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Author: Eric Page

REVIEW: The Real Thing @Theatre Royal

Posted on by Eric Page

The Real Thing

By Tom Stoppard

Theatre Royal

A warm and comfy opening promised much, good music, a well-balanced cast, glossy set, a fun opening scene, a rug-pull, such potential; but then a miasma seemed to come over me and the play receded into cynicism.

I wasn’t gripped and although folk rave about this play I found it trite and unengaging, the characters are unpleasant, the humour mean and the laughter snobbish. I’ve been a fan of Stoppard for most of my life but this play, thirty years old now and certainly showing its age, has made me reassess him.  This is a play all about the heart, but without one of its own.

The set was as interesting as the acting, there was some pretty good Gplan furniture on show, well sourced by designer Jonathan Fensom including a simply perfect Halo Groucho sofa in faded Aniline leather, a fetching teak Danish style sideboard and a Charles E. style Swivel Chair with its ottoman that I coveted but I failed to engage with the actors. The ‘twist’ was more of a slight curve to the right and more of the same continued. It must be hard work to act so dismissively for so long and although the detachment of the characters and the dichotomy between what they say and what they do is part of the narrative engine of this play, I wasn’t convinced.

Stoppard’s words fly around, they are funny and caustic, the actors obviously enjoy speaking them, even if the sentences are often more than a mouthful, the set piece speeches are entertaining and irritating, clever, deep and shallow and it’s all very showy and apparently entertaining on one level, out came that cricket bat, but I was stumped.

The second half brought more laughter from the audience than the first and the cast seemed more settled, I sustained an interest in the sentences as they flew by but I didn’t care about any of the people on stage, the subplot of the solider/prisoner just another excuse for implausible grubbiness.  I wondered if a middle class intellectual so obsessed with taste would have prominent forearm tattoos’ in the early 1980’s , but that was it. At its core this is a depressing piece of theatre with far too much clowning around dressed up as meaning.

This play is all about honesty, I didn’t enjoy this play, honestly.

Plays until Saturday, November 4, 2017.

REVIEW: Rodelinda @ENO

Posted on by Eric Page

Rodelinda

Handel

English National Opera

Caught in a power play that could break a marriage and steal a throne, can Rodelinda stay true to love?

Rodelinda is a dramatic tale of power, anguish and love. When Grimoaldo takes Bertarido’s throne, Bertarido flees abroad, leaving behind his grieving wife Rodelinda. The usurper tries to force Rodelinda to love him, but when the exiled king returns in disguise, everyone is put to the test.

One of Handel’s finest operas, Rodelinda is filled with intense drama told through ravishingly beautiful music. Director Richard Jones brings his distinctive theatrical imagination to this production, which sets Handel’s bitter political drama in a scuffed up Fascist Italy, panoptic, suspicious, intense and claustrophobic, this is a dark setting but illuminated with supreme performances and some delicious tongue in cheek moments of deconstructive humour.

Tattoo’s, honour, spying, scheming it’s all acted out with fun a lot of it from returner Matt Casey in the wordless  role as Rodelinda’s (adult) son Flavio.  There are moments when the funny po’mo  touches get in the way of the sublime music, but I suspect many folk would welcome the extra action during some of the more exquisite long arias. I just closed my eyes.

Rebecca Evans returns to the role and if anything is even better than she was in the 2014 production giving us conviction, power, vulnerability and that wonderful full toned voice of hers, effortlessly coping with some complex choreography while singing, also returning for this first revival is Susan Bickley’s who’s touch perfect performance of Eduige is superb all scheming beguiling charm along the with a slimy slippery Garibaldo from Neal Davies, what a deliciously wicked pair they make.  Then mean and horrible Grimoaldo, the debut performance from Juan Sancho delighted the audience and he showed the exacting brilliance of his voice as it rolled around the huge spaces of the coliseum.

Read the synopsis here.

Baroque-specialist conductor Christian Curnyn kept the orchestra under his control although without any fuss or bother, he kept the narrative tension bumping along well, and the music was fresh and engaging.

Tim Mead one of the UK’s finest countertenors, adding  Bertarido to his roster of ENO roles and brought us a smooth and ultra-refined performance which charmed me  and the youthful and utterly thrilling Christopher Lowrey gave us a heart-breakingly perfect  Unulfo, he transfixed me, gave this role real presence, engaging humor and I had a perfect Handel moment during his second aria.

