Opera

Mozart’s The Magic Flute 
The Fire Station, Bristol

On Saturday we wandered down to one of Bristol's most dynamic and intimate venues: The Fire Station. We had the pleasure of seeing the last matinee performance of Bristol Operatic Society putting on Mozart’s ‘The Magic Flute’ using Edward Dent's 'English Libretto' . It was my first operatic experience and I am incredibly grateful that this whimsical fairytale was performed in English, because I wouldn't have wanted to miss out on the wonderfully enchanting narrative! 

The performance was not only sugar to the ears, but visually entrancing thanks to the simple screens drawing from ukiyo-e art and the  exquisite costumes and make up, which were all inspired by Japanese mythology. The attention to detail and the flawless performance really demonstrated the effort put into the performance over the last 5 months by the dedicated students.

 The Queen of the Night played by an infinitely talented soprano gave the most electrifying solos throughout, which reached spectacular notes, which pierced our very conscious! The lead female Pamina was as delicate in appearance as with her hauntingly beautiful voice.  The male roles were all incredibly well performed across a diverse vocal range, especially the character Papageno who shone through - not only a skilled singer - but also as a brilliantly funny actor. The orchestra were truly spectacular and our proximity to the musicians made the whole experience all the more captivating. 

For a mere £6 I feel so grateful to have finally been so beautifully introduced to the magical realm of the performing arts that is Opera. I'm now buzzing for my next hit, whether it be at the rather more traditional venues of London's Royal Opera House, New York's Metropolitan Opera or perhaps another equally imaginative venue in Bristol. 

P.S If you love healthy food or vegan treats the Fire Station's in-house cafe, which was a wonderful choice during the interval - full of scrumptious falafel, salads, gluten-free carrot cakes and aromatic coffee.

Dr Faustus

Dr. Faustus at The Edwardian Public Toilets 

& Hyde and Co. Speakeasy.

       

Another rather obscure evening of eclectic experiences has occurred in Bristol. We combined venturing to the Edwardian Public toilets on Park Row to see Spotlight's production of Dr Faustus with wandering back up to the elusive entrance of the Hyde & Co. speakeasy for some late night mixology. 

Dr Faustus was written in 1604 by the renowned playwright Christopher Marlowe and is widely considered to be the most controversial Elizabethan play beyond the works of William Shakespeare. Spotlights put their own stamp on it by presenting us with a 55 minute condensed version that coaxed us in and left us spellbound. The audience were originally pooled in the women's loos, surrounded by the souvenirs of Faustus's bad behaviour and given a taste of what awaited us. We were then led into the Gentlemen's toilets and invited to take a pillow and sit on the blanket covering the freezing, stone floor. It felt very similar to an interactive Punchdrunk production as the characters made direct content with us, creepily breathed questions against our ears and even unsettlingly offering us a cup of diluted cider ten minutes into the show. 

The inversion of gender in the casting and performance - seamlessly performed by Lucifer and his fuchsia locks- made for an striking interpretation of the text. Faustus certainly held her own in her closing monologue as she brought us down with her into the terror of the depths of hell. The other characters kept us engaged with the plot with the intensity and seductiveness of their expressions and the captivating physicality of the performance. Considering the set was effectively only two cubicles and the small space surrounding the audience, the choreography was seriously impressive. The performance took place on a wide range of levels. Characters were at times raised high upon each other's shoulders then would suddenly be crammed, crouching in claustrophobic corners. They made the best of the vertical space with characters eerily curling around the cubicle doors or suddenly pulling on high heels to be raised up another level and reverse the gender roles again. It was complex and therefore intensely gripping to watch their movement's. 

The key to visual appeal of the performance was undoubtedly the lighting. Given the producer's challenge of blocking the play in a public bathroom, they certainly made the best of the situation by imaginatively having a tech team flashing torches and lanterns, illuminating the actor's faces from amongst the audience (as shown above). It made the performance all the more intimate and entrancing. Brilliantly done, especially when the puppets representing the deadly sins emerged from the cubicles. It really added to the grungy, 90s vibe of the play as did the dishevelled costumes and  hypnotic music, which set the moody atmosphere of the play and altered the pace. The resounding message for me was that although some of the plot was lost on us as a result of the visual appeal of all the distractions and the challenges of the venue our attention was never lost. It was skillfully choreographed to make the best of the space thus creating a brilliantly dynamic, provocative piece of physical theatre, which I would highly recommend a visit to this evening! 

Feeling almost too bewitched by the performance we then wandered back up the hill in search of an evening tipple. I'd always heard rumours about the Hyde & Co. speakeasy and so we decided to look for the sign illustrated with a top hat that lies below Berkley Square. As with the Redlight speakeasy I visited on Tuesday, you buzz the door and an impeccably well-dressed vision of 1920s New York emerges from the darkness.

 Our waiter was charming and unapologetically French with an air of flirtation, which seemed to be well-circulated amongst the clientele! We sat on a low velvet window seat beside the glowing bar, which was piled high with bottles of  beautifully colourful emerald, amber and fuchsia liquors. 

