Baby Driver

 

(BBFC 15 1hr 53mins)


Director Edgar Wright’s Baby Driver is the car chase movie you’ve been waiting to see since the 1970’s; it’s a high-octane, effervescently cool, toe-tapping, white knuckle wild ride set to the beats of one of the hippest, most diverse and, occasionally, goofy soundtracks ever insanely committed to film.

Oh, and it doesn’t defy the laws of physics.

Ever.

Baby (Ansel Elgort) is a getaway driver, a reluctant participant in bank and security van heists paying off his debt to criminal mastermind Doc (Kevin Spacey). Baby constantly listens to music to drown out the ringing in his ears caused by a car crash that killed both his parents. When Baby meets and falls in love with waitress Debora (Lily James) and, nearing the end of his obligation to Doc, he begins to make plans to leave his life of crime and run away to a fresh beginning. But Doc has different ideas and ropes him into another job alongside the psychotic trio of Bats (Jamie Foxx), Buddy (Jon Hamm) and Darling (Eiza Gonzalez). And when things go bad they go really bad, Baby finds himself running not only from the cops but from three psychopaths hell bent on revenge.

Elgort (charming as was in his breakout role in The Fault in Our Stars) really shines as Baby, all cool confidence in his ability as a driver mixed with intense desperation as his situation spirals beyond his control. It’s a star making role and Elgort grabs his opportunity with both hands.

Edgar Wright once again shows how to cast a movie with Elgort’s surrounding members all on top form. There is never any doubt that Baby’s partners-in-crime are dangerous career criminals not by their words or deeds but by their sheer screen presence. Whilst Foxx clearly relishes being let off the leash as the most overtly psychotic character it is the pure menace that exudes from every single pore of Jon Hamm’s Buddy that will send shivers down your spine when you think of this movie. It is important that we understand the psychopathy of the bad guys, never more than a heartbeat away from pulling the trigger, in contrast with Baby’s innocence, he knows what he’s doing is wrong but doesn’t want to see anyone hurt or even offended by his actions and in this Edgar Wright has delivered a masterclass in casting. Even his selections for minor characters is beyond redoubtable, from Jon Bernthal, Lanny Joon and Flea (from the Red Hot Chili Peppers) as supporting criminals to CJ Jones who plays his deaf, elderly foster-father. And, on a personal note, I can’t begin to tell you my delight at the appearance of Paul Williams as a particularly memorable gun runner.


My only minor problem with Baby Driver is with Lily James’ character Debora, she seems, at best, to be representing a goal rather than a fully-formed person. Don’t get me wrong, James does her best but the role is slightly underwritten, the problem is that when the rest of the film is so near-perfect details like this tend to glare. Although we want to see Baby and Debora ride off into the sunset and pray for their success, the film just slightly misses the emotional arcs of, say, Hot Fuzz or even Shaun of the Dead. Like I say, it’s only a minor niggle but it’d be remiss of me not to mention it.

[Excuse the pun, but…] What really drives Baby Driver is the music. The music is not chucked in there because it fits the action, it’s there to serve a symbiotic relationship with the story to create a more dynamic “whole”. It’s an exploration of what music means to us, how it moves us, provides a comfort blanket, brings us together, pushes us apart, provides a soundtrack to our lives. It is doing what all great musicals do, baring the soul and tapping our emotional cores, giving voice to our innermost thoughts and feelings and providing a beat to which we live. There’s a couple of times it’s a little too “on the nose” (such as Nowhere to Run by Martha and the Vandellas or Golden Earring’s Radar Love) but any movie that opens with The John Spencer Blues Explosion’s Bellbottoms, features Bongolia by The Incredible Bongo Band and makes something as goofy as the yodelling bits of Focus’ Hocus Pocus toe-tappingly cool can’t be all bad, right?


Kudos go to Wright who, in an age of an all-out CGI arms race, has chosen to keep all the action practical and the stunts hair-raisingly real. It’s loud and it’s brash and undeniably cool. You’ll maybe spot nods toward classic chase movies like Sam Peckinpah’s The Getaway, Walter Hill’s The Driver, Bullitt, Freebie and the Bean and Gone in 60 Seconds, amongst others, but Baby Driver isn’t a re-tread of what’s gone before, it’s a remix and, like all great remixes, it shows us that something new and surprisingly original can be created from those things we thought we knew inside out.

Like a great song heard for the first time Baby Driver makes you want to hear it again straight away, to hit replay, rewind the tape, pick up the needle and place it back at the start of the track. It’s an instant classic and you’ll kick yourself if you don’t catch it.

Andy Oliver

Book review – Centuries of Change by Alice Goss

If you are a history lover, especially local history, then Centuries of Change by local historian Alice could be the perfect holiday read for you.


Everybody is familiar with Colchester’s Arts Centre, which occupies the old redundant church near the Mercury Theatre. Most of our younger residents have grown up knowing this building only as an arts centre, with the more senior of us remembering the building as the church of St. Mary’s at the Walls. There are many people who still live in the town who were either married or baptised there, many of whom still having fond memories of the building as a church.

Church Historian, Alice Goss, has delved into the archives and produced a wonderfully illustrated book on the history of this building, charting its origins and development over the centuries. This book, not only gives a fascinating insight into the three separate buildings which were constructed here, but the lives of the people who were once associated with the church over the past seven hundred years. These people, and in particularly some of the church’s past rectors, have worked together through the good times and through hardship to make the church their own.

Everyone is familiar with the Siege of Colchester in 1648 and probably thinks they know the story of the cannon on the roof; but do you? This book has a great deal to say on the subject, and there is more to this story that many people might realise. St. Mary’s was at the centre of the siege throughout its eleven weeks and there is more to this story than just a cannon on the roof. The church’s parishioners also had their part to play in the story, including Dr. Francis Glisson and James Bond. Yes, you did read that name correctly. You’ll have to read the book to find out what he did!