Amanda Holden’s translation is lively and fun and the clear diction from the entire cast is supported splendidly by the concise choices of Holden’s word which gives a brevity and subtlety to Rodelinda which has lacked in other productions.    The staging is slightly changed from the 2014 and this gives it a slightly less claustrophobic air and allows some breathing space to the rather static action and there’s some fun stagecraft on display.

This is one of the best productions of Rodelinda I’ve seen and the strong Welsh contingent gives it a real Celtic flavour and strength, it’s a three and half hour thumper of a piece and might run over, but for me it could have gone on twice as long and got me all the way home to Brighton in state of Handelian Bliss.

Recommended.

ENO

London Collesium, St Martins Lane

Until November 15, 2017

For more info or to book tickets see the ENO website here: 

REVIEW: An Audience with Armistead Maupin @Theatre Royal

Posted on by Eric Page

An Audience with Armistead Maupin

In Conversation with Damian Barr.

Theatre Royal, Brighton

Saturday, October 28

This was an unforgettable evening with the Tales of the City author celebrating the launch of his long-awaited memoir Logical Family. From his early life in the conservative South to liberal San Francisco, from his palm-reading Grannie to an awkward chat about girls with President Nixon, Armistead Maupin revealed the extraordinary people and places that helped him become one of the world’s best-loved writers.  Funny, poignant and unflinchingly honest, this was a unique opportunity to listen to the man from Barbary Lane.

Armistead was talking to Damian Barr, writer and Literary Salon host; there was some unintended delight as the pick up on the mic of Damien Burr was set to some extraordinary forensic level of sensitivity,  amplifying each scraping back of the hair, and loud chink chink and glug glug of a glass of water, it was sorted out after a while but was an unintentionally hilarious distraction from some of the answers.

Maupin shared some splendid memories with us, about his own biological family in all their public displays of white entitlement and ugly grand southern racism but also gave us insight into them as people, with some laugh out loud reminiscing about his father getting stoned and his mother cuddling up to a bisexual swinger friend of Maupin the first time they visited him in San Fransicso, which happened to be the weekend of Harvey Milk’s assassination.

This was a real peek into history as it was lived.  He talked about his own personal journey from right wing closeted conservative to out and proud emboldened gay man and how important sex, sensuality and the sensual gentleness of random strangers in the dark was to him in the early days of his sexual expression.

Always a delight to see and a warm engaging speaker this was an entertaining evening with one of our legendary authors whose books taught many of us, of a certain generation, how to live, love and accept the extended families we built (and found) around us and still teaches us today – to call it out for what it is, no matter where it comes from, to question and challenge our biological families and try and teach them to understand us and to embrace – fully – and celebrate our loving logical families, that wonderful phrase first spoken by the delightful landlady of Barbary Lane, Anna Magdrigal.

Maupin wasn’t just here to delight however, but to encourage us to read (and buy) his new book and memoir Logical Family.

He took questions afterwards and displayed some of his trademark warm but devastating  wit; a young lady standing up in a sequined jacket,  and apologising profusely for the heteronormality of her question was reassured by Maupin that “her jacket more than made up for it”.

Charming, engaging and somehow deeply comforting as well, Maupin shines like a hard bright light in the darkness of the modern American twilight.

Full details here:

REVIEW: PLAINSONG TO POLYPHONY: BREMF

Posted on by Eric Page

PLAINSONG TO POLYPHONY

 St Bartholomew’s Church

BREMF Consort of Voices and The Lacock Scholars
Deborah Roberts director 
Greg Skidmore director 

Sat 28 Oct

St Bart’s rang to music from the 12th to the 16th centuries culminating in the ultimate polyphonic work, Tallis’s 40-part motet Spem in alium. This large gathering of voice had some gentle choreography added to explore  the roots of polyphony in ancient chant melodies.

Starting with a processional chant A solis ortus cardine, which set the tone and atomphere there was a superb rendition of Jacob Obrecht’s Salve Regina full of subtlety and soaring charming notes. After the interval – where we all drifted around in a slow and meditative daze – we had an excellent  Kyrie from Jean Richafort Requiem, powerful and distinct and then ambled  though some English sacred music including an astoundingly beautiful  Robert Fayrfax’s  Magnificat Regale with all voices combined and a trio of elevated sopranos who took this relatively unknown superb piece of Tudor music and sent it impressively up into the high ethereal vaults, then if this magnificence wasn’t enough all the singers progressed to the back of St Bart’s to rejoice in  Talli’s Spem in Alium which was note perfect, filling the space with its rolling suggestive waves of polyphonic bliss.

