MACBETH

2 Jul

Macbeth at St Paul’s Churchyard, Covent Garden
Iris Production
“Who would have thought the Old man to have so much blood in him.”
Well we certainly saw plenty of it spattered over members of the cast in this intelligent and entertaining production of Macbeth directed by Daniel Winder in the normally serene gardens of the Actors Church
I have heard it said ‘Doctor Winder loves Blood’ well he certainly does, and you can be sure that there will be plenty of it mingled with the poetry in all his Shakespeare tragedies. It is helpful that Daniel Winder’s wife is a brilliant historian and between them they extract every ounce of psychological meaning from the script. Barbara Winder also writes a dissertation in the programme about how and why Shakespeare was so inspired and how he captured the mood of the people at that time
Richard the Third was a triumph a couple of years ago and this is an unbeatable production of the Scottish play. Every line has been carefully worked upon so that we are totally in the head of everyone who speaks it. Of course, David Hywel Baynes, one of our best Shakespeare actors absolutely inhabits the mind of Macbeth like no one I have ever seen before and his beautiful lady played by Mogali Masuku uses her enormous charm to help fire her furious ambition. At the start of the play when MacB is a conquering hero and she his loving wife, there is acute sexual feeling between them and their great love is highly convincing. It is all more heartrending to see how his ambition and hers destroys them along with their loving relationship.
The most extraordinary scene is set not in the garden but inside the actual church. The banquet scene when Macbeth confronts the ghost of murdered Banquo really chills the blood is set within the surroundings of the exquisite Inigo Jones church. The scene is really terrifying as the ghost comes and goes as if by magic and seen only by Macbeth whose reaction is that of a screaming uncontrolled madman. As we leave through the anteroom of the church there is even more horror to behold.
The creation of the witches has a touch of genius about it. These are creatures which would be more familiar to Dr Who than to MacB and Banquo. One of them is a giant figure on stilts who dominates the action from the beginning of the play. In the original the witches would have been invented to cause feelings of unease and perhaps fear to the members of the audience So it is appropriate in the modern day that they resemble characters from outer space.
This is a Macbeth like no other. It is a promenade production which moves us around many of the gorgeously landscaped gardens surrounding the Actors Church.

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john Bucchino and friends

30 Jun

JOHN BUCCHINO AND FRIENDS
AT THE St James Studio 2013
John Bucchino is a charismatic and hugely talented multi award winning Broadway composer who writes songs about relationships.Some sentimental – some cynical – many of them heart breaking. The nearest thing we have these days to my particular hero, Lorenz Hart.
Bucchino’s songs have been recorded by Art Garfunkel, Liza Minnelli, Patti Lu Pone, Barbara Cook, Michael Feinstein – the list goes on. I know Michael Feinstein will not object to being quoted here. His songs are ‘continuing the evolution of classic American popular song’ You just have to read the titles of the songs to get that feeling of anticipation, knowing there is going to be something heartfelt – a universal emotional high. “That Smile”, “I miss you when you’re here”, “Contact High”, “Don’t ever stop saying I love you”, “I’ve learned to let things go”. The experiences of each song are so different but so acutely observed and recognisable to anyone who has ever been in love.
Last year I missed his performance when he appeared at the St James Studio to rapturous applause in his sell out concert – this year I was determined to be there to see his work performed by 10 established first class singers.
There are some highlights for me Jonny Barr sings ‘If I ever say I’m over you’ a song that drags the tears out of your heart. “One white dress” sung by Sophia Ragavelas – about a tomboy who is getting married and her reaction to her wedding dress is pure ecstasy. Matthew Barrow sings an up tempo number “Painting my kitchen” (many coats of colours). Danish singer causes gasps of admiration the minute he appears because of his handsome appearance – which is matched by the beauty of his singing voice.
John himself sings the most amusing song about his vengeance on an ex lover “On my bedside table”
A privilege to spend a Sunday afternoon with this enchanting man!
Performers include John Barr, Amelia Cormack, Sophia Ragavelas, Matthew Barrow, Ashley Robinson, Christian Lund, Phoebe Coupe, Linnea Stenbeck, Suzanna Kempner, Belinda Wollaston & Hila Plitman.

