Ta-dah! The full programme for the 14th British Silent Film Festival has been announced. You will find a few surprises in there, and a few things that you have been expecting since the first announcement in December last year. I am very pleased to say that there are some interesting British films in the schedule, as well as gems from abroad such as Ozu’s I Was Born, But… and the Beggars of Life screening at NFT1 with music from the Dodge Brothers and Neil Brand. There will also be a world premiere in the form of the restored British musical score for the Russian film Morozko, and lectures from experts including Matthew Sweet, Luke McKernan and Bryony Dixon. So, without further ado, here’s what you can look forward to at the event, which runs from 7-10 April at the Barbican:
Well, this is a heck of a good way to say happy birthday. The Ritzy Cinema in Brixton is celebrating its 100th anniversary with a series of vintage screenings throughout the year. Kicking things off is this double-bill of one of the silent era’s most sophisticated and elegant films, coupled with one of its most violent, strange and difficult. Yes, Un Chien Andalou (1929) is the eye-slashing surreal short film made by Luis Bunuel and Salvador Dali. It’s seriously odd and surely features on all right-thinking people’s must-see films lists. Sunrise: A Song of Two Humans (1927), on the other hand, is a romance: a story of a young man from the country (George O’Brien) succumbing to the dangerous temptations of the big city, and a bona fide vamp. Which puts his lovely wife (Janet Gaynor) in a very precarious position. This is one of my favourite scenes from the film:
There will be live musical accompaniment for the double-bill, which begins at 8pm on Thursday 24 March. Tickets cost £16.60 or less for concessions and they are available here.
• This post was updated on 9 May 2011
An eerie filmed record of Captain Scott’s tragic journey to the South Pole, The Great White Silence (Herbert Ponting, 1924) was rightly acclaimed as a highlight of last year’s London Film Festival. The print had been restored to great effect: allowing us to see the vivid tints of the original film, and the Archive Gala screening featured a performance of Simon Fisher Turner’s intriguing minimalist score, which incorporated the Elysian Quartet, “found sounds”, and a haunting vocal from Alexander L’Estrange.
His part-improvised score includes some pre-recorded elements and Simon Fisher Turner has gone to great lengths to include relevant ‘found sounds’. The first was a gift from a friend, Chris Watson, who made a recording of the ambient silence in Scott’s cabin in the Antarctic. Fisher Turner has also recorded the striking of the Terra Nova ship’s bell at the Scott Polar Research Institute in Cambridge. He has even managed to track down the expedition’s original gramophone to play some of the records which were played by members of the expedition.
If you have satellite TV, you may have recently caught the documentary on the small screen, but if you missed it, never fear, you have plenty of chances to catch it on the big screen in May and June.
First off, there will a special screening of The Great White Silence, with a recorded version of the score, at BFI Southbank on 18 May 2011, followed by a panel discussion led by Francine Stock, which will take the scoring of silent films as its subject – participants include Fisher Turner, sound recordist Chris Watson, plus Bryony Dixon and Kieron Webb from the BFI. The following weekend, there will be screenings nationwide of the film.
You want more? The Great White Silence will be released on DVD and Blu-Ray on 20 June.
The Great White Silence screens at NFT1 on 18 May at 6.20pm. The panel discussion will follow at 8.30pm. Tickets cost £13, or £9.75 for concessions and £1.50 less for members. They will be available from the BFI website.
The Great White Silence screens in the Studio at BFI Southbank several times throughout May and June 2011. The film will also screen at the Curzon Mayfair, Curzon Richmond and HMV Curzon Wimbledon, and at cinemas across the country including Broadway Nottingham, Cambridge Arts Picturehouse, Phoenix Oxford and Chapter Cardiff.
On Friday 20 May at 11am Bryony Dixon, BFI silent film curator, will give a talk entitled Films of the Heroic Age of Polar Exploration – The Restoration of The Great White Silence in NFT3. Tickets are free for over-60s, and usual matinee prices for everyone else.
At the Curzon Mayfair on Saturday 21 May at 4pm, and Curzon Richmond on Sunday 22 May at 3.30pm, Ian Haydn Smith will host an illustrated talk called The Great White Silence and Cinema’s Exploration of the World. Tickets are £12.50 or £9.50 for members at the Mayfair cinema and £11.50 or £9.50 for members at the Richmond branch. You can buy tickets here, on the Curzon website.
For this post, we will mostly let the pictures do the talking. This swooning embrace is from The Strong Man, a Polish film from 1929 about an unscrupulous journalist so hungry for literary fame that he steals his dying friend’s manuscript. It’s playing at the Barbican on 13 April.
These guys are Pink Freud. Together they are a monster of jazz, and they will be providing the live score. I think this looks like a huge amount of fun.
The Strong Man screens at the Barbican on 13 April 2011 at 7.30pm. Tickets are £10.50, or £8.50 online, but £2 cheaper for Barbican members. More details here.