See the full programme here:

Another superb evening taking advantage of the unique atmosphere and acoustic properties of St Barts, not the easiest venue to produce in, but this combination of passionate and spiritual music directed with a light but forceful touch by Deborah Roberts who kept the discipline needed to make this music feel so effortless, on occasion Roberts was working in tandem with Greg Skidmore, the director of the Lacock  I’m always impressed by the BREMF consort, they continue to improve and excel in productions, some of these works are not the usual fare of a non-professional group of singers,  but with  The Lacock scholars adding their own fine resonances to the evening and bringing a wide texture to the polyphonic magic unfolded that evening.

There were a few moments of unevenness but once the voices had warmed up and relaxed the evening flowed with a boundless enthusiasm.

For more info about the BREMF or to book tickets see their website here:

REVIEW: Orpheus Caledonius: BREMF

Posted on by Eric Page

Orpheus Caledonius

Brighton Early Music Festival

St Georges Church

8pm

28th October

L’Avventura London
The Old Blind Dogs
Siobhan Miller singer
Žak Ozmo director

BREMF Community Choir

The 18th-century fascination with Scottish tunes was kindled with the publication of William Thomson’s Orpheus Caledonius (1725). Which was the very first collection of Scottish songs to be printed along with their melodies. Many of the airs to which Robert Burns later set his own words came from Orpheus Caledonius, but despite its importance, this collection has been neglected. The concert this evening gave us a peep into the history of music as it changed from one form to another, layering itself in sophistication and pretension and hiding it’s raw and beautiful thick strong roots.  The music this evenings threw off the accumulated soil and detritus of fashion to take us back to the honest simplicity of this music, hiding in plain sight often in the melodies and themes of classical music and brimming with earthy stories and passions.

We had some jolly songs from the BREMF Community Choir, who were all tarten’ed up and tam’o’shantered and sang in the interval which kept the atmosphere very jolly.

Period instrument ensemble L’Avventura London paired up with Scotland’s roots revival champions, folk band Old Blind Dogs, and special guest singer Siobhan Miller – two-time winner of the ‘Scots Singer of the Year’ award – and filled St Georges with passion and pure delight as they reanimated these hauntingly beautiful melodies and lively, toe-tapping dances. The sounds of eighteenth-century art music and contemporary folk have never been so engagingly brought together. Miller added some sly and funny commentary to the performance, utterly delighted the crowd with her soft delightful voice which melted me in a moment into a die hard fan, and then thrilled everyone by getting up to dance, she wow’d the audience with her charm.  It’s a pity the amplification wasn’t quite as balanced as it could have been, something to pay more attention to in future performances.

This was a beguiling mix of the 18th century blending with contemporary Scottish folk singing and the talents of Miller and Ozmo which together brought us into a state of sublime simplicity, where the music and atmosphere transcended the event and took us to a very special pure space of perfection.

Full details of the event can be seen here

Once again the BREMF challenges and surprises with its in-depth programing and the festival is off to a grand start and gathering speed.

For more info or to buy tickets see the BREMF website here.

 

BOOK REVIEW: A Marvellous Party by Ian Elmslie 

Posted on by Eric Page

A Marvellous Party

Ian Elmslie 

Ian nails the most important mantra of LGBT history here: ‘Unless we share our stories, our history is lost’ and this wonderful funny, engaging and downright salacious memoir follows our author Ian on his one man journey from family home to the heart of the gay cabaret scene, and the characters he met on the way, and boy are they characters. Elmslie has met a delightful and astonishingly curious range of famous people and he name drops better than Elaine Paige and is far more generous and authentic with his praise.

He shows his respect and joy of the Queer icons who have inspired him, and given him the strength to get through the the tough times,  he shares the things he has learned and with insight and amusement and some honest passages that are heart-warming.

Elmslie was born in the same hospital as Quentin Crisp, although a few years later… and like that wonderful Legendary Queer he retains the ability to be candid and funny which endears the reader to turning another page to learn more.

