STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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Bach and Sons, Bridge Theatre London
Hugely enjoyable account of a musical genius's domestic life
BOISTEROUS DUET: Douggie McMeekin as Wilhelm Friedemann Bach, left, and Simon Russell Beale as Johann Sebastian Bach
[Manuel Harlan]
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
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THE AUDITORIUM — seating spaced for Covidian safety — is like a dimly lit cave and above the stage hangs a flock of upside-down harpsichords which look like exotic bats or prehistoric birds.
Enter Johann Sebastian Bach (Simon Russell Beale), who sits at the single harpsichord centre stage and plays the lovely Sheep May Safely Graze. This fusion of Vicki Mortimer’s set, actor and music is a fine opening to a fine play.
Soon the music changes key, a mistake is made, the famous tune repeated. The subtle comedy of this is well executed and there’s an effortless shift from Great Composer to domestic man as his wife Maria (Pandora Colin) comes on and tells him he’s keeping the baby awake: “Come to bed darling,” she implores.
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