James Bonney MP

22 Jun

JAMES BONNEY MP

JAMES BONNEY MP
By Ian Buckley
AT THE White Bear Theatre, Kennington.
Described in the blurb as a Swashbuckling moderate, James Bonney is a labour politician who doesn’t know his left from his right – he obviously swept into parliament during the Blair era. He is baffled by Malcolm R ose (Ciaran Lonsdale) an ardent supporter of Socialism who is living with his dearly beloved daughter Kate( Ellan West)– a girl who loves her rich and popular Daddy as much as she loves her Socialist boyfriend – and Yoga. It must have been a shock to him in the same way as Jeremy Corbyn was to the Blairites in the labour party.
To complicate things further, James Has a loving and trusting wife Christine (Karen McCaffrey) who even cleans his office for him – I think it’s his office, the scenery is discombobulating as I will explain in a minute. But he is also having a torrid affair with Jennifer, his secretary, played by Louise Tyler. He gets an email which accuses him of the misdoing. and James is worried that if a scandal gets in the Red Tops he will not get his expected seat in the cabinet. The bearer of the bad news is his Agent George Jenner who is of course in love with Christine. So there are complications within complications.
The reason for my discombobulation is that Buckley has decided to write this play in very short scenes – as if it was a television script. In that way, it is very confusing mainly because Oscar Selfridge the set designer has invented a highly complicated arrangement of doors and screens which the actors operate themselves, so the only convincing performances they can give is that of scene shifters. as we are too distracted by them moving stuff around to concentrate on the dialogue. I’m sorry but this was a totally daft idea and the director, Georgia Leanne Harris, should have had the sense to prevent it happening
In Act two, the scenes are longer and there is lots of fun – a dramatic scene between Kate and Malcolm, and a madcap venture from Christine in revenge for her desertion . Yes, there are laughs in Act Two and it’s worth coming back after the interval. Like so many comedies, there is a lot of setting up to do in Act one. So please can we lose the scenery and allow us to watch the play and enjoy the dialogue and the performances.
If it was just Act two I would give it four stars. I think it has the makings of a very funny play.

the kite runner

22 Jun

THE KITE RUNNER

THE KITE RUNNER
AT THE PLAYHOUSE THEATRE
Adapted by Matthew Spangler
From the novel by Khaled Hosseini
Life in Kabul before the revolution was serene and secure. There were religious problems between the Sunni and the Shi-ite, but these did not concern the two boys who played happily together and practised their expertise at kilt flying. Every year there was a celebration of kite flying and the one who won the competition was the champion of the year. Amir was keen to win to please Baba, his father, a seriously rich merchant, handsome, courageous and a kind of hero to his son. The other boy and the kite runner was Amir’s friend Hassan, and son of Ali, Baba’s dearly beloved servant.
Amir loved and feared his father but Baba was ashamed of him, because he wasn’t strong and brave – all he wanted to do was write stories. He only got encouragement from Rahim Khan who appreciated the boy’s talent.
Hassan saves Amir from danger and suffers for it leading to a lifetime of guilt for Amir. As the years go by, the revolution happens, the soviets invade Kabul and Baba and Amir escape to Pakistan and eventually to San Francisco where they start a whole new life with Amir’s new wife Soraya. It is here that Amir learns that the Taliban has arrived in Kabul and have banned kite flying. This and a letter from Rahim Khan saying he should come back to Kabul, makes up his mind to return.
David Ahmad has taken over the leading role of Amir and acts as narrator of the family history so is onstage throughout the evening. During the length of the show he manages to extract every ounce of honest feeling and Andrei Costin performs perfectly the humility and courage of his friend Hassan.
Probably one of the most handsome man in the business is Emilio Doorgasingh who plays Amir’s glamorous father. If ever Omar Sharif needed a double, here he is. Karl Seth plays he kindly Rahim Kahn along with other roles. Lisa Zahra plays the beautiful Soraya and shows off her dancing skills accompanied by Hanif Khan who creates a haunting atmosphere as he underscores the entire play with his expertise on the drums. It is worth getting to the play early hear his overture which he plays a half hour before the beginning of the show.
The setting is memorable as it comprises a stark background of tree stumps which changes easily into sky scrapers for the American scenes and for more lavish settings there are two vast decorated fans that unfurl and cover the whole of the stage.
Of all the shows in the West End, The Kite Runner is the most thrilling, spellbinding, and heart-breaking. I saw a hard man leaving the theatre with tears pouring down his cheeks – and he was not the only one. We love these characters so much and we want things to go well for them. Their whole lives are laid before us and the characterisations are so perfect that we fall in love with every one of them – well maybe not the psychopath Assef, played by Bhavin Bhatt with real menace and yet without melodrama. (He and his cohorts play jolly Afghanistan refugees in San Francisco in a different section of the play.)
It is perfectly directed by Giles Croft, and the exceptionally beautiful design is by Barney George. Everything works well together.
Here is a show that should run forever. As well as the main themes of Guilt, Atonement and familial relationships, there is so much to learn about Eastern cultures, the people’s attitudes to each other and shows how intolerance can lead to tragedy.