He spent more than a decade as one half of the award-winning musical comedy duo, Katrina and The Boy crossing the country entertaining and meeting just about every and anyone there was to meet.

 

Elmslie is a very generous and warm writer, his prose engages and this book is as funny as is it entertaining.  Recommended, this sparkling memoir is a warm, charming and funny delight of a read and this handsome suave author the person I most want to get stuck in a lift with this winter season.

Out now

£10

For more info or to buy the book see the publishers website here: 

Toupie Lowther: Her life by Val Brown: Book Launch

Posted on by Eric Page

Val Brown

Toupie Lowther: Her life

Book Launch

The Marlborough Theatre

A very pleasant evening at the Marlborough Theatre last week as local author Val Brown launched her new book. This book is an insightful new biography of Toupie Lowther who appears as a walk-on character in many biographies of Radclyffe Hall and Una Troubridg but is a most fascinating woman in her own right.

Val shared some insights into her research of the book and showed some archive images and film footage of Toupie. Her sporting enthusiasms included driving, motorcycling, weightlifting and jiu-jitsu, along with parties, arts and just about every other pursuit that you can imagine a well off women of her times would follow. Fast cars, fast living then retiring to Pulborough; contradictive and mysterious she even and she crossed the Alps on a motorbike with her god-daughter Fabienne Lafargue De-Avilla riding pillion.

With the outbreak of the First World War Toupie became one of the organisers of an all-women team of ambulance drivers who undertook many dangerous missions to transport wounded soldiers near the front lines of battle in Compiègne, France

Toupie was a close friend of writer Radclyffe Hall and her partner, sculptor Una Troubridge. Although after the publication of Hall’s novel The Well of Loneliness in 1928 this friendship seems to have been strained.  The protagonist, Stephen Gordon, was based on Toupie Lowther, and this seems to have caused a rift in the friendship although her sexual orientation was no secret among her family and friends.

The full house were appreciative of Val’s hard work in bringing the life of Lowther into a clearer focus, although acknowledging the limitations of her research on someone who’s determined to keep their private life private Brown showed that with determination and an eye for the interesting lead you can unearth some fascinating information into the lives and history of noted lesbians and their circle.

Val closed with a questions and answer session which left the audience wanting more and then processed to sign and sell out the books brought with her.

For more information or to buy the book see the publisher’s website here.

Out now £8.99

 

OPERA REVIEW: The Barber of Seville @English National Opera

Posted on by Eric Page

The Barber of Seville

English National Opera

London Coliseum

Rossini

Disguises, deception, bribery . . . true love will always find a way.

Two centuries after its premiere and thirty years after its first outing in 1987, Jonathan Miller’s Tiepolo-inspired staging of this comic masterpiece brilliantly intercuts the traditions of the Italian commedia dell’arte and the Whitehall farce to create a charming evening of musical and comedy enjoyment.

Rossini’s prequel to The Marriage of Figaro remains as tuneful, ironic and funny as ever. Set in an elegant comic-opera vision of 18th-century Seville, this thirteenth revival with returning (2015) director Peter Relton taking experienced control of this production has the same warm comfortable seriousness as its last outing, and serves up the laughs. With costumes from designer Tanya McCallin exactly as Rossini would have envisioned, it looks delightful; all faded glamour, evocative costumes and fancy rococo tables. I loved watching it again as much as I enjoyed listening to it.

Read the synopsis here:

It’s laugh out loud funny, the comic acting is first class and Alan Opie (who was the original Figaro three decades ago) is a delight with his pompous entitled Dr Bartolo, his timing and flourishes teasing laughter from the audience. Sarah Tynan in her debut as Rosia gave one of those stunning performances showing off her pure soprano with an effortless grace that was charming, gliding around and polished purity in her high notes she was amusing and appealing.  They were a well matched and funny matching when together.

Morgan Pearse’s returning as Figaro was electric from the off, he owned the role, the stage and us, his voice is lyrical and resonant and he managed the often tricky libretto with skill. He’s clean cut rather than as sly and crafty but his Figaro is convincing, charming and works, his stage presence is magnificent.   His was the stand out performance of this production.