There are also many people within the town who are familiar with the modern church of Christ Church in Ireton Road. Perhaps you worship there or have attended a wedding or baptism at some point. Did you know that Christ Church was founded back in 1904, and that the current building is actually the second church to have stood on that sight? Christ Church was founded and paid for by the parishioners of St. Mary’s and this book charts that story, as well as the social developments of the modern church.

As history books go, this one is very topical, as the story of the parish also covers the first part of this year, in which it talks about the changes to Balkerne hill and the homeless problem which the former cemetery now has to endure. The book talks about this issue, drawing on the thoughts and intentions from past parishioners, putting this situation into an historical context.

Throughout the book, Alice makes reference to other aspects of Colchester’s history, using information from other church’s parish registers to highlight some of the events which have occurred throughout history. In particular, she highlights disease and plague as well as some of the executions which have occurred near the church.

Finally, Alice charts a little of her own story and fascination with church history, highlighting her journey of discovery in researching this former church over the past two years. She has not only uncovered the story of one of Colchester’s most historic areas, but several social stories which have never been told. Whether you’re interested in church history, social history or the history of Colchester, this book contains so much undiscovered information about this area of Colchester, spanning the years 43AD to 2017.

This hardback book is available from Waterstones, Red Lion Bookshop and Amazon.

Kindle and e-book versions are available online.

Transformers: The Last Knight

 

(BBFC 12A, 2hrs 29mins)

Transformers: The Last Knight is by far the best sequel of director Michael Bay’s giant robot, destructo-porn saga. This is because Transformers: The Last Knight is by far the shortest sequel of director Michael Bay’s giant robot, destructo-porn saga (though, at a staggering, bum-numbing, headache inducing, head-scratching 149 minutes it is still way too long to tell a story that, quite frankly, does not exist. And, believe me, you will feel every one of those minutes as if each of them lasted a week).

Nothing about this movie makes any kind of narrative sense and, taken as a part of an ongoing franchise, it makes even less sense. The plot, such as it is, revolves around a magic staff bequeathed to Merlin (Stanley Tucci) back in “Ye Olde” times by a previous visit from the Transformers. The staff is the only thing that can stop the Transformer homeworld, Cybertron, colliding with Earth and must be wielded by a direct descendent of Merlin. Enter Oxford professor (or, at least, a porno director’s idea of what an Oxford professor looks like) Vivian Wembley (Laura Haddock). Wembley teams up with Cade Yeager (Mark Wahlberg), the leering dad/hero from the last movie, under the guidance of Sir Edmund Burton (Anthony Hopkins) and his robot butler Cogman (Jim Carter).

*Deep breath*

Meanwhile, America is at war with the Transformers (should’ve built a wall) and a bunch of other characters we don’t care about are introduced or reintroduced, including Josh Duhamel as the soldier fella from some of the previous instalments and Izabella (Isabella Moner) and her distinctly BB-8ish companion.

*Deep breath*

Meanwhile, Optimus Prime (the big truck one) has returned to Cybertron to confront his creator, the sorceress Quintessa, who has set the robot planet on its collision course with Earth. Quintessa overpowers Prime and turns him to the dark side and he returns to Earth as Nemesis Prime. Cue confusing robot battles with goodie robots, baddie robots and baddie robots who used to be goodies.

I think.

(One of) The problem(s) with the Transformers series is that it’s structured like a very different toy: Lego. Instead of having a clear idea what this Universe is and sticking rigidly to that arc, Transformers constantly adds bits, loses bits, conveniently forgets bits and continually steps painfully on bits it left in the dark. The film is full of huge, lumpen drops of exposition that are at odds with everything we were told in previous episodes and crowbars in unnecessary detail that make for unwieldy and, frankly, embarrassing viewing.

Michael Bay is like a child who has been bringing home the same painting to stick on the fridge for ten years. Yes, it was mildly amusing the first time you saw it, in an, “Awww, who’s that? Is that Daddy?” kind of way, but now? I think we need to talk about Michael. Bay is one of the great composition directors working in Hollywood today. Seriously. The guy really knows how to frame a shot and there are individual moments in just about every one of his movies that would easily sit on a shelf with Stanley Kubrick or Terence Malick. It’s when those images start moving or trying to tell a coherent story that it all falls apart. Yes, they might work wonderfully as GIF’s but they’re just blips in time and not segments of a whole.

Having had to sit through far too many Michael Bay movie it was sadly unsurprising at the way his camera lustfully lingers over his lead female’s body; how confusing and flat the action scenes are, failing to hit a single beat; how really, really big the explosions are; how emotionless and crass the whole thing is; how much money this is going to make.

But before I get too depressed thinking about all that, I will take a moment to laud the performance of Anthony Hopkins, a performance that saved this reviewer handing out half a star. In general, the acting in Transformers: The Last Knight is pretty much what you’d expect with everybody doing just enough to stop them getting thrown off set but, oh boy, Anthony Hopkins just grabs hold of the film’s stupidity and runs with it, he just embraces it and looks like he’s doing whatever the hell he damn well pleases and Bay is too in awe to stop him. Some of the finest scenery chewing ever captured on film, bravo sir, bravo.

Listen, end of the day, Transformers: The Last Knight is going to make an absolute ton of cash and I’ll have to come back and review the inevitable next one (there’s a mid-credits extra scene that promises as much), but I always hold out the hope that it’ll be good. Die-hard fans and eight-year old boys will love it, the rest of us will leave with the look of haunted agony and terror I imagine usually reserved for Melania when she sees Donald naked on date-night.

Andy Oliver

Colchester Classics – Classical Music Picks for June 2017

OUR CLASSICAL MUSIC COLUMNIST LIZ LEATHERDALE, FOUNDER AND OWNER OF COLCHESTER CLASSICS, BRINGS YOU HER PICK OF JUNE”S CLASSICAL MUSIC EVENTS IN, AND AROUND, COLCHESTER.

Classics

June is bustin’ out all over with concerts and festivals so here are a few coming up for you in and around Colchester to add to your diary.

