Alongside rareties such as Birtwistle’s Earth Dances and Reich’s The Desert Music there’s some intriguing and ambitious new music coming to this year’s festival Even if it doesn’t really seem like one, this year’s Proms marks the beginning of a new era for what styles itself as the world’s biggest classical music festival. Though Sam Jackson took over as controller of BBC Radio 3 and director of the Proms two years ago, the 2023 and 2024 programmes were essentially planned under the aegis of his predecessor as Proms supremo David Pickard. So the coming season is the first for which Jackson has been responsible, though he is keen to emphasise that organising a festival on the scale of the Proms is a team effort, and that though his name is the one that appears on the introduction to the printed guide, he is just one among several who have put the season together – a season of 72 concerts in the Royal Albert Hall, together with weekend residencies and concerts in Belfast, Bradford, Bri...
Gielgud theatre, London
Rylance is entertainingly Chaplinesque as a dissolute husband in Seán O’Casey’s 1924 tragicomedy, but Succession’s J Smith-Cameron is its heart and soul as the long-suffering wife
A volley of gunshots at the start signifies the violent backdrop to Seán O’Casey’s 1924 tragicomedy, which takes place during the Irish civil war of 1922-23. But it is a distant sound, and musical hall-style comedy and drunken shenanigans take prominence in this production.
The second in O’Casey’s Dublin trilogy, Juno and the Paycock dramatises tenement life for the Boyles, whose breadwinner, Jack (Mark Rylance), prefers drink to work while his wife, Juno (J Smith-Cameron), is left to earn their keep.
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