12 Jun

the battered husband

the red death and fall of the house of Usher

10 Jun

THE RED DEATH AND THE FALL OF THE HOUSE OF USHER

Adapted from the stories of Edgar Allan Poe

At the Brockley Jack Theatre

 

The Red Death involves Prince Prospero who, like his Shakespearean namesake gathers a group of people and locks them away from plague ridden civilisation persuading them that he is saving them from dying in a horrible, messy way as victims of the Red Death.  They all think they are having a lovely time dancing and being entertained, not knowing what Prospero’s evil plan is going to be. There is some interesting choreography by the director Omar F Okai but this is not an easy play to stage. There is no real drama until the very end so Simon James Collier in his adaptation keeps us interested with stories of the scandals of his guests, some with titles some with money – all wanting what is best for themselves. We get a glimpse of his mind when young man – Lord Usher tells of his interest in Christianity.

The second play about the House of Usher has much more dramatic content. Winthrop (James McClelland) is a young man who arrives at the House of Usher and meets the master of the house Roderick Usher (Zachary Elliott-Hatton). Winthrop is looking for Madeline (Nell Hardy) the girl who left him at the altar.  He has been searching for her and has tracked her down to this house. Roderick has imprisoned her in an upstairs room and the young suiter is constantly goaded by ghosts of previous members of the family all of whom have died young due to a curse put on the house of Usher. Madeline is destined to be one of them but he tries to take her away and save her from the curse.  This story was adapted by Adam Bechamel and directed by Maud Madlyn.

There is a very young cast who double up in both plays and they all work effectively, having absorbed well the atmosphere of melodrama, especially as the guests of Prospero and the lovely wafting ghosts who accompany Winthrop wherever he goes. Prince Prospero is played by the very elegant Cristinel Hogas who also plays one of the Usher ghosts.

This double bill is great fun and the lighting and sound effects are wonderfully creepy.

VIXEN

4 Jun

VIXEN

By Silent Opera supported by the ENO

At the Vaults  Waterloo Station

Daisy Evans, Stephen Higgins and Max Pappenheim have constructed a reimagining of Janacek’s classic opera ‘The Cunning Little Vixen’ creating a metaphor of life in the current day Streets of London.

Forester is a man who loves his beer – he is out on the town when he sees a teenage red- haired beggar and is fascinated by her. This is Vixen, a homeless girl with a Vixen tattoo on her chest who survives by the generosity of people on the streets of London.  Forester takes her home and feeds her, but his family is consumed with jealousy and she is assaulted sexually by members of his family. Vixen runs away, taking Forester’s wallet.

She uses the money to build herself a shanty. She meets Fox who manages to overcome her fear of love and they marry.

Forester who is obsessed by the memory of her tries to seek her out and hires a detective to find her and bring her home. He finds her and all ends in tragedy.

Is it possible to have immersive opera? And yes o course it is. It has been provided in the Vaults underneath Waterloo Station. The action takes place with two principal singers Ivan Lyudlow as Forester and Rosie Lomas as Vixen plus five singer/musicians  and all are scattered among the audience.  The audience is moved several times – from the bar, through the auditorium into the Forester’s kitchen and the final part is in the theatre.

But the real adventure of this production is the production of earphones which are handed out to each member of the audience so that they get an exact representation of the words and music as the whole congregation including the actors are moving around the building. The earphones are comfortable and one forgets about them as soon as the production begins – they also help to drown out the sound of the trains rumbling above.

The singing is of course wonderful and the cast give it their all, bringing out the drama of the situation. I did feel however that the singers were all perfect in their rendition of both the words and the notes and were powerful enough to fill the building with sound, without the need of earphones.  A bit of a gimmick in fact. But it did all add to the fun.  A great adventure that should not be missed.