If, like me, you have enjoyed the Classical Guitar Recitals run by Tim Pells at the Headgate Theatre, on Wednesday 14 June, at a lunchtime you can hear Tim as one half of a guitar duo with Andrew Allen at Lion Walk United Reformed Church. The following Wednesday at 1pm (21 June) Lizzie Gutteridge will be presenting medieval and renaissance music. Lizzie performed at last month’s Lexden Arts Festival, and more recently at the Medieval Festival in Castle Park. Ian Ray will accompany his cellist son, Oliver at the final Summer series concert on 28 June.

Admission is free to the lunchtime concerts with an opportunity to donate as you wish to the church’s chosen charities.

Cellist Anup Kumar Biswas founded the Mathieson Music Trust and School in India over 20 years’ ago with the aim of providing education for poor children, with a focus on music. This weekend there are two free concerts in Colchester with retiring collections in aid of this Music Trust. Both concerts include music by Bach, Beethoven, Brahms, Borodin and Jerry Noble and the performers are soprano Daniela Bechly, Anup Kumar Biswas and pianist and composer Jerry Noble.

The first takes place on Saturday in Christ Church, Ireton Road at 7pm and the second is at 3pm on Sunday 11 June in Lion Walk United Reformed Church. Telephone (01206) 618944 for further details.

Philip Prior is the Director of Music at St Peter ad Vincula, Coggeshall and  on Saturday from 7.30pm his fancy footwork and hands can be viewed on large TV screens as he performs music by Bach, Elgar and Howells. Next month the Roman River Music Summer Festival takes place in this beautiful church and will be recorded by BBC Radio 3.

Admission: on the door is £7.50. Further information about each concert and also news on the Autumn Festival can be found here romanrivermusic.org.uk

In the summer months, many choral societies move away from large-scale works with orchestra to more informal music offerings, often with piano accompaniment.  This month Colchester Choral Society, with its strong and stable conductor Ian Ray, are doing just that! Alan Bullard will be at the piano for many of Elgar’s popular part-songs and his charming early choral suite ‘Scenes from the Bavarian Highlands’. These beautiful choral songs use Elgar’s wife’s poems as the text and were inspired by their happy Bavarian holidays. During the concert, Ian Ray will pop to the piano and accompany Jessie Ridley in Elgar’s Violin Sonata in E minor – a work that was written at the same time as his elegiac and passionate Cello Concerto.

This Elgar concert feast takes place on Saturday 24 June at 7.30pm in St Botolph’s Church, Colchester. Tickets: £15 from Manns Music or www.colchesterchoralsociety.co.uk

Also on the evening of June 24, Tiptree Choral Society presents a delightful summer concert of music for everyone, to suit all ages and tastes. This concert, conducted as always by our Musical Director Malcolm Boulter and accompanied by our regular accompanist David Leveridge, is full of items the choir loves to sing. Many have in fact been suggested by choir members, so come along to St Luke’s Church at 7.30pm on June 24th and enjoy sharing with us a special selection of some of our favourite melodies. Elgar’s  Aeterna (Nimrod), Faure’s Cantique de Jean Racine songs from shows.

Tickets £10 from 01206 734625 or on the door.

Chris Phelps, who conducts the Colchester Symphony Orchestra and the chamber choir, the Kelvedon Singers, also conducts Suffolk’s Hadleigh Choral Society who will be performing a selection of light music including Bernstein’s West Side Story at Hintlesham Church on Saturday June 17.

Further information (01473 652566) and www.hadleighchoralsociety.org.uk

Witham Choral will be at Witham United Reformed Church on 10 June for a Come and Sing version of John Rutter’s popular and beautiful Requiem. Singers will rehearse at 3pm (£10) and then enjoy a strawberry tea. The performance (which also includes Parry’s I was Glad) is at 7pm (audience £5).

Telephone 01376 513713 for details www.withamchoralsociety.org.uk

On the afternoon of 17 June there is a summer afternoon recital of new clarinet music and song settings by Essex composers of words by Tolkien, Barrett Browning, Blunden, Blustin, Hardy, St Luke and the Taylor Sisters of Colchester. Music will be performed by Tim Torry (baritone), Charles Hine (clarinet) and Alan Bullard (piano).

This takes place at 3pm in the Castle Methodist Church, Maidenburgh St, Colchester CO1 1TT Free entry, retiring collection. Full details on: https://colchesternewmusic.com/2017/05/26/the-pale-enchanted-gold-17-june-2017-recital-programme-announced/

On Sunday 18 June at 3pm , pianist Philip Smith will be presenting a programme of Schubert, Beethoven and Brahms at St Botolph’s Church, Colchester.  This concert is in aid of the Tower Restoration Fund for this beautiful church.

Admission is free.

The ancient Essex town of Maldon is famous for the Hythe, home to many of the remaining Thames barges, and of course, its sea-salt, loved by chefs around the world, but did you know that since 2007 there has been an annual Music Festival? This year’s festival has a Russian theme to mark the centenary of the Russian Revolution. The St Peter’s Singers (now re-named Chorus Anglicanum) sang Rachmaninov’s Vespers in the festival’s first season and this year will open the festival with the same piece on 24 June.   This haunting work, also known as ‘All-Night Vigil’, is based on liturgy of the Russian Orthodox Church: it is a quiet, reflective and deeply moving and is for unaccompanied choir. If you are looking for a CD of the Vespers, Colchester Classics would highly recommend the Grammy Award- winning recording by the Phoenix Chorale and Kansas City Chorale (Ring 0800 999 6994).

For more details on this years’ festival which runs from 24 June and until 8 July please visit the Festival’s website.

The old historic seaport, Harwich, also has its own Festival which begins on the 22 June and ends on 2 July 2017 with a Last Night of the Festival Proms with favourites such as the Henry Wood Fantasia on British Sea Songs and Gershwin’s Rhapsody in Blue with the Harwich and Dovercourt Choral Society and the Colchester Philharmonic conducted by Patrick McCarthy. Robert Atchison (violin) and Francis Rayner (piano) from the London Piano Trio return to play Brahms and Debussy Sonatas. There are also concerts by Royal Academy of Music organist, Edward Kemp-Luck and a performance of Il Matrimonio Segreto by Cimarosa from the Pop-up Opera touring company.

