First up was 'The Threepenny Opera' in a lyrically updated version by the Graeae Theatre Company that was in-your-face in a way that would doubtless have been admired by Brecht and Weill themselves. This is yet another of those classics that I had somehow managed to miss previously, although we are all familiar with the opening song. Altogether now:
"Oh the shark, babe, has such teeth, dear
And it shows them pearly white"
Graeae champion 'accessibility' and they integrate deaf, blind and physically disabled performers into the action in a performance enhancing manner that doesn't make one not notice them, but actually makes one glad that's the way it is. Personally I was very taken with the way that the BSL interpreters' roles became as important as the singing main characters. Top marks to Jude Mahon in particular.
Next was 'La Boheme' in a revived Opera North production, but one which still did it for me. Classic Puccini and an opera that I would suggest for those who have never been to one. Lush tunes, nonsensical plot and it doesn't end well for the heroine; what more could one want?
And finally Bedroom Farce, another play that I had seen before, and one that reinforces the point that British farceurs regard the word sardine as inherently amusing, although in this case the fishy comestibles are - in a very minor plot point - replaced in due course by pilchards. Despite that slightly incoherent exposition of the plot you should see it when it comes your way; as it will because it is regularly revived. As with any Alan Ayckbourn play one is guaranteed several laugh out loud moments. Oh, and can I just preempt any rumours that MS Foy may be about to spread on his blog; Mr Ayckbourn is as alive as his namesake Mr Bennett.
P.S. In one of life's unaccountable coincidences, immediately after writing the above I opened the door to a furniture delivery man who was whistling 'Mack the Knife'. Spooky.
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