In a list of ‘things I didn’t know I needed in my life’ a version of The 1812 Overture for solo piano (like, the full orchestra version just played entirely by one piano) would rank pretty highly.
But, dear reader, need it I did. For it is hilariously silly. And a marked improvement on the original, I would argue.
It’s also a feat of piano playing that has to be seen and heard to be fully believed and unquestionably the highlight of Hershey Felder’s Our Great Tchaikovsky, which opened last night at The Other Palace. Anyone familiar with Felder’s intriguing and unique ouvre (which doesn’t include me) will recognise the premise of OGT: the composer’s life story told through a blend of traditional one man theatre and his own music. Part play, part classical concert. A slightly tricky sell, but a valuable one. The idea, I think, is that by setting the music in the context in which it was written adds to an audience’s understanding of both composer and output. And this works. It’s a fascinating insight in a ubiquitous composer and certainly shines new light onto many of his most famous pieces.
It goes without saying almost that Tchaikovsky’s life is kind of a trainwreck. I mean, he’s a composer so... I didn’t know, though, that the main reason for the trainwreck - the emotional points failure, if you will - was that he was a deeply closeted homosexual. Felder picks this up and runs with it as the main narrative thread of the show in a way that is largely effective, affecting and narratively very strong. Focusing on the relationships in his life in this way gives the show real narrative strength and coherence and also makes the sleection of music seem much more organic. However, the attempt to make the contemporary parallels felt a bit forced. As well meaning and morally justified as it was, for example, I did find the inclusion right in the middle of the show of an out of character section of exposition explaining the current state of gay rights in Russia a bit weirdly placed. Had it been an epilogue I suspect I would have felt rather differently.
The other main thread of the piece is the nature of criticism: where we look for it, whose opinions we value and why we care. I actually found this a more interesting idea to explore and could happily have listened to more of it. The nature of art, and how it’s funded and enabled, gets a hearing too, though I felt this was a rich vein of potential that culd have been tapped more, especially for its contemporary resonance.
Minor plot and structure quibbles aside, the main thing of note here - as it inevitably is in any one man show - is the performer and Hershey Felder is really quite something. It’s very difficult to describe what Felder is in traditional terms. He is certainly a solid actor, he sings beauifully and he plays the piano with fantastic skill but somehow that doesn’t quite capture it. I almost want to say that he’s a cabaret star, because the feeling of all round entertainment is arguably closest captured by that term and it feels like it gives a better sense of what he does. His performance is enormously charismatic and full of genuine virtuosity. I’m sure there are classical pianists who play Tchaikovsky better than him and classical actors who could act Tchaikovsky better than him, but to do both at the same time? Whilst playing the entire orchestration of The 1812? Can’t think of anyone. It’s a real Performance and worth the price of a ticket (which, at The Other Palace, is really not that much) alone. You’re not going to see anything like it from anyone else.
Production-wise, I feel that Felder could have been somewhat better served. The set seemed busy and overthought, I wonder whether just having him and his piano on an empty stage wouldn’t be more effective. The auditorium didn’t quite feel the right size, though whether too big or too small I kept changing my mind. The use of projected scenery though is fantastic; effective, eye catching and really beautifully done. The choice of music is canny too - I know I’m boring on about it, but the 1812 section is joyous (‘every note devoid of love but lots of loud noises’) - and the balance between music and action is well judged. It’s ten minutes or so too long, but how much of that is an issue and how much first night nerves is impossible for me to say.
Overall? I would recommend Our Great Tchaikovsky. It’s a really interesting piece with an utterly unique central performance from an utterly unique performer. There’s nothing on the London stage like it (nothing that dares to be quite so unashamedly odd) and, even if for that reason alone, is worth a couple of hours of anyone’s time.
Our Great Tchaikovsky is at The Other Palace until October 22nd.
But, dear reader, need it I did. For it is hilariously silly. And a marked improvement on the original, I would argue.
It’s also a feat of piano playing that has to be seen and heard to be fully believed and unquestionably the highlight of Hershey Felder’s Our Great Tchaikovsky, which opened last night at The Other Palace. Anyone familiar with Felder’s intriguing and unique ouvre (which doesn’t include me) will recognise the premise of OGT: the composer’s life story told through a blend of traditional one man theatre and his own music. Part play, part classical concert. A slightly tricky sell, but a valuable one. The idea, I think, is that by setting the music in the context in which it was written adds to an audience’s understanding of both composer and output. And this works. It’s a fascinating insight in a ubiquitous composer and certainly shines new light onto many of his most famous pieces.
It goes without saying almost that Tchaikovsky’s life is kind of a trainwreck. I mean, he’s a composer so... I didn’t know, though, that the main reason for the trainwreck - the emotional points failure, if you will - was that he was a deeply closeted homosexual. Felder picks this up and runs with it as the main narrative thread of the show in a way that is largely effective, affecting and narratively very strong. Focusing on the relationships in his life in this way gives the show real narrative strength and coherence and also makes the sleection of music seem much more organic. However, the attempt to make the contemporary parallels felt a bit forced. As well meaning and morally justified as it was, for example, I did find the inclusion right in the middle of the show of an out of character section of exposition explaining the current state of gay rights in Russia a bit weirdly placed. Had it been an epilogue I suspect I would have felt rather differently.
The other main thread of the piece is the nature of criticism: where we look for it, whose opinions we value and why we care. I actually found this a more interesting idea to explore and could happily have listened to more of it. The nature of art, and how it’s funded and enabled, gets a hearing too, though I felt this was a rich vein of potential that culd have been tapped more, especially for its contemporary resonance.
Minor plot and structure quibbles aside, the main thing of note here - as it inevitably is in any one man show - is the performer and Hershey Felder is really quite something. It’s very difficult to describe what Felder is in traditional terms. He is certainly a solid actor, he sings beauifully and he plays the piano with fantastic skill but somehow that doesn’t quite capture it. I almost want to say that he’s a cabaret star, because the feeling of all round entertainment is arguably closest captured by that term and it feels like it gives a better sense of what he does. His performance is enormously charismatic and full of genuine virtuosity. I’m sure there are classical pianists who play Tchaikovsky better than him and classical actors who could act Tchaikovsky better than him, but to do both at the same time? Whilst playing the entire orchestration of The 1812? Can’t think of anyone. It’s a real Performance and worth the price of a ticket (which, at The Other Palace, is really not that much) alone. You’re not going to see anything like it from anyone else.
Production-wise, I feel that Felder could have been somewhat better served. The set seemed busy and overthought, I wonder whether just having him and his piano on an empty stage wouldn’t be more effective. The auditorium didn’t quite feel the right size, though whether too big or too small I kept changing my mind. The use of projected scenery though is fantastic; effective, eye catching and really beautifully done. The choice of music is canny too - I know I’m boring on about it, but the 1812 section is joyous (‘every note devoid of love but lots of loud noises’) - and the balance between music and action is well judged. It’s ten minutes or so too long, but how much of that is an issue and how much first night nerves is impossible for me to say.
Overall? I would recommend Our Great Tchaikovsky. It’s a really interesting piece with an utterly unique central performance from an utterly unique performer. There’s nothing on the London stage like it (nothing that dares to be quite so unashamedly odd) and, even if for that reason alone, is worth a couple of hours of anyone’s time.
Our Great Tchaikovsky is at The Other Palace until October 22nd.
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