Full details www.harwichfestival.co.uk

If you have a forthcoming concert of classical music, you would like previewed, contact Liz Leatherdale on 0800 999 6994.

Start your love affair with Classical Music at www.colchesterclassics.co.uk and take a minute to watch their company video: 

Liz Leatherdale

Liz Leatherdale

Colchester Classics – Classical Music Picks for May 2017

OUR CLASSICAL MUSIC COLUMNIST LIZ LEATHERDALE, FOUNDER AND OWNER OF COLCHESTER CLASSICS, BRINGS YOU HER PICK OF MAY’S CLASSICAL MUSIC EVENTS IN, AND AROUND, COLCHESTER.

Classics

Many of the concerts featured here are in and around Colchester, or, involves local musicians performing at events further afield. Hope you find this information useful.

It is not every day that a choral society celebrates an important anniversary with its founder still actively involved in the music-making.  Saturday 6 May the Lexden Choral Society will be doing just that at its 25th Anniversary concert with many much-loved choral works and a few new ones too.

Lexden Choral Society was formed by Sarah Blake in 1992 from a few members of the Lexden Church Choir, augmented by a number of friends. Sarah is still actively involved and tomorrow evening John Chillingworth will conduct the choir accompanied by the Kingfisher Sinfonietta in a programme of music by Verdi, Jenkins, Handel, Tavener, Fauré, Borodin and Rutter.

Tickets: £13 (01206 766906) Saturday May 6, 7.30pm in St Botolph’s Church, Colchester.

At the same venue on Sunday 7 May at 3pm Samantha Christopher (clarinet) will be accompanied by pianist Ian Ray and on Saturday 20 May the Colchester Symphony Orchestra returns with a concert including Finzi’s Clarinet Concerto with soloist Andrew Cory.

Further information next week.

Back to this weekend and this Sunday there is an opportunity to hear Puccini’s one-act comic opera, Gianni Schicchi. As you may know, this opera includes one of Puccini’s best known and most popular aria, O mio Babbino Caro. This beautiful aria is often sung as a stand-alone piece and used commercially, such as in the opening to the film A Room With a View. Sunday’s production, sung in Italian with English surtitles, was first staged at the 2016 Summer Opera Course in Scheggino in Umbria just before the series of earthquakes in the area.

Tickets are £8 in aid of the Italian Red Cross Earthquakes Appeal. Sunday 7 May at 5pm in Chelmsford Cathedral

If you are near Chelmsford Cathedral on 20 May, there is a performance of Handel’s most popular oratorio, Messiah, with James Davy, the Cathedral’s Organist and Master of the Choristers, conducting the Choirs of Chelmsford Cathedral, Canzona and soloists including Colin Baldy.

Tickets from £10 (0333 666 3366)

Based at the Colchester-based University of Essex, its choir continues its 40th birthday celebrations with a concert of beautiful British music. Founded in 1977, choristers are drawn from University staff and students and also from the local community. Since 1981 the Music Director has been Richard Cooke and at this concert he will be conducting Vaughan Williams’ haunting first symphony entitled ‘A Sea Symphony’ based on the poetry of American Walt Whitman’s Leaves of Grass. This symphony was one of the first where a choir was used throughout and was an integral part of the musical texture.

Colchester Classics was delighted to offer the choristers a highly regarded CD of ‘A Sea Symphony’ with soloists Susan Gritton, Gerald Finley, the London Symphony Chorus and Orchestra, under the late Richard Hickox. For further details on this CD please telephone 0800 999 6994.

The University choir will be accompanied by the Essex Sinfonia who will also perform Elgar’s internationally-loved Variations, Op.35 popularly known as the Enigma Variations, which had its first performance a decade before the Sea Symphony.

Saturday 6 May at 7pm in Snape Maltings Concert Hall. Tickets from £12 (01728 687110).

Also on Saturday, May 6 but at 7.30pm pianist and composer Matyas Bacso presents ‘Hungarian Rhapsody’ including Gershwin’s popular Rhapsody in Blue plus music by Scott Joplin and Debussy along with some Hungarian Rhapsodies. Matyas was recently heard performing in Tubular Bells Live! at the Mercury Theatre. This concert is the fifth and final evening event for this years’ Lexden Arts Festival in St Leonard’s Church, Lexden Road, Colchester.

Tickets £10 each on the door.

The fourth annual Frinton Festival presents music performed in and around this charming small seaside town. Alongside the five festival concerts (26 – 29 May, 2017) there are special free events such as the string quartet, Gut Reaction playing at The Red Lion Pub in Kirby-le-Soken on Sunday 7 May at 8pm.

Free Festival tickets for those aged 8 – 25 years old are available for some concerts including Friday 26 May at 7.30pm in St Mary’s Parish Church, Frinton when The Barbican Piano Trio, the Festival’s resident artists, is joined by violist Adam Newman to perform Piano Quartets by Dvorak, Mozart and contemporary composers.  Free pre-concert Wine Tasting courtesy of Mr Wheeler for Ticket holders.

The Festival has a Choral Evensong service on Sunday 28 May with an open invitation to singers to perform music by Mozart, Stanford and John Rutter.

To find out more about rehearsals and the service please email Duncan Archard duncan@amusicltd.co.uk or click links here www.frintonfestival.com

If you have a forthcoming concert of classical music, you would like previewed, contact Liz Leatherdale on 0800 999 6994.

Start your love affair with Classical Music at www.colchesterclassics.co.uk and take a minute to watch their company video: 

Liz Leatherdale

Liz Leatherdale

Colchester Classics – Classical Music Picks for April 2017

OUR CLASSICAL MUSIC COLUMNIST LIZ LEATHERDALE, FOUNDER AND OWNER OF COLCHESTER CLASSICS, BRINGS YOU HER PICK OF APRIL’S CLASSICAL MUSIC EVENTS IN, AND AROUND, COLCHESTER.

