26 | April 24, 2014 | cambridge-news.co.uk | Cambridge News
The critical list: more hot tickets Round-up
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Spring Awakening ANY play that caused riots is deﬁnitely one to see in our book. Spring Awakening, written by Frank Wedekind, did just that when it ﬁrst struck the stage in 1906. Sadly, we expect this new version, overhauled by director Ben Kidd and Anya Reiss (who’s won the Evening Standard and the Critics’ Circle Awards for Most Promising Playwright), isn’t going to have people burning down the velvet curtains or screaming abuse at the box ofﬁce staff. Then again, that’s probably a good thing. You don’t really
ᔡ Spring Awakening, Cambridge Arts Theatre, until Saturday, May 3 at 7.45pm. Tickets £15£27 from (01223) 503333 / cambridgeartstheatre.purchasetickets-online.co.uk. want to get distracted from the unnervingly dark and twistedly funny plot which sets out to discover what hope teenagers and youngsters have in a world run by a generation that doesn’t understand them, and perhaps doesn’t even care. It’s nothing if not utterly relevant – quarter-life crisis agogo.
ɀ BUDDING directors, Cambridgeshire Film Consortium is running a new ﬁlm production workshop: Introduction to Filmmaking (21+). The six-week course starts on Wednesday, April 30 and there are still places if you’re keen to learn the ins and outs of ﬁlming. You’ll get to grips with cameras and editing software, work with live actors and learn the art of cinematography and location shooting while making two short ﬁlms. The course costs £250. Contact Cambridge Arts Picturehouse on 08719025720 for details. ɀ THE Music in Quiet Places summer series launches tomorrow at St Andrew’s Church, Girton. The concert programme, which hosts classical evenings within the hushes conﬁnes of churches in and around Cambridge, will begin with La Serenissima at 7.30pm. German Baroque violinist Johann Georg Pisendel will be paid tribute to through four virtuoso sonatas written by Vivaldi, Albinoni and Montanari. Tickets are £14 from (01223) 357851. ɀ THE Cambridge Arts Picturehouse is welcoming actor and director Crispin Glover to the city on Wednesday, April 30. He’ll be attending a screening of his new ﬁlm It Is Fine! Everything Is Fine and presenting Crispin Hellion Glover’s Big Slide Show, an hour long dramatic narration of his books, with a slideshow projected behind him. There’ll also be a Q&A and a book signing. You’ll deﬁnitely be getting your money’s worth. Tickets are £18 from 08719025720 and the event starts at 8pm. ɀ THERE’S an open stage tomorrow night at Cambridge Folk Club. Brave ones can grab their guitars and warm up their vocal chords ahead of headline act Saul Bailey. Saul plays the English concertina and melodeon, switching between English dance and folk music, as well as the odd bit of Morris dancing, as you do. Apparently he “found his love for folk music at the Cambridge Folk Festival, and once he’d started going there, his life was never quite the same again . . .” Entry is £4 on door. Check it out from 8pm at the Golden Hind. ɀ WRITTEN by Tom Stuchﬁeld, The Angel Rails is a dark exploration of what happens when people take justice into their own hands. Four strangers leave a courtroom having witnessed the driver of a train walk free – they consider him the murderer responsible for a rail disaster that has killed their loved ones. Now it’s their turn to go on the rampage. Tickets are £5-£6 (01223) 300085 and the show is on from Wednesday, April 30 until Saturday, May 3. It starts at 11pm at the ADC.
Tom’s Midnight Garden T
HE cast of Tom’s Midnight Garden are under an unenviable amount of pressure. Taking on Philippa Pearce’s classic tale? That’s some feat. Since it was ﬁrst published in 1958, generations of children have grown up with Tom and Hatty as literary playmates. They are characters that lodge inside your head, pottering alongside you as you leap and bound from single ﬁgures into doubles, merging into your childhood as though they were real friends; real adventures. It’s touching, magical stuff that, like all the best children’s stories, never quite leaves you. Translating that into a 1 hour and 40 minute production (including an interval), is more than a challenge . . . After stumbling upon a grandfather clock that chimes 13 times, Tom ﬁnds himself whisked through time to a secret Victorian garden locked away in the past. Staying with his aunt and uncle in the present, under quarantine thanks to his measles ridden brother Peter, the garden – sunlit and beautiful sometimes, dark and stormy others – offers a night time escape from the drudgery of summer without his sibling. There he meets Hatty, lonely like him, and together they embark on a tangle of a friendship, but Tom must work out this time travelling business. Adapted by David Wood and performed by the Birmingham Stage Company, it’s in
ᔡ Tom’s Midnight Garden, Cambridge Arts Theatre, until Saturday, April 26 at 7pm. Tickets £12.50-£17.50 from (01223) 503333 / cambridgeartstheatre.purchase-tickets-online.co.uk
the same weepy children’s ﬁction cache as Goodnight Mr Tom, and no, you weren’t the only one reduced to distraught tears by both. They quite rightly scar you for life. Faithful to the book and constructed so that even the youngest in the audience won’t be tripped up by the slipping and sliding of time, you are forced to imagine the garden, it’s twists and turns, vegetable patches and the great old ﬁr tree, wrought out of a set the morphs and winds with the ticking of the clock. The costumes are exact, the live music impressive (they troop on stage with cellos and violins that saw at your heartstrings), and although it’s slightly strange having adults play children – it particularly gives Hatty’s unruly, spiteful cousins an even more malicious air – the cast are unerringly enthusiastic. David Tute (Tom) stirs laughter and screws up his face with confusion at the question of time, while Caitlin Thorburn (Hatty) skitters and bounds across the stage, battling physically with the conﬁnes of Victorian rules for girls. Together the pair captures something of the looping friendship of Pearce’s heroes, the fun of it and the pain of being divided by decades and dreams, but sadly it doesn’t quite live up to the magic and the memory of the book.