When the menu arrived we were spoilt for choice, it was fabulously complex. I had took a step back and drank an indulgently rich glass of Merlot and the other two were more adventurous drinking a smoked vodka 'Queen Victoria' and a rosewater 'Garden of Eden' cocktail - both sensational. Although the drink prices feel crippling, the experience of remaining in Bristol yet being transported back to this secret world of seductive intrigue and glamour is worth the sacrifice.

Expose & Disguise Exhibition, Bristol

Bristol Art Society's 'Expose and Disguise' Exhibition.

March 25-28th, Christmas Steps Gallery 

Throughout this year I have had the pleasure of being a member of Bristol's fabulous Art Society. For mere pennies we've all reaped the rewards of a whole year of life drawing classes, volunteering opportunities, drawing materials and experiences like the brilliant Street Art tour all whilst being surrounded by infectiously creative and inspiring people. 

To round off a year of inspiring work the Art Society are hosting a beautifully curated exhibition at Bristol's wonderfully intimate Christmas Steps gallery for you to come and visit for free all week. Last night was the opening party and with flowing wine, lollipops and groovy tunes, the place was packed. Afterwards we went for drinks at the elusive 'Redlight' speakeasy before the buzzing after-party at the Feminism society's 'Boobie Nights' event. 

It was a rainbow of a costume party with many reincarnations of Frida Kahlo wandering around! Other impressive costume efforts came from the host Becky Black's Salvador Dali/Lobster creation and Zoe Zietman's handmade interpretation of Andy Warhol's soup cans. Some of the boys also produced some Botticelli-inspired sweatshirts, which certainly captured the mood! 

The quality of the artwork was tremendous. I was so intrigued by the piece Masked by Hannah Jones, which explored the theme of people hiding behind their technology whilst demonstrating intricate brushwork to achieve the gentle illumination of boy'd face. Lylie Walter's portrait of her mother was also deeply moving. It captured a moment of pure joy and laughter with a delicate, subdued colour palette and simple brushstrokes. 

The short film 'Nudes' by Amelia Kerr and Matilda Lucy was an interesting interpretation of the modification of the human form, which takes place in society. The atmospheric music and simplicity of the monochrome film made it an eerily beautiful piece of work. 

I also adored one artist's series of tiny journals collaged together on a white board. They recorded her year abroad in Italy and could be opening to reveal intricate little illustrations of chapels as well as deeply personal musings from her travels. So intriguing. 

I also very proud to have my own oil painting named 'Contemplation' featuring in the exhibition.

 Afterwards, my supporters and I decided to venture out for a cocktail and went in search of one of Bristol's most elusive water holes - the secret 'Redlight' speakeasy. I cannot fully disclose the location, but if you wander around the bottom of Park Street for long enough you may stumble upon this red telephone box in a secluded alleyway. You dial the first 3 buttons and are asked what your intention is before giving the number of guests desiring to enter.  

If you're granted entry what you first thought was a flat wall suddenly opens to reveal a mysterious hostess who led us down the dark steps through a red velvet curtain into a low lit, atmospheric and rather old-worldly cocktail bar. It felt like a den of 1920s prohibition with waiters wearing vintage attire. 

The combination of plush velvet sofas, dim lamps and fabulous selection of somewhat expensive cocktails make it a rather seductive choice for your evening tipple. I would highly recommend anything with their fresh ginger syrup!

We then ventured to the After Party at 'Boobie Nights', Bristol Feminist society's fabulous night out at Basement 45. My gorgeous friend Sophia was DJing for the first time so we all boogied to her 'sex positive, gender-netural' tunes all night! The combination of Art exhibition opening, cocktails at a lost speakeasy and a feminist disco night really illustrates the range of eclectic experiences to be had in Bristol! 

Hedda Gabler, Bristol

Theatre Review of Hedda Gabler at Bristol's Alma Theatre.

Henrik Ibsen’s ‘Hedda Gabler’ focuses on the manipulations and cruelty of the protagonist Hedda whose aim in life – as a result of her odd, isolated upbringing - is to have, ‘some power over another human being’. This is to be gradually achieved as she weaves a web of misery and deceit around her perplexed companions, despite never leaving the comfort of her extravagant sitting room.  

The intimate set was exquisite, transporting the audience to 1890s Norway with the ornate furniture and sublime attention to detail in the costume design, three suspended frames, the perfectly constructed canapés and the blood-soaked hands in the final scene. The overall effect was incredibly visually appealing, as were the clever lighting changes taking us from day to night, the rather ominous music and the slick sound effects, notably the gunshot! 

Suffocating in her cage of domesticity, Olivia as Hedda took us on a journey through the development of her delectably sadistic behaviour as she continuously disproved her naïve husband’s better judgment of her. Every move she made contributed to the believability of her sadism when she provoked Eilert Lövborg's suicide for, ‘the sake of beauty’. With the delivery of every line, we were hypnotised by the cool hatred in her eyes and her carefully presented mannerisms, which embodied the growing insanity of her character. We were shown no volatility, but the unpredictability of her ruthlessness absorbed us as she struggled to control her own fate.