Classics
Like Advent and Christmas, Lent and Easter have provided composers from every musical era with a wealth of material to set to music, either drawn from the Bible itself or with themes such as repentance, reflection, comfort and joy.   

Alan Bullard, the established British composer based in Essex, recently told me that he originally wrote his Easter work, Wondrous Cross, for the choir of Lion Walk Church in Colchester. This work has subsequently been performed by many choirs in the UK, USA, and Europe, and recorded by the Chapel Choir of Selwyn College, Cambridge, director Sarah MacDonald. This month the Clacton Choral Society conducted by Gilli Dulieu will perform Alan’s Easter work  –  described as a meditation based on the traditional ‘Seven Last Words’ of Jesus Christ.  The music presents itself in a similar way to Stainer’s popular Crucifixion with congregational hymns interspersed between the solo and choral items, culminating in ‘When I Survey the Wondrous Cross’.

Clacton Choral Society will also perform extracts from J S Bach’s St John Passion in English. Bach’s oratorio is often sung in English in the UK and Essex-based CD recording label, Chandos, have just released a new recording of this wonderful work performed by the Crouch End Festival Chorus.  This is an important CD release as the last recording in English was released over forty-five years ago and is no longer available!  Colchester Classics is delighted to offer the audience at this concert, recordings of both this new CD and also Alan Bullard’s Wondrous Cross. (Further details – free phone 0800 999 6994 or email liz@colchesterclassics.co.uk).  This concert takes place on Saturday 8 April in St James Church, Tower Road, Clacton at 7.30pm.

Tickets: £8 including programme on the door (pre-order via 01255 221511).

Last month Colin Baldy was one of the soloists in Colchester Choral Society’s performance of Bach’s St John Passion sung in German. This month he will be conducting a performance of this work with the Choir of St Mary’s Church, Maldon. The choir will perform this work in German but with five of the chorales (hymns) sung in English by both the choir and listeners. St Mary’s Church, Church Street, Maldon. Friday, 14 April at 7.30pm.

Free entry with retiring collection.
On 8 April Ipswich Bach Choir, with a team of excellent soloists including Colchester-based Gill Wilson, present a rare opportunity to hear Handel’s superb oratorio Samson. The most famous number is the soprano aria Let the Bright Seraphim (to be sung by Gill Wilson) but conductor Patrick McCarthy assures me that the rest of the work is packed with equally fine choruses and arias. The performance is at 7pm at St John the Baptist Church, Felixstowe.

Tickets: £12 (01394 271538).

Last but not least, the Essex Youth Orchestra under Robin Browning will perform a popular mix of Russian music including Rimsky-Korsakov’s Scheherazade and Shostakovich’s Second Piano Concerto with soloist Daniel Lebhardt. This is a ticketed free event on Friday 7 April at 7.30pm and takes place at the Saffron Hall, Saffron Walden.

Please check seat availability by telephoning the box office on 0845 548 7650.

If you have a forthcoming concert of classical music, you would like previewed, contact Liz Leatherdale on 0800 999 6994.

Start your love affair with Classical Music at www.colchesterclassics.co.uk and take a minute to watch their company video: 

Liz Leatherdale

Liz Leatherdale

Sitting in the Dark – A History of Lost Cinemas in Colchester

It’s strange how certain items or events can spark a memory that sparks another memory that sparks another and then another and then… Well, you get the idea. And those memories, in turn, spark imagination and fire curiosity.


The recent release of Danny Boyle’s T2: Trainspotting, made me reminisce about waiting in line on a Saturday night outside the old Odeon cinema, in Crouch Street, to see the culture-redefining original some twenty years earlier and that I worked in a shop opposite the old ABC cinema at the time, and that the store I was working in used to be part of the old Cameo cinema, and then I started to think about the other cinemas that used to exist in our fair town, all those palaces of light and thrills which had closed their doors and disappeared before I was even born. So, I pored over a lot of dry statistics, academic texts, architectural and business reports and enlightening local histories to discover a story that is sometimes fascinating, sometimes surprising, sometimes quirky and sometimes sad.

Whilst there is some doubt over the date at which moving pictures were first shown in Colchester (some say 1898, others 1908, though the chances are that Victorian Camera Obscura shows may well have visited up to half a century earlier before The Corn Exchange, in the High Street, took a chance on this new-fangled curiosity), there is no questioning the opening of the town’s first cinema. The Electric theatre opened in 1910 in the former Liberal club lecture hall in Headgate and, though no records remain of what films showed, one can easily imagine Edwardian Colcestrians being thrilled by the first screen appearances of Frankenstein and Ebeneezer Scrooge. The cinema was open from 2.30pm until 11pm and, rather than popcorn and hotdogs, the audience could take their refreshments in the custom-built tearoom. A far more elegant solution than rustling sweetie wrappers and vigorous hoovering of soft drinks, I think you’ll agree.

Children queue for a Saturday matinee, The Empire, 1911. Sadly few photo’s remain of this cinema

Within one year Colchester had its second, and first purpose built, cinema in the shape of The Vaudeville Electric on the St. Botolph’s Junction (that is, before it became St. Botolph’s roundabout). Audiences were in awe of its 24-foot wide proscenium, hardly Imax but… baby steps. Audiences at these cinemas would have witnessed not only the debuts of both Charlie Chaplin’s little tramp, Buster Keaton and Mary Pickford and the first ever close-up shot (in D.W. Griffith’s The Lonedale Operator) but also footage direct from the hellish trenches of the first World War. One can only imagine the feelings running through the audience, virtually every family would have had a loved one fighting overseas, as cinema brought the war home to them in sometimes graphic detail.

With the war over and life returning to something resembling normality, in 1920 Colchester’s Grand Palace of Varieties installed the equipment necessary to convert it to our third cinema, The Hippodrome, in the High Street.

One of the few remaining photographs of The Electric Theatre in St. John’s Street

Whilst it may seem alien to younger readers or cinema fans, it should be remembered that cinemas still maintained a stage area where live shows could be seen and in 1924 The Electric (now under new management and renamed The Headgate Theatre) saw the debut of Arthur Askey, later to become one of the country’s favourite comedians, radio and movie stars (there’s still a plaque on the building commemorating this event) and just a few years later the first “talkie” to be seen in the town played here.