On a related note, this is Pola Negri, Polish silent film actress extraordinaire. One of her Polish films, Mania: A History of Workers in a Cigarette Factory (1918) has been recently restored and is to be screened in 10 European capitals, including London, to promote Poland’s presidency of the EU, which begins in July. This decision has not been without controversy, but you can judge for yourself when the film comes to town with a new score by Jerzy Maksymiuk, performed by the Wroclaw Chamber Music Orchestra Leopoldinum.
Fancy a drink? Cigarette Burns‘s monthly pub night is back on Monday, with a programme of occult horror. Top of the bill is Equinox, a 1970 American horror film that seems to be a sort of proto-Evil Dead, with a group of teenagers heading into a forest and stumbling across some very hostile demons.
However, we’re interested in the first course, which on this occasion is Körkarlen (1921), also known as The Phantom Carriage. This is a Victor Sjöström film, adapted from a novel based on a spooky legend that the last person to die in any one year, if they are suitably wicked, will have to spend a year driving the phantom carriage, picking up the souls of the dead. It’s a nasty business indeed, and should have you clutching your pint glass in terror.
This was Sjöstrom’s last Swedish film before he went to Hollywood, so if you’re going to see his The Wind at the BFI on Wednesday, you might like to watch this as a point of comparison. And to scare yourself silly, too.
The Cigarette Burns night is the Mucky Pup pub in Islington on the first Monday of every month. Körkarlen starts around 6.30pm, so get there nice and early. I hear there will be pizza.
Sergei Eisenstein’s dramatic reconstruction of 1917’s October revolution is more than Soviet propaganda – it’s a ferociously exciting film, too. Rightly hailed as a classic, October‘s audaciously rapid montage editing is as violent and incendiary as its subject matter The bridge sequence in this film bears comparison with the Odessa Steps scene in Eisenstein’s more famous film Battleship Potemkin, but it’s a tough watch for horse lovers.
October (1927) will screen at the BFI on 8 April as the first half of a double-bill to accompany Phil Collins’s Marxism Today project, on display in the Gallery, which compares life in Germany before and after the fall of the Berlin Wall. Collins has chosen and will introduce the two films in the double-bill: first, October and then Lunch Break, a 2008 documentary film made by American photographer and film-maker Sharon Lockhart. Lunch Break consists of a single tracking shot down a corridor in an iron works in Maine. The shot has been slowed down to a snail’s pace, making the film last for 80 minutes, becoming an anthropological study of the workers and their environment. The BFI brochure says: “Its intimate, meditative tone offers an empathetic consideration of the workforce in our contemporary post-industrial condition.”
April brings two opportunities to catch Dreyer films on the big screen in London – with The Passion of Joan of Arc at Queen Elizabeth Hall and Michael, an earlier and lesser known work by the Danish director, which is being shown at the BFI Southbank as part of the London Lesbian and Gay Film Festival. It’s a highly regarded film, although apparently its reception was not so friendly when it was released in the US, where critics objected to the gay storyline. More fool them. The film tells the story of a successful painter (played by Benjamin Christensen) and his unrequited love for his protegé Michael (Walter Slezak), who is, in turn, in love with a countess (Nora Gregor). Michael has a melodramatic plot, but is told sensitively, in Dreyer’s Kammerspiel style, and is beautifully designed and photographed. Casper Tybjerg writes on carlthdreyer.dk:
This sophisticated film unfolds in sumptuously decorated interiors filled with extravagant objets d’art. Dreyer had a big budget and UFA’s state-of-the-art studio facilities at his disposal as well as Karl Freund, a top director of photography in his day. Michael is a chamber play, depicting a few people and their mutual relationships. All significant things remain unspoken. Dreyer has the camera tell the story in glances, facial expressions and objects. For Dreyer, working with the actors was what mattered, guiding them to give nuanced and precise emotional performances to be captured in close-ups.
Anyone who has seen The Passion of Joan of Arc will know what Dreyer can do with a close-up, so this film looks like a must-see. It’s only a pity that it will be showing in one of the BFI’s smaller screens. For a full (very full) review of Michael, see this entry on jclarkmedia.com.
Michael screens at NFT3, BFI Southbank on 6 April at 6.10pm. There will be piano accompaniment. Tickets cost £9.50 or £6.75 for concessions, and less for BFI members. They will be available on 11 March for BFI members and from 18 March for everyone else. More details on the festival website here.
Another excuse for a trip outside the big smoke, Flatpack Festival is a quirky event, showing “cinematic wonders” of all kinds at venues across Birmingham at the end of March. And there is plenty on the schedule to entice a silent film fan.
First up is an evening at Birmingham Town Hall called Digging for Gold. This event is a tribute to film historian Iris Barry and features a screening of Buster Keaton’s magnificent Sherlock Jr along with some European shorts. Music will be provided by Nigel Ogden and Alcyona Mick
On the final day of the festival you can enjoy The Keystone Cut Ups at the Electric Cinema, which mixes early slapstick film with scenes from surrealist films of the same era.