There was a subtle element of humour throughout the play from George’s constant referral to Hedda’s weight and his hilarious delivery of the perpetual phrase ‘Aunty Ju-Ju’, to the suave, but authoritative Judge’s incorporation of ‘Americanism’s’ and his saucy request for a peep hole in Hedda’s door. As the Judge’s character grew more familiar we were brought under his spell by his cool sarcasm and seductive drawl.

The male lead, George stole the show playing a man above his years with his consistently upheld mannerisms and physicality’s like his laborious rocking on his feet and his array of inquisitive, baffled expressions, which portrayed beautifully the eccentricities of this complex character. The episode when he worked himself into a state of hysterical excitement over the naming of his unborn child was spectacular. He leapt, tumbled and lunged at his wife in this tornado of emotion, throughout which she gave no reaction, thus illustrating the imbalance of their strange marriage.

As a result of the high-calibre acting the passions of the entangled characters were all exposed with necessary skill to evade the risk of the play becoming a monotonous sitting room tragedy. It was instead a thrilling experience for the audience, an animated, visually appealing, complex tale of manipulation, infatuation and malice.

Sensing Spaces, Royal Academy

Sensing Spaces: Architecture Re-Imagined at the Royal Academy

25th January - 6th April

"Seven architectural practices from six countries and four continents. 23, 000 square feet. 72 days. One monumental exhibition"

On saturday morning I dived into the Royal Academy, waved my pass and weaved through the hoards of buzzing tourists into the main hall. I was stopped in my tracks by the incredible sight ahead of me. The different structures, colours, scents, lighting and diverse range of architectural interpretations of the title were overwhelming. Suddenly, rooms we have been used to housing a modest array of small works were inhabited by vast, interactive structures as if we were living within a scene from Alice in Wonderland. My favourite piece was Kengo Kuma's dark room of beautifully lit intricate patterns of bamboo, but there were a few others that caught my eye...

Diébédo Francis Kéré's installation was perhaps the most interactive, inviting the audience to help 'build' the structure by pushing colourful straws into its walls. It makes the point that we should interact with the space around us and his thought process is best described by his own words...

"I believe it is important to involve people in the process of building so they have an investment in what is developed. Through thinking and working together people find that the built object becomes part of a bonding experience".

The Irish group Grafton Architects produced an installation, which hang from the ceiling creating a solemn atmosphere as it cast a grey filter over the room's light. However, it also had a calming effect on the audience, many of which had chosen solitary corners to soak up the atmosphere and enjoy the feeling of serenity that came with the darkness. 

Despite the fact that Pezo von Ellrichshausen seems to have captured people's imagination, I was not so convinced. Yes, it is amazing to climb a staircase and touch the ornate mouldings of the Royal Academies ceilings, but in my opinion it was more of a jungle-gym for parents to leave their children than a work of art. 

Finally, I also loved the library created by the Architect Li Xiaodong who examines the concept of space within his native Chinese context. It was a wonderful experience wandering through the labyrinth of hazel branches in his metaphorical forest and stumbling upon little nooks to sit and read for a moment. Eventually the audience emerges into the zen garden with a floor of pebbles, which many audience members chose to lie down on to feel the texture against their skin. 

Shoreditch

Columbia Road Flower Market and Shoreditch Street Art.

There is no better way to feel the presence of Spring than wandering through Columbia Road, Shoreditch’s Sunday flower market on the hottest afternoon in March. There was a strong scent of Jasmine drifting through the still air as the sun emerged from behind the last cloud - our skin suddenly seemed to glow! The folk music was also so lovely. As we weaved our way through the slow-moving swarm of bearded hipsters and stray yummy-mummys, we were easily seduced by flower sellers thursting scented roses into our midst. I bought a huge, cheerful fuchsia Azaelia plant to bring back to Bristol on the evening train. I later plonked the 2ft plant pot in the middle of the train’s shared table much to the astonishment of my fellow passengers when they eventually rose from their screens to investigate the aroma!

After indulging in sheets of artisan writing paper in the sweet little stationery shops lining Columbia Road we embarked on a search for East London’s best street art. My favourite find was the oddly moving image of Christ’s Madonna gazing down at a Banksy-esque stencilled soldier. As a painter myself, it was incredibly inspiring to watch a talented young artist up on his ladder, working on his graffiti against a factory wall.

We ate the most fabulous brunch at Andina, which is a super healthy Peruvian kitchen serving everything from purple quinoa, maca and goldenberry porridge to beetroot and chilli Bloody Marys! One final duck into the Box for a peek at all of the funky - but sadly painfully over-priced - boutiques and concept shops and we were back on the road West.

 When you walk along the streets of Shoreditch past funky little barber shops, vegan cafes and vintage emporiums, there is an atmosphere, which seems to pulsate with creative energy. I feel very envious of the lifestyle, despite the fun I have back in the bohemian streets of Banksy’s birthplace - Bristol's Stokes Croft.