 

 

foul pages

29 May

FOUL PAGES *** By Robin Hooper
At the Hope Theatre
Plays involving William Shakespeare are always fascinating. However his heart and his brain have been investigated by so many different writers with so many differing results that it is a joy to see him as a simple working writer collaborating with his friend The Countess of Pembroke (The impressive Clare Bloomer)who is playing host to the players escaping from plague ridden London.
Another advantage here is that the actors are all living in close contact so, like an old fashioned play there is just the one set.
However he has written it in short scenes, and it takes a while to get ones brain into the correct gear, especially as between each little scene there is a whole lot of excruciatingly loud music which I found not only annoying, but in my case actually painful.
The main occupation of Mr Shakespeare (played with dignity by Ian Hallard)is to finish his play in order to win the favour of the new Scottish King James the first. A familiar problem arises when one is writing under orders, the patron insists on undesirable alterations in the casting. The leading role is Rosalind and the leading juvenile of the company is being pushed aside to give room to the Innamorato of the King .
Of course much is made of the casting of plays most especially the use of young men to play the leading ladies and there are many slightly bawdy and very gay jokes during the whole of the performance.
The play begins as a crazy comedy, the main character being a talking dog who is the unnamed and unrecognised narrator of the action. It is a great and unusual part for an actor and it is played with lots of fun and dedication by James King. A terrific role where he doesn’t have to communicate with the actors except to get a lot of cuddles.
Clare Bloomer is an imperious countess and a lot is made of the fact that Will collaborates and takes advice from a woman, so that women had their place even though they were not allowed to perform. Peg, her maid is played by Olivia Onyehara and these are the only two women in the cast but they are strongly registered..
All the young men are absolutely gorgeous and play with great honesty, truth and wit. Lewis Chandler is the blonde beauty originally engaged to play Rosalind and Thomas Bird is his usurper. Greg Baxter plays Ed, the sweet young man who is playing Orlando and is distressed to lose his lovely Rosalind.
Probably the most comical character is that of Tom Vanson who is the highly vain and over-dressed, over-made up and over- jewelled Scottish King – and his over-butch Protector is played by Jack Harding.
All good, crazy – if sometimes confusing – fun. The edge taken off from me – and probably only me – by the horrendous noise, like being at the heart of a thunderstorm. Longed for my earplugs.

thankyou Carl Djerassi

3 Mar

THANK YOU CARL DJERASSI  a personal memoir by aline waites

‘This is my son, Jacob’ said the Jewish lady.          He was visiting from Israel and she had brought him into the office to introduce us.

‘Hello Jacob’ I smiled and held out my hand.

The young man gave a start and took a step backwards, putting both hands behind him. On his face was a look of disgust.

I stood for a moment with my rejected hand still held out and felt waves of anger and embarrassment permeate my being. I sat down and continued with my work.

When I asked the Jewish lady why her son had behaved in this impolite manner, she laughed as if it had been merely a charming eccentricity on his part.

‘He is thrum’ she said

‘What does that mean?’

‘I t is against his religion to touch women in case they are unclean’

‘Unclean?’

‘He doesn’t know you. You could be menstruating’

She dismissed the event in such a frivolous manner that I could feel the killer instinct, usually dormant in me, rise to the surface. However, I restrained myself from physical violence and instead called another Jewish friend and told him the story.

‘She spoke of it as a perfectly normal thing to do.’

He took the incident seriously and was indignant not only on my behalf, but on behalf of his race.

‘It was not normal at all’ he said. ‘He could have been part of some fundamentalist sect, but this is the kind of rudeness that promotes racism.’

This incident lingered in my mind and triggered off a long forgotten memory – a traumatic happening of my childhood.

Until I was about four years old I accepted my mother as she appeared to all who surrounded her – beautiful – like a Goddess. Thick waves of hair the colour of burnished chestnuts fell to her shoulders. Her highly mobile face, with its retroussee nose and perfect teeth, was always lit up with smiles and her laughing hazel eyes were framed with the kind of eyelashes that they said, ‘could sweep the gravel path’. People argued about whether she was most like Greer Garson or Hedy Lamarr.

Although it was rarely put to her mouth, a cigarette appeared to grow between the fingers of her left hand. Its function was as a convenient prop to emphasise the gestures that punctuated her conversation.  A cloud of L’Aimant – her favourite fragrance, surrounded here wherever she walked. L’aimant – The magnet – it could have been named after her. I always think of her in the centre of a crowd of happy people. She was amusing with a sense of humour that was sometimes cruel but always funny, and often aimed at herself.  For instance, she bitterly regretted not being able to sing. As she reached for the high notes, her eyebrows would rise up into her forehead and she would stand on tiptoe as if to capture the sound above her head, but the voice inevitably came out in a kind of breathy wheeze. The effect was very funny and she used it to great effect at parties. It was admirable that she managed to turn her one failing into an advantage.

