Christmas Special Reinvented

The Nutcracker by Matthew Bourne

It is hard to believe how quickly time flies! A couple of weeks ago, I celebrated the premiere of Matthew Bourne's new play "The Midnight Bell" during the night out with Ken Loach and my friends. Now I am counting the days to Christmas, delighting in another production by the same director.

For theatre and ballet enthusiasts, "The Nutcracker" is like "Kevin Home Alone" for film lovers. It is a Christmas must-see! Experiencing the play for the first time in Bourne's interpretation last Sunday in the Sadler's Wells Theatre teleported me into the world of magic. I was walking the streets of London feeling light-hearted as if I had entered a new dimension.

This hugely celebrated play has been reinvented for us using modern technology such as 3D mapping, creating magnificent effects on stage. Lengthy ballet sequences have been removed from it altogether. The baseline of the story and the music by Pyotr Illyich Tchaikovsky stayed the same.  

In the beginning, we see a sinister orphanage in a distorted perspective. Monochromatic costumes and collapsing angles of the set bring op art and Salvador Dali's paintings to mind. Everything is for a show in this grim institution where discipline rules over love. Kids perform daily activities in front of wealthy benefactors and, in return, are given Christmas presents, amongst which there is an unusual nutcracker in a shape of a boy puppet. 

When the kids fall asleep, one of the girls dreams up an alternative universe with all the characters from her daily life in new roles. In her fantasy, the nutcracker comes to life as a Frankenstein oddity. He comes across as frightening at first but soon wins the orphans' trust by helping them escape from the oppressive establishment, leading them into the beautiful world of imagination. 

The colours and the set change, contrasting with the previous sombre background. Soft light and feathery shapes dominate the scene. The actors appear in new costumes: fluffy hats, floating skirts and white suits. The second act moves us more into the Alice-in-the-Wonderland-like reality, with bonbon decorations, unusual new characters and even more flamboyant outfits designed by Anthony Ward. To the young girl’s despair, the Nutcracker turns into a handsome young man but regrettably falls in love with an overconfident and cheeky Princess Sugar. Will the unimposing orphan be able to win him back?

I can only use one word to describe the show: impressive. Like in all Matthew Bourne's plays, dance, acting, set design, costumes, and sound come together, forming a fantastic theatrical experience. It is like nothing you have ever seen before. 

Matthew Bourne's interpretation of "The Nutcracker", co-written with Martin Duncan, had its' first premiere in 1992. From that moment on, it has been inspiring new audiences worldwide. The director mentions essential changes introduced this season. If you have seen the play before, I am sure it will surprise and leave you speechless, moving your heart and imagination again.

Agnes Prygiel, 14/12/2021 London

October in Stone Space Gallery

Geographies of Print 

Victoria Arney - collection of graphics

After sharing my review from Rob Birch's preview in Leytonstone's Stone Space Gallery a couple of months ago, I returned to this elegant window-based exhibition room in East London every month for a new show.

October in Stone Space was dedicated to minimalistic black and white prints by an art collective Geographies of Print, including Victoria Ahrens, Carol Wyss and Vicky Arney. It was a pleasure to meet these highly accomplished ladies during the preview and chat about their process over a glass of wine. Working with traditional printmaking techniques, they create far from conventional pieces. 

The exhibition's centrepiece was a nostalgic graphic by Victoria Arney depicting a sonographic recording of birdsongs. It was produced by a scientific apparatus and turned into an appealing collection of prints pinned up on the wall. 

Arney's work reminded me of Paul Klee, and the phenomenon of synesthesia, where one sense is perceived through another. Artists diagnosed with this neurological condition were known for creating particularly recognisable paintings, illustrating music in a form of abstract configurations.

Carol Wyss' installation and a paper mobile

Carol Wyss built a mini installation in the gallery corner out of black and white paper cylinders resembling a burned down forest or a fallen down city. Her second piece was a mobile paper cutout in a shape of a dandelion. When you looked closer, you could see a collage of human bones. 

Carol's works reflect the topics of death and rebirth in art and one's personal life. The pieces have some hidden energy and radiate strength and perseverance. Presented immaculately, they make a lasting impression. 

Prints by Vicky Ahrens

In her work, Vicky Ahrens drives her energy and inspiration from geology. At the exhibition, the artist presented graphics of caves and shorelines made in the original, distant and hard to get to locations around the world with the use of materials and techniques available on the spot. During a short conversation, she told me about her fascination with volcanos, caves and the meaning of those in our language and symbols. Ahrens also mentioned how the Geographies of Print collective came to life, inspiring me with her enthusiasm and dedication. 

The exhibition "Without Horizons, Without Shore" struck me as personal and very well presented. As always, the preview in Stone Space was delightful and captivating.

Agnes Prygiel, London 22.12.2021

The Midnight Bell in Sadler's Wells

Longing for Love

My connection with Matthew Bourne's plays is personal. Being a friend of one of the cast members puts me in the position of a faithful follower who always watches all the shows, sometimes more than once. Having seen "Cinderella", "Romeo & Juliet", "Red Shoes" and the "The Midnight Bell", allows me to analyse the spectrum of sir Matthew Bourne's work.