1929 saw The Vaudeville under new ownership and renamed The Empire and The Playhouse in St. John’s Street opened, primarily as a theatre but within a year as Colchester’s fourth cinema. In the same year that The Playhouse became a cinema The Corn Exchange also became a cinema and, a year after that, in 1931 the count was up to six as The Regal, in Crouch Street, opened its doors for the first time. Take a moment to think about this: Six cinemas within a one mile radius in a town with approximately one hundred and ten thousand less residents than it has today. And it would stay this way until a year after World War II, when The Corn Exchange reverted back to becoming a theatre and concert venue (where bands like The Troggs and The Who would play in the 1960’s). The Corn Exchange closed its doors as a venue for theatre and music in 1972 and is now The Co-Operative Bank.


In 1938, The Regal, with its Mediterranean-style façade was acquired by cinema entrepreneur Oscar Deutsch and made it part of his Odeon chain (the named derived from the ancient Greek for “Enclosed theatre” and not, as Odeon publicists would have it, a mnemonic for Oscar Deutsch Entertains Our Nation), though the name change didn’t occur until 1961. It soon became the “go to” cinema in Colchester and was thought, during this golden age of cinema, to be the most visited building in Colchester. It too supplemented its silver screen income with live shows in the Fifties and Sixties, Cliff Richard and The Rolling Stones amongst the top-line acts wowing the young and excitable of the area.

It was a golden age that wasn’t to last, unfortunately. During the 1950’s television became more and more popular (I won’t say affordable, most people rented their set from outlets like Rediffusion, Granada and DER and it wasn’t until the 1980’s that people began to buy and own their own telly’s), staying in became the new going out and cinema was the entertainment industry that suffered the most. In 1959, The Empire closed its doors for the last time, the property remained as a furniture warehouse until it was demolished, in 1971, to make way for the concrete brutalism of St. Botolph’s roundabout. Two years later The Hippodrome, also victim to the march of Britain’s two (count them, TWO) television channels and decided that Bingo was the way forward. The Hippodrome remained The Top Rank bingo hall until it closed in 1985, subsequently to re-open as a nightclub after three years of remaining empty when it was acquired by Big R Leisure.

In 1962, The Playhouse became the ABC after a major refit and remained a cinema until it too succumbed to economic pressures and the lure of little clicking-clacking, bouncing balls in 1981, when it became a Coral (and then Gala) bingo hall. On a purely personal level, the ABC is where I truly fell in love with cinema: Back in the day, there were no such things as dvd’s or streaming services or, even, home video, and so, if you wanted to see an old movie you’d have to wait until it was on one of the three (count them, THREE) television channels or re-issued at the cinema. In the wake of Star Wars, cinemas struggled to find another science fiction epic which would rake in the coin, Italian rip-off movies like Starcrash and The Humanoid weren’t cutting it, so distributors starting re-releasing classic sci-fi, and that’s how I got see and have my adolescent mind blown by Stanley Kubrick’s 2001: A Space Odyssey, a movie I still think about regularly.

But I digress.

When Gala Bingo moved to Osborne Street in 1993, the premises were snapped up by J.D. Wetherspoons who, for better or worse, sympathetically refurbished  the former ABC to create one of the town’s first mega-pubs and reverted back to its earlier name, The Playhouse.

On the other side of the road, The Electric, by 1967 owned by the British Film Institute, became The Cameo, Colchester’s premier arts cinema where countless mothers dragged their curious, unruly offspring hurriedly past posters for I Am Curious (Yellow) or W.R.: Mystery of the Organism or Inga or any of the other European sex movies that “Gentlemen” could go watch and pretend to be all beard-strokey about (mostly, they’re a bit dull rather than titillating, but whatever). The cinema sat in an uncomfortable place with its “Arts” fayre, it was making more money from the kind of movies that attracted, what used to be known as, The Brown Mac’ Brigade (a euphemism for dirty old men) than it could from genuinely interesting films which, mostly, got grouped by local opinion amongst the “smutty” movies. In 1972, the BFI sold The Cameo to Star Group, who knew which side of their bread received the most butter and went all out for the money showing British sex comedies, like The Confessions/Adventures of… series, The Lovebirds and Come Play With Me, or exploitation movies like Prisoner of the Cannibal God (as long as there was a bit of boob in there). Though, I do remember seeing Slade in Flame there, so not all bad. The Cameo closed in 1976, just as I was reaching puberty. Sad Times.


The Odeon, on the other hand, seemed to flourish. Yes, sadly, in 1963 the mighty Wurlitzer organ that greeted patrons and played for their entertainment before shows and during intermissions between the “b” and “feature” movies (yes, children, films used to play as a double bill, two movies for the price of one) departed the cinema for fields anew (well, fairways actually, it is now resident at The Singing Hills Golf Club in Sussex, not far from Brighton where concerts on it are still played every Sunday afternoon). But the times, they were a changing. In 1974, the cinema went under a major remodelling and it became a three-screen multiplex. In 1987, another screen was added and, in 1991, a further two. So, it seemed Odeon must have been doing something right to have survived the proliferation of television stations, satellite channels and home entertainment… or maybe it was because they were last man standing. Odeon closed doors on their Crouch Street premises in 2002 when they opened their purpose built 8-screen cinema in the former Post Office building in Head Street, it was the end of one era and the beginning of a totally new one.

Try as I might, I couldn’t bring myself to include a photo of the old Odeon in its current state, it’s just too dismal and depressing. So here it is not long after its closure in 2002

Cinemas are part of our cultural psyche. Yes, they’ve changed, gone are the usherettes with their sometimes illuminating, sometimes incriminating flashlights; gone is the ice cream seller with their little tray of vanilla tubs, wooden spoon-things and Kia-Ora orange drinks; gone is the Mighty Wurlitzer and art-deco exteriors. But what remains is what’s always been there. They are where we go to escape, to laugh, to cry, to hide behind our fingers, to be lifted. And yet, cinemas are so much more than this. Those figures up there on the screen live their lives, sometimes they die, sometimes they fall in love, sometimes they dance, always they are watched but they never watch back. How many stories began there in the dark, expectant faces turned to the flickering images? How many first dates? How many stolen kisses? How many begin their lives together? How many of us are inspired to be more than we are? How many find answers? How many find questions? How many find of us find ourselves? Or understand others? How many just go to sit in the dark because there is no better place to be?

