Anger, deceit, snobbery, sex, madness: Tennessee Williams’ 1947 play about two sisters in a small flat in the French Quarter of New Orleans has it all.
The flat belongs to the younger sister, Stella, and her husband, Stanley (that Louisiana observes ‘Napoleonic law, whereby the property of the husband is the property of the wife, and vice-versa’ is a plot point), who are poor, passionate, and apparently happy – until older sister, Blanche, turns up, broke and needing a place to stay.
So closely linked are the names of William (W. S.) Gilbert (1836-1911) and Arthur Sullivan (1842-1900) in the minds of most that I figured there was no point in discussing them separately. But although their professional partnership was incredibly fruitful the two men, who had very different personalities, were never personally close. Continue reading “Composer Profile: Gilbert and Sullivan”→
If Shakespeare’s ‘A Midsummer Night’s Dream’ and 1980s BBC political comedy ‘Yes, Minister’ had a baby, the result might well be something like Gilbert and Sullivan’s ‘Iolanthe’ (Eye-oh-LAN-thee). It’s a comic opera with a plot which is cheerfully ridiculous and punctuated by musical numbers. Continue reading “Local Culture: Gilbert and Sullivan’s ‘Iolanthe’”→
Earlier this month work sent me to a conference in Auckland. This isn’t something which would normally make the pages of this blog – which I intentionally keep quite separate from my working life – except for the fact that the conference in question was being held at the Ellerslie Events Centre in Auckland. The hotel at which I was staying was about five minutes’ walk away, and in between lay something which I’d longed to visit ever since I first heard of it – the Pop Up Globe.Continue reading “Shakespeare at the Pop Up Globe”→
First produced in 1957, New Zealand play The Pohutukawa Tree by Bruce Mason, tells a similar story to that of Patricia Grace’s Potiki. It’s the story of a proud matriarch, Aroha Mataira, the widowed heir to the chieftainship of the Ngati Raukura tribe and the mother of the last Maori family living on their traditional lands at the small township of Te Parenga. The rest of the tribe have long since sold their land to the Atkinsons, the Pakeha (White) landholding family who have dominated the area for three generations, and Mrs. Mataira and her two children, Johnny (18) and Queenie (17) work for the Atkinsons. Continue reading “Local Culture: The Pohutukawa Tree”→
“Keep the secret of whodunit locked in your heart.”
The longest-running West End show ever (it opened in 1952 and has just kind of kept going) is actually quite hard to track down online, especially if you’d like to be able to hear what the actors are saying and not get seasick from shaky camera action. The version I eventually settled on was pretty good apart from the person who coughed all the way through. And the rather hit-and-miss efforts of the American actors to affect British accents, but then I am British so I know the difference. Continue reading “Playtime: The Mousetrap by Agatha Christie”→
My latest area of exploration is the classics of theatre and, as with opera and ballet, I’m using the internet to compensate for the lack of conveniently live performances. My first ‘outing’ is Waiting for Godot, a play by Samuel Beckett (1906-1989), which premiered in 1953.
**Please note that all pictures in this post have been ‘borrowed’ from the Wanganui Repertory Theatre Facebook page, with the exception of the final shot which comes from local paper the Midweek**
When I was a child in England a trip to the pantomime was a Christmas tradition. Mum would take us to buy a big bag of pick and mix sweets, and we’d spend two blissful hours lost in the world of a fairy-tale gone slightly nuts, booing the villain and informing the hero/ine that “he’s behiiiiind you!” before all ended happily and we went home, hyped up on drama and sugar in roughly equal proportions.