Yvonne Howard singing of the housekeeper Bertha was superb and her voice is expansive and engaging. A foxy bemused Basilio from Alastair Miles was resonant and impressed although melted away in the ensemble pieces.  Eleazar Rodriguez, returning yet again to this role he obviously enjoys  was great fun and the audience seemed pleased with his portrayal of the Count, he kept up to speed with the tightly choreographed comedy while bringing his own lighter touch to the singing too, he’s a very funny performer and seemed to delight in the endless costumes changes, silly voices and general daftness of the plot. You could feel the twinkle in his eye and the amusement in his voice and that carried out to the audience.

Hilary Griffiths’ debut conducting the orchestra of the ENO was delightful, tight and bouncy in just the right fizzing way which underpinned the frothy nonsense of the plot, he conducted with  vigour and zeal which outshone the passion on the stage. The energy brought from the pit last night was fresh and invigorating and Griffiths wowed us with the orchestra in full swell.  The comedy is supported by the witty translation, the surtitles make sure we got all the jokes, and the diction very mostly clear, although down in the stalls there was some loss of clarity. There were some delightful rhymes and pithy insults, my companion giggled her way throughout the night.

This was a fun and enjoyable night out at the ENO, full of laughter and delightful performances. I’d recommend this production for a first timer or for someone with a more traditional taste in opera as it will leave you humming and smiling all the way home.

Miller slowly joined the cast on stage last night and the house roared their approval of this revival.

Performances until October 30

ENO

London Coliseum

For more info or to book tickets see the ENO website here.

Running time: 3hr

 

PRODUCT REVIEW: ‘ONE’: Condoms and Personal Lubricant

Posted on by Eric Page

‘ONE’

Condoms & Personal Lubricant

Product Review

These fun circular new condoms, called ‘One’ are easy to use, can  be opened with ease and there’s a selection of different options, ultra-thin, sensitive, larger etc,  then some slightly daft glow in the dark ones, and lively flavours and various forms of ribbing which may be of more interest to our Hetro friends. The glow-in-the-dark ones were a laugh, radioactive StarWars pork sword fighting…..

Bf and I gave most of them a good hard test run over the week and they performed to our exacting standards.  I gave the carton called ‘Mixed Pleasures’ of ribbed and flavoured ones to a lady friend and her feedback was that they were cool, fun and neat, although she (like us) prefers the fresh taste of cock to that of a bubble-gum dick, she said the favours worked fine.  It’s all about the options with ‘Ones’.

There’s two good lube options, a water based and a hybrid silicon/water one, both concentrated and in neat little dispensers. They worked well under a range of our hot and sweaty test conditions, lasted the duration and refreshed easily although opening the damn bottle proved a little difficult until we snapped the lid off.

It’s  all styled very well:  coloured metallic glossy aluminium carrying tubs and cool compact lube boxes, highly styled for everyday usage, but some folk want their bang supplies to be bang on trend. The lube is just the right size for a weekend away or holiday (100ml), unless you’re heading to Folsom in which case keep with the shipping containers of grease.  ONE condom wrappers are as diverse as the people using them. Using art and creativity, they say they aim to minimize awkwardness and spark conversations around safer sex.

They certainly look good in your erotic parlour or just next to the bed, are well packaged for travelling and the main container packaging works as storage that you can refill.

Check out their Tom of Finland condoms, very cool!

This is a fun brand, with the emphasis on ‘fun’, and all the condoms have colourful logo’s and pictures on them, but at the end of the day a dick is a dick and no matter where you stuff it & if you’re gonna wrap it in rubber then it’s worth checking out these new(ish) kids on the block.  The website gives you endless choice and they are produced by the world’s leading condom manufacturer, so no need to worry about quality.

They also happen to be a local firm, based in Shoreham and already produce lot of condoms and lube that you’ve been using for years.  ONE condoms also work to provide free information for those who need it most through outreach programs financed by proceeds from each sale and you can apply into their fund if you have an event you think would benefit from stylish and fun sexual health materials.

You can even submit your own condom wrapper design if you like, and join the illustrious list of people who have contributed to the lively branding.

For more info or to buy some ‘Ones’ see their website here or you can pop down to your local Superdrug and buy them over the counter, easy.