Andy Oliver

Get Out


(BBFC 15, 104 mins)


When young, African-American Chris (Daniel Kaluuya) agrees to visit the parents of white girlfriend Rose (Allison Williams) he has no idea of the horror awaiting him. A perfect, apparently liberal, community hides a very dark and disturbing reality and Chris has just walked into a nightmare.

Dad (Bradley Whitford), a neurosurgeon and the epitome of middle class liberalism (who would’ve voted for Obama a third time if he could’ve) and his hypnotherapist wife (Catherine Keener) are nothing if not welcoming to Chris. Less so is uber-creepy UFC-loving brother, Jeremy (Caleb Landry Jones), but it’s only when he meets the family’s blank and humourless black servants that Chris starts to believe something is seriously wrong.

With his first movie writer/director Jordan Peele (one half of comedy duo Key & Peele) has created something incredibly special: a horror movie that delivers not only edge-of-the-seat thrills and suspense and moments of laugh-out-loud comedy but a savage satire of white suburbia so sharp it cuts. Get Out specialises in pulling the rug out from under the viewer, constantly subverting our expectations, twisting its narrative knife in our stomachs and keeping us guessing right up to its final, terrifying denouement.


With a whip-smart script that doesn’t carry an ounce of fat, Get Out is intelligent, nuanced, thematically dense and makes the implausible seem terrifyingly plausible. Peele knows exactly when levity is required to give the audience much needed relief from the ever-building tension and exactly when to dish out the shocks and reveals. It is a very impressive debut feature indeed, finally a new voice in horror worth listening to.

Speaking of listening: As awful as the sound design was in last year’s most successful horror, Don’t Breathe (the noisiest movie ever made about keeping quiet), Get Out’s sound design is remarkable. It replays over and over in your mind long after the movie has finished like an echo of terror (if you struggle with the sound of cutlery on crockery or the high-pitched whine of bone saws you might want to avoid this movie). The sound design creates an extra dimension of fear, probably the best use of sound in a horror movie since The Exorcist, no kidding.

Less a movie that relies on gore or jump-scares (though there is a smidgeon of both), Get Out travels the less-worn (but equally scary) path of psychological horrors such as Rosemary’s Baby or The Stepford Wives (the influence of both it wears proudly on its sleeve). That it throws into the mix themes as diverse as the loss of identity of black America, patronising liberalism and the shadow that slavery still casts upon modern America (amongst others) just makes it all the more remarkable.

And it’s really, really, fun.

Andy Oliver

Beauty and the Beast

 

(BBFC PG, 129mins)



Disney’s 1991 animated version of Gabrielle-Suzanne Barbot de Villeneuve’s classic fairy tale, one of those movies whose narrative, songs and aesthetic has imprinted itself upon the psyche of generations of little girls, desperately needed a brand new, live action and cgi version, right? Well, frankly, no. Even if it did, this version of Beauty and the Beast is not it. It’s not a bad movie by any means, in fact it’s very good in parts, the problem is that all those good bits are lifted directly from the five-star animated version. It just feels a bit… unnecessary and uninspired.

Everything is there from the 1991 version: bookish Belle (Emma Watson), tired of her life in a provincial French village offers herself as prisoner to the Beast (Dan Stevens) in exchange for her father, Maurice (Kevin Kline) who languishes as the Beast’s captive; the Beast’s retinue – Lumiere (Ewan MacGregor), Cogsworth (Sir Ian McKellan), Mrs. Potts (Emma Thompson) and her son, Chip (Nathan Mack) – transformed along with him by a witch’s curse for his selfishness (harsh) free Belle from her prison; the vain and jealous Gaston (Luke Evans), who convinces his fellow villagers that the Beast must die; the songs, the costumes, the romance and fun. There’s also a few new songs that don’t quite capture the magic or singalong-ability of the originals and a bit of extended backstory which add an extra forty minutes, but little else.

Emma Watson is perfectly cast as Belle, a thoroughly modern girl trapped in an age that doesn’t cater for her wants and needs. She manages to pull off a tricky mix of strong and yet vulnerable and it would be difficult to see anyone but her in the role. The rest of the cast are good (though the voices of the originals sometimes weirdly ring in your ears), but it’s Luke Evans as the vainglorious Gaston who steals the show, he’s a proper, hiss-able Disney villain who you’ll love to hate.


Whereas Jon Favreau’s The Jungle Book (2016) made plenty of references to its animated predecessor whilst creating its own story, Beauty and the Beast director Bill Condon sticks (more-or-less) rigidly to his source material. There are whole scenes lifted directly, but played with as-much gusto and verve that you (kind of) forgive it and it’s all very efficient, just not very, you know, exciting.

The fuss over Josh Gad’s Le Fou being an openly gay character is pretty much a storm in a (chipped) tea cup. There’s a blink-and-you-miss-it moment in the film’s closing number, but that’s it, hardly anything to get your “I Heart Trump” knickers in a twist about; gay people exist; gay people have always existed; get over it.

It’s difficult to say anything bad about Beauty and the Beast, but it’s also tricky to say anything gushing about it, either. What you think about it depends on your relationship with the animated version, though I don’t think you’ll hate it.

*Very young viewers may get a bit squirmy in their seats at the film’s (overlong) running time and there are a couple of scenes (especially the wolf attack) that may be upsetting for them (you are in the best position to know your child’s tolerance levels, if in doubt you might want to see the film on your own first).