My father was tall and blond with a roman nose and forget me not blue eyes like Steve McQueen, he could sing and play the piano and spoke several languages, but he was shy, wrapped up in his books – neither so available nor so popular with their many friends. I got used to hearing people say as they looked at me               ‘What a pity she takes after her father. She’ll never be like her mother.’

Why is it people talk about children in front of their faces as if they were deaf? Anyway, how could I possibly aspire to be like my mother? She was a princess in my eyes.                Until I discovered there was something vile inside her.

My father had driven us to Leeds to do some shopping. He set us down in the middle of the vast shopping area and went off to look at masculine things like golf clubs.

My mother and I had tea in Fenwick’s – our favourite place. The café was not yet full but there was a muted buzz of conversation from the other tables which all added to the cosy atmosphere. For little people the management supplied special high chairs carved and painted like Disney characters. I always chose Snow White. I had decided to be Snow White when I grew up. Hair black as ebony, skin white as snow. I was blonde and freckled, but a girl can dream.

I took sips of my milk shake – a delicious malted concoction that frothed up in a special kind of long straight glass encased in a silver holder, with a handle that could be held like a cup. Toasted teacakes arrived on a silver platter with a domed covering to keep them warm. My mother laid one on a plate for me and the delicious smell of toast rose up – toast and butter and sultanas all mingled together and, hovering around my mother, the constant smell of L’aimant.

I liked to watch her as she poured her tea from a little silver teapot into the thin china cups – smaller than the ones we had at home. The sugar was in dice shaped lumps in a silver bowl and there were tongs with birdlike claws to pick up the lumps and drop them into the tea with a satisfying plop. My mother used the tongs neatly – although she would never have bothered to do that in the kitchen at home. Grown ups always did things differently when they were ‘out.’ The plop of the sugar into the tea made us giggle. We were good friends having a happy time together.

But as I gazed at her, my mother’s face changed. Her usually rosy glow disappeared and she turned a kind of plastic almost transparent yellow – the colour of Vaseline. She gave a cry and clutched her stomach.

She rose to her feet and snatched my hand, pulling me out of the high chair. Her usual springy step had turned into a curious staggering gait as she dragged me into the Ladies room. Ignoring the woman who sat there at a table with a bowl of money beside her, she opened the cubicle door and pulled me inside with her. She bolted the door, but before she had time to lift the seat, it happened.

I stood beside her and watched in fascinated horror as it seemed my mother’s whole insides were emptied out in front of me. The blood was dark red with bits floating in it and it had a curious dank smell which mingled strangely with the sweet powdery smell of L’Aimant.

I watched the disgusting mess pour out of her as she gasped and wept with pain.

There was a knocking on the door as the attendant called out ‘Are you all right?’  With a great effort of will, my mother pulled herself together enough to call out in her normal voice.

‘Yes, thank you. My little girl has an upset tummy. She’ll be all right in a minute’

I never quite understood why the blame had to rest with me. Many years later I realised that she could not allow her narcissistic image to be defiled even in the eyes of a lavatory attendant.

After a while the flooding stopped and she seemed to notice my stricken face for the first time. She smiled at me through her tears.

‘It’s all part of being a woman’ she said ‘you’ll find out one day’

She tried to put her arms around me but I flinched from her touch. She shrugged and pulling almost the entire contents from the toilet paper dispenser she, with unusual efficiency, managed to clean up the mess on the cubicle floor.

For months afterwards the smell of her blood assailed me whenever she came near me. It lingered in my nostrils. I drew back from her, was not even able to look at her without remembering the awfulness that had poured from her. Now I was glad not to be like my mother – or Snow White.

 

Shortly after the birth of my son, I was introduced to the birth control pill. To my joy, my periods almost completely disappeared.  Now I was in control of my own body. My mother was angry with me, she considered the pill was immoral and unnatural. So she continued with her heavy periods until they culminated in an appalling menopause and a hysterectomy. She was never my fairy princess again and I have never been able to smell L’aimant without the accompanying odour of menstrual blood. Incidentally, the perfume I use is called ‘Escape’

This story remained a secret until now. But the memory somehow reconciled me to Jacob’s hurtful and insulting behaviour.   The hostility received from a complete stranger was certainly no worse than my rejection of my own mother and for precisely the same reason.

Thank you Car Djerassi for inventing the birth control bill while other scientists were concentrating on the Atom Bomb.

 

 

 

Linda Anderson prompted me to write this.