OPERA REVIEW: Aida @ENO

Posted on by Eric Page

Aida

ENO

Directed by Phelim McDermott

Set in Ancient Egypt, Aida is a timeless story of love and betrayal against the backdrop of war. The story is a roller coaster of emotions told through Verdi’s powerful music. Aida is an Ethiopian princess held captive in Egypt, in love with a General, Radames, and he with her. When he is chosen to lead a war with Ethiopia, we follow the conflict of Aida’s love for both Radames and for her country

Director Phelim McDermott, who last directed the astonishing Akhnaten for ENO, joins again with theatre production group Improbable’s in this new production. This opera is written on a grand scale but here they make it feel oddly domestic and claustrophobic, pulling the focus well.

Welsh tenor Gwyn Hughes Jones gave us a real heroic Radamès, full and resounding and committed to the very end, he was wonderful although trapped behind his Gilbert and Sullivan epaulettes and wooed Latonia Moore’s Aida in the most convincing way, Morre was excellent, pure, fine and focused her humility and precision combined to give a fully engaging performance which held to it’s very last breath.  What a debut! Her acting is a refined as her singing and she made me care about Aida in a very real way.  Mezzo Michelle DeYoung was fine as Amneris although was dressed like a meringue in the first half and seemed uncomfortable with the clunky English translation but her cursing saw her open up and thrill the packed coliseum audience with her full throated wrath.

Eleanor Dennis gave us a stratospherically high high-priestess which was compelling and utterly passionate and the only time the opera really took wing and dragged me under its epic thundering, she was superb and it all came together in chorus, music, costume, lighting, set and acrobats in a superb moment which delivered an astonishing pinnacle.

Robert Winslade Anderson (replacing Brindley Sherratt) brought a subtlety to Ramfis which I enjoyed and Musa Ngqungwana gave us a superb Amonasro. Keri-Lynn Wilson conducts Verdi’s powerful score of military marches giving way to emotional gentle simplicity and along with the orchestra provided a consistent start to this new season.  Her narrative thrust gave a real momentum to the opera, often lacking on stage but the pit gave us all the pomp and grandeur they had without sacrificing the achingly tender softness.  Lynn-Wildon did the ENO proud last night.  The chorus, as always, excelled and although they didn’t have much to do in the way of acting apart from creeping slowly around, their excellent singing lifted the evening.

This translation is almost as old as the story and it’s a lost opportunity not to have a new fresh take on it, it’s seriously clunky in parts and reduced the quality of the emotional subtlety that something more careful would produce. Tom Pye’s monumental sets grew on me as the evening went on and the excellent lighting from Bruno Poet’s although smothered in mist and shadow was pretty impressive and suggestive of ageless ritual and timeless space within the restrictions of the pallets.

Read the synopsis here:

Aida’s grand march, always an opportunity for the director and designer to go to town was a bewildering combination of jingoistic march, as dictated by the music and funeral hero worshiping,  nicely picking up the threads of costume and attitude to blend it to the eternal need of absolute authority to have willing sacrifices to place on their pedestals of war triumph. It takes it lead from a military reception of the ‘glorious’ dead with their family forced to appear in the procession of glory while flags are folded from black polished coffins and then presented with honours.  The costumes at this point had gone over the top and looked like Dune had gone on holiday with Blackadder but the trumpets brought the attention to detail back and although the detail was all about distraction, tumbling, twirling, female soldiers from acrobatic group Mimbre with modern guns and acrobatics, flag waving and mourning, coffins and crowd control, I shut my eyes and allowed the music to win the battle.  When I opened them to peep out the DUP shaman priests were marching on stage with sculls on their head and I sighed and shut them again, the trumpets were outstanding.

The second half feels far more coherent and the narrative tension is firmly in control, with the action tightly focused on the main protagonists and the sets grow into feeling supportive of the action. The whole opera is lit in a most crepuscular way and although it hints at darkness, shadow and death there’s only a few shafts of light, the opening and closing of the curtains suggests dawn, beams of light or openings into and out of secrets worlds, but over all this is a gloomy opera, focused with western obsession with ancient Egypt being obsessed with death and the shades, dance and even costumes echo this focus.

Ironically  the final scene in the closed tomb is lit the brightest and as Aida and her doomed lover face their end it’s a beautiful, quiet and perfectly judged ending to what was a slightly bumpy start, but a tremendous effort and overall well worth checking out.  With a tweak and a polish this may well be a banker for the ENO.

For more info or to book tickets see the ENO website here:

Until 2nd December 2017

English National Opera

London Colliseum

St Martins Lane

London

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