Queen Elizabeth Hall, Southbank Centre, London
May 3, 2025
When works are described by companies as ‘ground-breaking’ or ‘like of which hasn’t been seen before,’ they seriously raise expectations. They also so often fail to meet them. So it was with Carnival, a coming together of Frantic Assembly and Aurora Orchestra and two musical offerings: Carnival of the Animals by Camille Saint-Saëns, and the new Richard Aryes composition, Dr Frompou’s Anatomical Study of an Orchestra, although the latter certainly comes with a playful air.
From a musical perspective, the Aurora Orchestra played magnificently. The combination of the musicians moving around to Saint-Saëns’ animal variations, while at the same time playing with intense feeling and mood, was certainly captivating.
However, where the dance came in, was hard to see. Actor and dancer, Christopher Akrill frequently took centre stage, whirling and twirling, but it was not clear why. The choreography consists of a lot swooping around the stage. His arms are amazingly expressive, though, the pitch, tone, and breadth of movement accomplished just with them being impressive. Elsewhere, while there are hints of a classical training, they remain firmly hints.
by Frantic Assembly and Aurora Orchestra
Photo Julian Guidera
Aryes’ Dr Frompou’s Anatomical Study of an Orchestra is discordant, but not without musicality. Ayres is an acquired taste, and this piece was more listenable to, on a first hearing, than some of his other compositions.
The premiss is amusing. That the musicians, well actually the instruments, are kept locked-up by the mad Dr. Frompou, and can only play at his bidding. But, one evening, he forgets to turn-off the viola. When he opens the door, the instruments’ escape.
Here the movement was encapsulated by Akrill in more frenzied swirling, while attempting to conduct the instruments. And while may be a mad scientist, quite why he wheels a science trolly on and off stage at one point remains a mystery.
Both pieces are narrated by Naomi Frederick, unfortunately in a rather unchanging, monotonous tone. A pity. A more experienced voice-over artist who could give it greater variety of pitch and tone would have added greatly to the interest and engagement of the whole performance. The set is overly fussy, with too much ‘stuff’ on stage, particularly during the Saint-Saëns.
Overall, Carnival underwhelmed rather, but the Aryes orchestral premiere will be remembered for all the right reasons.