with Mark Antony clearly piqued William Shakespeare's interest.

There has always been much conjecture over what it really means to be British – most recently, a group of self-proclaimed “patriots” got together and trashed libraries, independent businesses, and community hubs across the country in the name of supposedly getting their country back. This, of course, isn't patriotism at all. Something that is often held up as a paragon of Britishness, however, is the Proms season; outside of the famous Last Night, this year's Prom 33 may end up being the most quintessentially British of the lot.

'‘Tis time to fear when tyrants seems to kiss.” It’s true that most of Shakespeare’s most well-known works remain perpetually relevant, particularly in the difficult times that continue to afflict populations worldwide, but sometimes it’s worth shuffling the pack and pulling out a lesser played work. The thing with geniuses like Shakespeare is that their less popular output is often just as good as the stuff that everyone’s heard of. Enter Tamara Harvey and her production of Pericles, Prince of Tyre.

During the Restoration and beyond, there were numerous attempts at rewriting Shakespeare - one famous example being Romeo and Juliet changing to a happy ending. His work has also been adapted for slightly different kinds of staging, which is evident in Henry Purcell’s operatic composition; The Fairy Queen is in fact a musical and slightly alternative view of A Midsummer Night’s Dream. Ahead of Prom 68 (Britten’s A Midsummer Night’s Dream), Les Arts Florissants and Compagnie Käfig combined to present their interpretation of Purcell’s piece, with Paul Agnew conducting.

'To promise nearly fifty million people truly universal health care - ‘cradle to the grave’ - is crackers.' Despite this quote featuring quite prominently in promotional material, and the poster image showing a pair of midwives, The Promise isn’t wholly about the founding of the NHS. Paul Unwin’s new play instead depicts the rise of Clement Attlee’s Labour Party in the wake of the Second World War, and their attempts to create unity and growth in the years that follow.

“I believe in nothing.” Listening to Verdi’s Requiem would certainly suggest otherwise, its 85-minute journey from “Introit and Kyrie” and “Dies irae” - via “Offertory”, “Sanctus”, “Agnus Dei” and “Lux aeterna” - to “Libera me” explores a wealth of emotions, and is rooted in spirituality.

Unlike the Last Night of the Proms, which has developed its own mythology and status (thanks to the traditions that surround it), the First Night of the Proms is not bound by any particular structure or the need to play any specific pieces; there’s a freedom to it that spills out into the audience, eager for the new season to get underway.

“What we need is harmony, fresh air, stuff like that.” Almost 40 years after it first graced the big screen, cult classic film Withnail and I has been adapted for the stage – and it is currently in the middle of a limited engagement at the Birmingham Rep.

“More matter for a May morning.” Given that the majority of Shakespeare’s plays began with outdoor performances of one kind or another, it’s a perfect fit for the leafy surroundings of Regent’s Park – which has made it all the more conspicuous for its absence from the programming over the past few seasons. Owen Horsley steers the ship as this well-loved comedy docks in north London for the next few weeks.

“This way, you win, no matter what.” The Women’s Cricket World Cup Final in the present day, and eighteenth century Calcutta – on the face of it there’s the barest of connections, but when you drill down a bit deeper you can see how the relationship between England and India was first forged. Or, perhaps more accurately, forced.

“People don’t pay to see Reginald Dwight, they pay to see Elton John!” In the sea of ubiquitous biopic-by-numbers that is modern cinema, one film really stood out from the crowd. Dexter Fletcher and Lee Hall’s Rocketman is the epitome of ‘What Would Elton Do?’, as it veers from one multicoloured musical explosion to another; whereas most biographical depictions of a star’s rise to (and fall from) fame in the most straightforward and accurate fashion they can, this is unashamedly a fantasy memoir told from Elton’s nostalgic perspective. And it has finally made its way to the live arena in the UK.

Welcome to a high school reunion with a difference: this one has an uninvited (but secret) guest. In Branden Jacobs-Jenkins’ latest play, a group of friends collectively known as “MERGE” have gathered for a pre-reunion meet-up; Ursula, Emilio, Caitlin, Kristina and Paco haven’t all been in the same place together for quite a few years, so there’s lots to share - and plenty of old grievances to be aired.

“Sometimes the Devil doth preach.” In a winter season that has arguably gone too light on Shakespeare, it is nonetheless fitting that the final production is a brand new version of John Webster’s bloody tragedy. Dominic Dromgoole’s production opened the Sam Wanamaker Playhouse ten years ago, and now Rachel Bagshaw is on board to direct it on its return to the replica Jacobean theatre.

Following a long-anticipated Broadway run, John Benjamin Hickey's production of Neil Simon's Plaza Suite has now made it over to the West End, where it takes over from New York-bound Sunset Boulevard at the Savoy Theatre. This version sees real life couple Sarah Jessica Parker and Matthew Broderick work opposite one another for only the second time in their careers – and is especially apt given the play's subject matter.

“This is perhaps a story for all the misfits, all those who have ever felt ‘other’.” Jade Anouka’s debut play tells the story of love, heartbreak, mental health challenges, and fresh starts - it’s (mostly) a monologue, backed by music from Grace Savage, and has previously been produced by Audible Theater, with live performances in New York and Edinburgh ahead of this run.

1979 was quite a big year both politically and culturally, but Canadian Prime Minister Joe Clark is perhaps one of the lesser known figures to emerge from that time – his Liberal opposite number Pierre Trudeau (or at the very least his son, Justin) is probably a more recognisable name.

It’s probably safe to assume that, for many people, December 2023 so far has not been “the most wonderful time of the year”; whether it’s miserable weather, unreliable train infrastructure, or any of the myriad other problems facing the world, the lead-up to this year’s Christmas festivities has not exactly been vintage. For one magical evening, however, Jamie Cullum managed to sweep that all aside and deliver a festive concert stuffed with pure joy.

There are plenty of Shakespeare books on the market already, it’s true – but there aren’t many out there quite like this one. Originally intended to be a series of conversations between Judi Dench and her friend & colleague Brendan O’Hea for the Globe’s archives, it became apparent that there was more than enough material to build an enlightening and entertaining book.