The prompt helped of course – and the idea of linking sketches together with a single theme.  The first sketch is the encounter with the Jewish man, followed by the extraordinary reaction of his mother. To explain this away I needed another Jewish character to restore the balance.  I have many Jewish friends of both sexes and I discussed it with them. They all responded with the same shock horror so I condensed them into one. It was originally female, but I thought all the “shes” might be confusing, and besides, making it a man highlighted the difference in masculine attitudes.

The incident with the orthodox Jewish person was amazingly traumatic. I was deeply humiliated when he refused to shake hands with me and even more distressed when I heard the reason. It brought back to me the feeling that merely being a woman was something disgusting.

The second sketch begins with a description of my mother. Had I been writing fiction I would have inserted it drop by drop into the Fenwick’s scene, but as it is a non fiction piece and autobiographical, I felt a factual and fairly detailed description was required. I was trying to get over the glamour of the woman and I didn’t want anything to interrupt the feeling of extreme happiness in Fenwick’s which leads to the terrible climax of the story.

Originally, I had thought to carry the story on into adolescence, how my friends dealt with the onset of the curse, and my own reaction to it and to them. However, it turned out to be irrelevant and too long so I cut straight to part three. This was my refusal to follow my mother into the inevitable suffering of womankind by going on the pill.

It is no wonder madness and menstruation used to go hand in hand. Even the condition known as hysteria is named after the womb. I recently saw the film “Tom and Viv” again. The hormonal imbalance of T.S Eliot’s wife, Vivienne which caused her violent mood swings also caused her to have frequent periods. He was not able to conceal his repugnance and this drove her completely crazy. His guilt made him treat her so badly – he had her sectioned and incarcerated for the rest of her life. I believe Marilyn Monroe had a similar problem, causing her various absences and her often reluctance to go on set. However, this was hardly a suitable subject for Photoplay Magazine and her reputation suffered in consequence. So many women have suffered in silence because menstruation was for years a taboo subject.

Thank God for Carl Djerassi, the scientist who invented the pill while his contemporaries were probably intent on creating weapons of mass destruction..

 

 

LIZZIE

2 Mar

LIZZIE at Greenwich Theatre

Concept and Lyrics by Steven Cheslik-Demeyer and Tim Maner

Book by Tim Maner

Music by Steven Cheslik-Demeyer and Alan Stevens Hewit

There was a song back in the day that went ‘Oh you can’t chop your poppa up in Massachusetts’ A song that was of course a reference to Lizzie Borden the life of whom also prompted the nursery rhyme and this rock opera.

This is a tremendous production with just four powerful female singers and a six-piece rock band. The story sheds another light on the old melodrama. Giving a feminist slant on the true-life story of an evil man slaughtered by Lizzie the daughter he bullied and used as a sex slave.

Everything in this production is big. Big sets, dramatically lit with varying colours often illustrating the bloody nature of the story,

Andrew Borden was a billionaire – the richest man in town, but the family was kept in penury. After the death of his wife he married again, a woman loathed by her two stepdaughters who believed that she was marrying Andrew for the money she would inherit after his death. The elder sister Emma is the first one to say ‘She must die before Father’ so the daughters would not be left penniless.

Emma is played by Eden Espinosa, Lizzie by Danish actress/singer, Bjorg Gamst. The cast is made up of the maid Bridget (who they call Maggie) and Alice Russell, the neighbour who loves Lizzie and these were both witnesses at the trial.

These are four passionate and powerful young women who have been kept down by the patriarchal laws of the land. It seems as if the final straw for Lizzie was when Andrew, in a fit of jealous rage disposed of  her pet pigeons, after she sings of her love for them, ‘The soul of the white bird,’ by chopping off their heads and sending them to his daughter in a blanket

In Act one set in a steamy heat of august 1892 they wear Victorian Dress, The conservative clothing a symbol of their imprisonment in the rage, fear and frustration caused by their female station in life. But in Act two after the murder, they celebrate their freedom dressed like Burlesque queens in suspenders and corsets. .

There is tenderness and true love between the women as well as their collaboration in hate for the father. Alice loves Lizzie and sings the love song ‘I dream of you’. Unlike the song Lizzie sings about her relationship with Andrew ‘This isn’t love’ which is very moving and is followed up with another area ‘I gotta get out of here’

Lizzie Borden took an axe and gave her mother forty whacks.When she saw what she had done, she gave her father forty one.

Directed by Victoria Bussert, Choreography by Greg Daniela and Martin Bergmann Konge is musical director.

A brilliant work set in United States but performed with true Scandinavian sensibilities. A great combination.