Andy Oliver

Colchester Classics – Classical Music Picks for March 2017

OUR CLASSICAL MUSIC COLUMNIST LIZ LEATHERDALE, FOUNDER AND OWNER OF COLCHESTER CLASSICS, BRINGS YOU HER PICK OF MARCH’S CLASSICAL MUSIC EVENTS IN, AND AROUND, COLCHESTER.

Classics

Music-making in March has most certainly sprung into action. Here are just a few of the concerts this month.

In February the Colchester Bach Choir presented An Evening of Mozart in St Botolph’s Church in aid of the Colchester Mayor’s Charities, raising £1,000. Later this month the Mayor, Julie Young, will be hosting a St Patrick’s Day concert. The Children of Lir, an Irish fairytale Cantata by world renowned Irish film composer Patrick Cassidy, will be performed by The Blessington Millennium choir from County Wicklow accompanied by Charles Pearson on the Moot Hall organ on 17 March at 7.30pm in the Colchester Town Hall.

Tickets are £10.00 (01206 282206).

By the way, Patrick Cassidy has composed some beautiful music including the enchanting Vide Cor Meum (See my Heart) first heard during the outdoor opera scene in the film Hannibal.

One of the excellent soloists at An Evening of Mozart was the soprano Gill Wilson.  Gill can also be heard on Wednesday 8 March at 1pm at her recital accompanied by pianist Ian Ray in Lion walk United Reformed Church, Colchester.

On March 11 Gill and also Roderic Knott will be the soloists with Witham Choral and the Colchester Philharmonic in the Last Night of the Proms concert full of favourites such as the Henry Wood Sea Songs Fantasia, opera choruses, Land of Hope and Glory and much more. This concert is on Saturday 11 March at 7.30 pm in the Witham Town Hall.

Tickets £12 (0345 017 8717)

J S Bach’s St John Passion tells the Biblical story of Jesus’ Crucifixion and was first performed on Good Friday in 1724. Rather than expecting the congregation, or, audience to sit back and take in the music, Bach included a number of hymn-like chorales so all could participate in the worship.

If you like your Bach oratorio sung in its original language, this month Colin Baldy will be the bass soloist with the Colchester Choral Society in the St John Passion sung in German accompanied by the John Jenkins Consort with Peter Holman (continuo) conducted by Ian Ray.  Saturday 18 March 2017 in St Botolph’s Church, Colchester (www.colchesterchoralsociety.co.uk)

Next month Colin Baldy will be conducting St Mary’s Church Choir in a performance of the same work in German but this time with five chorales sung in English by the choir with the congregation invited to sing too. This takes place on Good Friday, 14 April at 7.30pm with free entry at St Mary’s Church, Church Street, Maldon CM9 5 JG

By the way, Bach’s St John Passion is often sung in English in the UK and next month’s column will include details of a concert in Clacton and, after a forty-five year wait, information on a new CD of the work sung in English recorded by a Colchester-based international company

Sunday 19 March offers several musical treats such as the Colchester Chamber Choir at St Peter ad Vincula Church, Coggeshall with a programme of 16th and 17th century choral masterpieces including Palestrina and Monteverdi, interwoven with modern jazz improvisations from the internationally-acclaimed jazz guitarist Chris Allard.

Tickets:  £16, under 30s £10 and the concert starts at 7pm www.colchesterchamberchoir.org

Earlier that same day, Anglia Singers under Chris Green will be performing Handel’s much-loved oratorio, Messiah at Our Lady Queen of Peach Church, Braintree at 4pm. Tickets: £8 (01245 350988)

Also at 4pm on that same Sunday, Kammer Philharmonie Europa will be performing at St Mary’s Church in East Bergholt as part of the Stour Valley Arts Music concert series.

For ticket availability and more information please telephone 01206 298426

At 5pm on Sunday 19 March The Pimlott Foundation is hosting a concert in its recently refurbished Barn with a programme of Elizabethan Music by John Cooper, John Dowland and William Lawes and French music for the court  of Louis XIV, The Sun King.  This concert is at 5pm at Old House, Great Horkesley CO6 4EQ. Entry £11 includes refreshments.

Children and students free Tickets and further details; www.pimlottfoundation.org or phone 01206 271291.

World-famous harpsichordist Trevor Pinnock makes a welcome return to Suffolk Village Festival as part of his 70th birthday celebrations. He is joined by his long-term recital partner Jonathan Manson in a programme that brings together some of the greatest Baroque music for viola da gamba and harpsichord with two extraordinary pieces for solo harpsichord. J.S. Bach’s astonishingly bold Chromatic Fantasia and Fugue has been a favourite with virtuoso keyboard players ever since it was written, while Handel’s monumental Chaconne in G is one of his greatest keyboard works.

For further details contact Suffolk Villages Festival, 119 Maldon Road, Colchester, Essex CO3 3AX telephone: 01206 366603, email louise@suffolkvillagesfestival.com  Guess what date this concert is on? Yes, that is right Sunday 19 March at 6pm in St Peter’s Church, Sudbury. Tickets £18 (reserved), £12 (unreserved), reserved seats for two concerts £34.

Colchester Symphony Orchestra returns to St Botolph’s Church on Saturday 25 March, 7.30pm with soloist John Jermy. This concert includes Haydn’s Trumpet Concerto and Beethoven: Symphony No 6 in F major op 68 -The Pastoral. Tickets are £14 and can be reserved via telephone (01206 271128) or more info www.colchestersymphonyorchestra.org.uk

In contrast with the above, if you enjoy choral works the Tiptree Choral Society will be singing Mendelssohn’s Elijah in English– a work for large-scale chorus, soloists including numbers for an octet and women’s trio. The work depicts events in the life of the Biblical prophet Elijah and was composed in the spirit of Mendelssohn’s baroque predecessors Bach and Handel, composers he so admired.

Saturday 25 March at St Luke’s Church, Church Road, Tiptree. Tickets from £10 on the door.

If you have a forthcoming concert of classical music, you would like previewed, contact Liz Leatherdale on 0800 999 6994.

Start your love affair with Classical Music at www.colchesterclassics.co.uk and take a minute to watch their company video: 

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