Showing posts with label Diana Rigg. Show all posts
Showing posts with label Diana Rigg. Show all posts

Tuesday, 30 November 2021

Sondheim of the Day - A Little Night Music

During the solstice in Scandinavia, the sun does not set for days at a time. Dating back to pagan tradition, Midsummer festivities are notoriously raucous social-more-thwarting revelry. Against this ripe backdrop in turn-of-the-century Sweden, A Little Night Music celebrates the romantic foibles of Desiree Armfeldt and friends over one eventful extended sunset.

Stephen Sondheim and the original director Harold Prince “always wanted to do a musical that dealt with love and lovers and mismatched partners...love and foolishness.” While looking for material to adapt into a romantic operetta, they found their own perfect match in the Ingmar Bergman film Smiles of a Summer Night. “Bergman achieves one of the few classics of carnal comedy,” wrote renowned film critic Pauline Kael, “a tragicomic chase and roundelay that raises boudoir farce to elegance and lyric poetry.” While Sondheim and book writer Hugh Wheeler retraced the romantic runarounds of the film’s story, they sweetened Bergman’s cynicism, allowing “the darkness to peep through a whipped-cream surface. Whipped cream with knives.”

- from The Huntingdon Theatre website

From its debut in 1973, A Little Night Music was warmly received by the critics and reviewers, and has been revived myriad times since - the show is often cited as one of Sondheim's finest works. Conceived as a sort of operetta, virtually all of the music is, unusually, written in waltz (three-quarter) time - and from its magnificent score, a legendary showbiz standard (and pop hit) was born. But first, on with the show...

[Other notable versions of this remarkable number include Elaine Stritch, Dame Cleo Laine, Dame Sian Phillips, and even Margaret Hamilton(!) - but my fave is the original by Hermione Gingold (no video for that, unfortunately)]

And finally... The number that gained a life all of its own - probably Sondheim's most recognised and famous song. It has been covered by just about everyone in the business, including Frank Sinatra, Judy Collins (whose version was a huge hit in 1975), MegaBabs, Sarah Vaughan, Bing Crosby, Julie Andrews, Lou Rawls, Shirley Bassey, Blossom Dearie, Jack Jones, Johnny Mathis, Cleo Laine, Rosemary Clooney, Maria Friedman, Ruthie Henshall, Michael Ball, Glenn Close, the Tiger Lilies and even Dame Edna Everage (and many, many more besides). However, this is the lady for whom it was written:

Other notable "Desirees" include Elizabeth Taylor, Jean Simmons, Sally Ann Howes, Dorothy Tutin, Catherine Zeta-Jones, Juliet Stevenson, Bernadette Peters and Judi Dench]

We went to see it back in (gulp!) 2009 - at the "home" of many a successful Sondheim production the Menier Chocolate Factory - starring Maureen Lipman as Madame Armfeldt, Hannah Waddingham as Desiree and Alexander Hanson as Frederik, and loved it.

A Little Night Music is quite simply magnificent, and deservedly revered as a classic.

All you need to know about the show is on the Everything Sondheim site.

RIP, Stephen Joshua Sondheim (22nd March 1930 – 26th November 2021)

[One of a series of tributes I will be posting to Mr Sondheim this week.]
Previous "Sondheim of the Day" entries:

Sunday, 29 August 2021

She could always throw her legs up in the air higher than any of us... and wider

What better way to spend an intermittently-sunny-but-mainly-overcast Sunday than in the company of the faboo Steve Hayes, reviewing in his own inimitable way one of our all-time favourite films here at Dolores Delargo Towers, the uber-camp Evil Under the Sun?

Perfection.

Saturday, 10 April 2021

The perfect holiday

Having spent most of my fortnight's leave slogging in the extensive gardens here at Dolores Delargo Towers - just about every pot and trough of perennials and every one of our (surviving) fuschias has been lifted and planted into brand new compost; we've got through at least six bags of the stuff - the weather today is really quite grotty, so I'm having a "rest day" in preparation for the horror looming on Monday, when I'm back to work.

Needless to say, all our dreams are pinned on the vagaries of winning the Lottery, and jetting off to somewhere exotic and fabulously stylish...

....in the company of a (dearly-departed) Dame and her E-Type Jag, perhaps?

Ah, that's better.

[Music: Vast Resources by Jan Kimberly. Original film: Minikillers (1969)]

Soft Tempo Lounge

Tuesday, 23 August 2016

Under the sun...



...we are still evil!

The UK is having a heatwave!

[At least for a couple of days; then it will no doubt rain]

Wednesday, 25 May 2011

"I'm a good girl, I am!"



We went along to see Pygmalion at The Garrick Theatre last night - and it was a remarkably surprising production! For despite the lure of seeing the eternally sexy Rupert Everett and the magnificent Dame Diana Rigg on stage together, it was the (previously unknown to me as I don't watch soaps or reality TV) first-timer Kara Tointon who emerged as a genuine star in the making.

Despite evidently being directed to impersonate Audrey Hepburn rather than actually portray an Edwardian character, Miss Tointon really injected some personality into her Eliza Doolittle - and provided a perfectly feisty foil for Mr Everett's terrifyingly dismissive Professor Higgins and Peter Eyre's aloof Colonel Pickering. Her scene when first introduced to polite society, engaging in ‘small talk’ with the society ladies, was hilarious and impeccably delivered - and her transformation from "squashed cabbage leaf" flower girl to well-spoken lady (without losing her anger) was convincing. Not bad for a West End debut!



Dame Diana was marvellous (as she would be) as Mrs Higgins - holding court in her drawing room - and Roberta Taylor’s Mrs Pearce the housekeeper is perfectly controlled as she seethes quietly about the Professor's callousness. There was only one weak spot - and a rather unfortunate one, given the importance of the character - in the fact that poor Simon Ward is unwell and has had to pull out of the production, leaving an obviously under-rehearsed Michael Feast to carry the part of Alfred Doolittle (who has so many of George Bernard Shaw's best lines in the play). Mr Feast is a good actor, but I felt myself wince several times as he stuttered, trying to get the lines - and losing a little of their emphasis on occasion.



The elegance, charm and wit of GB Shaw's writing shone through beautifully with such a great cast of thespians. Despite the unfortunately widespread set design, which placed Rupert Everett and Kara Tointon out of the eyeline of half the audience in the Circle on several occasions, at least you could always hear the dialogue. I am sure I was not alone in half-expecting them to burst into song ("reminder to self: this is the original, not My Fair Lady"), especially as little bursts of music do permeate the play...

Another joyful evening's entertainment, in celebration of the lovely Paul's birthday - and we managed to get our programmes autographed by a Dame, a queen and a debutante at the Stage Door afterwards!

Pygmalion at the Garrick Theatre