Published by METRO
I’m taken back to fond memories of watching an old children’s TV show as I gaze over the cast of Pass The Spoon. One character is called Mr Egg, another The Banana, and the piece is set in a kitchen. Any allusions to my early childhood, however, are greatly compromised from the moment I notice the writer credit – David Shrigley.
The artist, famed for his surrealist cartoons and drawings, has acquired a dedicated following in Glasgow since he graduated from the city’s School of Art 20 years ago. And indeed, the result of his bizarre but brilliant imagination’s latest creation is one that will not disappoint any of his fans.
Teaming up with respected director Nicholas Bone, award-winning composer David Fennessy and exciting contemporary music group Red Note Ensemble, Shrigley tonight takes his darkly comic talents to the stage.
Musical, opera or melodrama, Pass The Spoon is a predictably quirky affair that takes place in the studio of a daytime cookery programme. The hosts, June Spoon and Philip Fork, work with ordinary ingredients that take on extraordinary personas as they’re used to make a dish for sinister show guest Mr Granules.
Originally conceived back in 2008, the project is being staged by Edinburgh-based company Magnetic North – acclaimed for productions such as Walden, which went on two national tours.
Although this is his first piece of theatre, Shrigley is no stranger to dabbling in art forms other than the picture-postcards for which he is most decorated. He’s also authored many books, created animated shorts, released a spoken word album and directed music videos for Blur and Bonnie Prince Billy during his colourful career.
The Macclesfield-born artist may have exhibited his work around the world, but he’s treating only Glasgow – the city that trained him – to this one.
Showing posts with label Opera. Show all posts
Showing posts with label Opera. Show all posts
1.9.11
Opera preview: Greek @ Traverse, Edinburgh
Published by METRO
You’re the artistic director of a theatre. You’re getting scripts thrown at you day in, day out, but you cannot for the life of you decide which one to commission. Fair enough, you think, there are worse jobs. However, you’re under pressure to have a schedule in place. It’s down to you to choose something really good that’s guaranteed to get bums on seats and be loved by your audience.
Well, how about a piece that’s been entertaining crowds for the past 1,500 years? Sounds like a safe bet. A Greek tragedy. Everyone likes the classics, right? That may be the case, but this isn’t just any old theatre you’ve been put in charge in. No, with respect to Sophocles’ Oedipus the King, you can’t get away with flogging such material at this venue.
After all, you’re working at the Traverse – an establishment that’s acquired a solid reputation for putting on cutting-edge, innovative and above all, new, drama – and that just won’t wash with your audience.
But don’t worry, you won’t have to go back to the drawing board. The original Sophocles play is pretty accessible to people in this day and age, you know. It focuses on a man struggling to avoid fulfilling a prophecy, drawing on universal themes of destiny and free will. What’s more, it’s already been transformed into a modern production that’s enjoyed great commercial and critical success. Into an opera.
Yes, you heard me correctly. A fellow called Steven Berkoff gave himself the task of revamping Oedipus the King into a piece suitable for a modern audience back in the early 1980s. Later on that decade, Mark-Anthony Turnage – a composer – thought he’d have a go at making an operatic version.
The result was an opera called Greek, which illuminated the frustrations of its angst-ridden protagonist Eddy in a decaying east end of London. Greek was described as provocative, visceral and brazen upon its release, but it was Turnage’s score – which indulges heavily on jazz – that was singled out for the truly flattering plaudits. It soon became regarded as a contemporary classic.
Wait, it gets even better. This groundbreaking production is, for this year only, in the trustworthy hands of the Scottish Opera and Music Theatre Wales – two world-class forces in the world of opera.
So all in all, it sounds pretty darn good, doesn’t it? But hang on a second, there’s just one more thing. With Greek ticking so many boxes necessary for a great night out at the opera, just imagine the previews it’ll get. It’s definitely a winner.
You’re the artistic director of a theatre. You’re getting scripts thrown at you day in, day out, but you cannot for the life of you decide which one to commission. Fair enough, you think, there are worse jobs. However, you’re under pressure to have a schedule in place. It’s down to you to choose something really good that’s guaranteed to get bums on seats and be loved by your audience.
Well, how about a piece that’s been entertaining crowds for the past 1,500 years? Sounds like a safe bet. A Greek tragedy. Everyone likes the classics, right? That may be the case, but this isn’t just any old theatre you’ve been put in charge in. No, with respect to Sophocles’ Oedipus the King, you can’t get away with flogging such material at this venue.
After all, you’re working at the Traverse – an establishment that’s acquired a solid reputation for putting on cutting-edge, innovative and above all, new, drama – and that just won’t wash with your audience.
But don’t worry, you won’t have to go back to the drawing board. The original Sophocles play is pretty accessible to people in this day and age, you know. It focuses on a man struggling to avoid fulfilling a prophecy, drawing on universal themes of destiny and free will. What’s more, it’s already been transformed into a modern production that’s enjoyed great commercial and critical success. Into an opera.
Yes, you heard me correctly. A fellow called Steven Berkoff gave himself the task of revamping Oedipus the King into a piece suitable for a modern audience back in the early 1980s. Later on that decade, Mark-Anthony Turnage – a composer – thought he’d have a go at making an operatic version.
The result was an opera called Greek, which illuminated the frustrations of its angst-ridden protagonist Eddy in a decaying east end of London. Greek was described as provocative, visceral and brazen upon its release, but it was Turnage’s score – which indulges heavily on jazz – that was singled out for the truly flattering plaudits. It soon became regarded as a contemporary classic.
Wait, it gets even better. This groundbreaking production is, for this year only, in the trustworthy hands of the Scottish Opera and Music Theatre Wales – two world-class forces in the world of opera.
So all in all, it sounds pretty darn good, doesn’t it? But hang on a second, there’s just one more thing. With Greek ticking so many boxes necessary for a great night out at the opera, just imagine the previews it’ll get. It’s definitely a winner.
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