This highly accomplished choreographer and director is always fascinated with things happening in the shadows of glamorous lifestyles, at the edge of a broad scope of vision. In his reinterpretation of a children's classic, Cinderella is a young girl growing up with her step-mother and step-brothers in a big house during the II World War, being molested by one of her older siblings. In his take on Shakespeare's iconic play, Bourne reimagines Juliet as a vulnerable young adult, living in a boarding school, experiencing sexual abuse from one of the guards, unable to break free. 

There is always a gay romance somewhere in the background, a subtle emotion of two men unable to express their feelings openly. 

Bourne's plays remind me of vintage photographs that somehow came to life. Fashion, gestures and movements carry the feeling of nostalgia, influenced by silent movies and musicals. 

There is a contrast between things happening during the day and the night. Darkness represents hidden desires, suppressed impulses, creating perfect hiding for those looking for tenderness. The director's visionary pieces are ultimately about love, our longing for a deep, passionate line of understanding with another human being.

At the centre of "The Midnight Bell" is a London pub and its' unusual clientele. Inspired by Patrick Hamilton's novels, the play focuses on five unusual affairs. 

The first is the relationship between the pub's manager and a local prostitute. Fascinated with the beautiful seductress, the young man falls for a woman who makes financial gain from love. How will he ever know if her feelings are genuine?

The second is a turbulent fantasy in the mind of an eccentric poet with mental health issues, obsessed with a famous socialite.

A married woman is dating a gigolo. Two gay men, one of them being a policeman, explore homosexuality. An older gentleman proposes to a waitress.

All the plots revolve around the fleeting desire to be fully understood and completed in a relationship. Following the threads simultaneously, we see them developing in multiple directions. 

Having read the reviews describing the play as dark and intoxicating, I somewhat disagree with those labels. There is an element of optimism and humour in "The Midnight Bell". Not all the characters get what they wish for, but in a way, neither does anyone in the real life. For me, Bourne's performances are always about hope for finding true love and fulfilment.          

I was delighted to visit the Sadler's Wells Theatre in London and see the play with my friend and an accomplished architect Peter Fitzpatrick, film director Ken Loach, his lovely wife Lesley and two daughters. After the show, we did not get to speak to Matthew Bourne in person, but we were thrilled to meet the cast. It was an exceptional evening for my friends and me.

Agnes Prygiel, 10.10.2021

Zara Hussain in the Rugby Art Gallery

Reinventing Geometric Art

Zara Hussain's panel at "Light Upon Light" exhibition in Rugby Gallery

Zara Hussain's "Light Upon Light" exhibition combines two worlds: contemporary minimalism and contemplative symbolism. Inspired by Islamic tradition, she constructs her three-dimensional geometric panels upon a regular shape of a 15th-century Iranian ornament. The artworks represent unity and balance in creation, bringing to mind Bridget Riley's op art.

Rugby Art Gallery & Museum is one of the places which is very close to my heart. After coming to the United Kingdom from Poland over a decade ago, Rugby was my first town of residence. I was invited to and shown around the exhibition by Sally Godden - Rugby Gallery and Museum’s Arts Development Officer.

Rugby Art Gallery has gone through many changes in recent years, transforming into a relevant landmark on the map of Warwickshire, representing current trends and contemporary artists on an international level. 

Apart from the curated exhibitions, the gallery owns a private collection of paintings, with L. S. Lowry, Richard Hamilton and Lucian Freud among the authors.

On the 27th of November, a new exciting exhibition is coming to the gallery, gathering the works of 18 professional artists, designers, and photographers worldwide who use LEGO® bricks as their medium and inspiration.

Admission to all the exhibitions is free.

https://www.ragm.co.uk/brick-by-brick

https://www.ragm.co.uk/zarah-hussain-light-upon-light

Rob Birch in the Stone Space Gallery

I Know Kung Fu

Rob Birch "I Know Kung Fu"

Over the last couple of years, I passed by The Stone Space Gallery in Leytonstone many times, never having an opportunity to look inside. That changed last Friday when I attended the "I Know Kung Fu" exhibition preview by Rob Birch.

Inspired by the quote from "Matrix", Birch reflects on the issue of manipulated reality and freedom in Western society. His works consists of digitally modified graphics influenced by classical painting. The author uses a traditional portrait format, altering the area around the character's face, forcing us to look beyond the facade. 

With the dictatorship of social media, scrutiny of CCTV monitoring, intrusive advertising and distorted politics, free choice seems to be a slipping away privilege rather than our actual status. Birch encourages us to reject what is superficial and look deeper to find true answers and meaning.

"I Know Kung Fu" exhibition by Rob Birch

It was a splendid evening, with Rob Birch present in the gallery and the Stone Space team providing professional support. Experiencing art in person after so many months of the lockdown was a unique privilege.

www.robbirch.com

stonespace.gallery