A Dark Comedy about Brahms

Bakehouse Theatre – Studio, Wed 20 Feb.

In Vienna’s City Park there is a grand statue of Brahms depicting the composer as a grumpy old man. This new work by Neil Salvage reinforces that view and goes some way to explain why he became so grumpy. In what could be seen as just another tortured artist scenario, albeit from the 19^th Century, Brahms it seems was the only person in Vienna at the time who didn’t like his own music. Or so it appears at this party to celebrate the first performance of his new violin concerto.

Rather than play the gracious guest of honour Brahms spends much of his time drinking in a back room and berating all who commend him on his achievements. Cycles of praise and recrimination ensue between the composer, his publisher, violinist and musical collaborator, old friend Clara Schumann, and an influential critic. Bitter and resentful, Brahms seems intent on bringing everyone down with him to wallow in misery and self-doubt.

All these various roles are masterfully played by Salvage himself, Nicholas Collett – both eminent actors from the UK stage, and local emerging artist, Stefanie Rossi. Having excerpts of Brahms’ work played live added immediacy and context, but having the violinist overplay her silent reactions to the dialogue unfolding before her was a mistake. They need to be far more subtle.

Billed as a dark comedy, there’s not much room here for laughter. Ironic smiles perhaps as we watch Brahms himself try to reconcile being the author of the famous Lullaby with the angry person he’s become.

An entertaining play with solid acting performances, and a really good way to learn something about Brahms the person, and become (re)acquainted with his music.

(This review also published on The Clothesline.)

Judith Lucy vs Men

The Garden Of Unearthly Delights – The Vagabond, Tue 19 Feb. 

Dysfunctional relationships, gender stereotypes, feminism, toxic masculinity, ageism, online dating, social media – you could write a thesis on Judith Lucy v Men. But with the skill of a veteran comedian she turns serious stuff into laughing matters. Judith Lucy bares all about much of her own life in a story that could easily turn sad and sentimental, but she keeps a professional distance from the emotional impact relationships with men has had on her, enabling her audience to laugh with her, but still feel close enough to care. And she wants us to care – at least enough to cast a vote at show’s end as to whether she should give up men altogether.

If half of what Judith says is true she has indeed had a bum deal with straight white men, and they come out of this show looking pretty much like bastards. But she’s not bitter about it; she’s quite resilient in fact, and willing to concede that there may be something about her that invites relationship disaster.

Much of the show is about sex but Judith Lucy has a way of addressing the lewd and lascivious with a touch of class that makes sex part of a larger more important story – the desire to be wanted and how to cope when relationships go wrong.

She delivers much of her material with this wonderful brand of sarcasm that draws the humour out of situations without whinging, and it adds a keen edge to her story telling. Lots of audience members get to join in the discussion, and by show’s end everyone cares about what happens to her next.

Amid the laugher and the joy however there is also a sense of pathos. Great that she can makes us all laugh along with her about her failed attempts at love, but perhaps she’d rather not be alone, treading the boards night after night getting laughs from her failures? But that only Judith Lucy can know.

In the meantime we all get to go and enjoy a really funny show that is engaging and full of raw humanity.  

(This review also published on The Clothesline.)