People Like Us and Ergo Phizmiz have been regular collaborators for some time, and when commissioned by Berwick Media Arts & Film Festival last year the result was The Keystone Cut Ups; a kaleidoscopic split-screen voyage through silent cinema which combines celluloid moments both familiar and uncanny with an original score performed live in the auditorium. Striding purposefully into its second century, the Electric Cinema should provide the perfect setting.
You can see a short video excerpt here. The Keystone Cut Ups screens at the Electric Cinema on 27 March at 7.30pm.
Depending on which way your interest in early cinema runs, you may also be interested in a couple more events. There’s a screening of the classic Mae West film She Done Him Wrong (1933) on Sunday 27 March and the spooky Shadow Shows opens the festival on Wednesday 23 March with its Lotte Reiniger inspired silhouettes:
The performance is built around a triple-screen film projection, incorporating techniques of early cinema and a variety of shadow effects. The original music score and sound effects are performed live by Pram as hidden conspirators behind a giant film screen, occasionally also glimpsed as silhouetted figures incorporated into its fractured scheme of images. The musicians employ an eclectic mixture of electronic and acoustic instruments, while the sound effects are created using hand-crafted devices from the theatre of a bygone age.
All this as well as screenings of new and classic films, a vintage mobile cinema, and some very special cakes. More details at the Flatpack Festival website here.
The time is right for a little rock’n’roll – and who better to rock our world than Louise Brooks? The British Silent Film Festival is putting on a screening of Beggars of Life (1928), which stars Brooks as a young runaway who dresses as a boy and falls in with criminals, “riding the rails” across Depression-era America. It is known as the best of Brooks’s American silents, thanks to her fresh lead performance and the film’s fast-moving pace. If you’ve read Lulu in Hollywood, you’ll know from Brooks’s own account that between the stuntwork, the bitchiness and the practical jokes, the cast and crew had a hell of a time making this film, too.
The aforementioned rock’n’roll comes from the musical accompaniment for the screening: the Dodge Brothers, featuring film critic Mark Kermode and joined on this occasion by silent film pianist Neil Brand. The Dodge Brothers are a skiffle band, and play in a retro rockabilly style. They’ve worked on silent films before – soundtracking White Oak at the Barbican in 2009 and playing along to Beggars of Life at the British Silent Film Festival in Leicester last year. Here, Mark Kermode talks about what it’s like to work on a silent film project:
This promises to be a fantastic show – and tickets for the screening are likely to be very popular. Beggars of Life screens in NFT1 at the BFI Southbank on Sunday 10 April at 6pm. Tickets are £13 or £9.75 for concessions and £1.50 less for members. Tickets go on sale to BFI members on 8 March, and on general sale on 15 March. For more details, visit the BFI website.
There is a some very exciting news over at The Incredible Suit blog. According to the man we must refer to as Mr Suit (Incredible to to his friends), composer and silent film pianist Neil Brand has been commissioned by the Barbican and the BBC Symphony Orchestra to write a score for the new restored print of Anthony Asquith’s London-set romance Underground (1928).
So, make sure you’re in town on Wednesday 5 October, which is when the score is due to premiere at the Barbican – and then keep your eyes peeled for a forthcoming DVD featuring the new soundtrack.
This short video offers some technical details about the BFI restoration of Underground, and offers a snippet of the score that Brand performed at the Queen Elizaebeth Hall when the new print was first shown in 2009.
UPDATE: You can buy tickets here, on the Barbican website.
Underground screens at 8pm on Wednesday 5 October 2011 in the Barbican Hall at the Barbican Arts Centre.
The Prince Charles Cinema has announced its next trio of silent screenings and they are all classics, kicking off with Hitchcock’s best known silent film, The Lodger: A Story of the London Fog (1927). There’s very little Silent London likes more than a silent film set in London, by a London-born director – and The Lodger is a really fantastic film. This is how the PCC describes it:
Considered by Hitchcock as his first real film, The Lodger is a silent sexual psychodrama set in a foggy, gloomy London terrorised by a killer loosely modelled on Jack the Ripper. As blonde women are murdered around the city, a sinister gentleman takes up lodgings at the house of an elderly couple and is soon showing an interest in their pretty blonde daughter. A real sense of menace pervades the story and the visual inventiveness makes the film a real treat.
Yup, it’s pretty sinister, and Hitchcock is on fine form here – the beautifully designed intertitles are a particular delight, as is Ivor Novello’s wonderfully ambiguous performance in the lead role.
There is some bad news about Hitchcock’s silents though – these great films, including The Ring, The Manxman, Downhill and Blackmail, are in urgent need of restoration. To this end the BFI has launched a campaign called Rescue the Hitchcock 9 to raise funds for the restoration work. So if you go along to see The Lodger at the Prince Charles Cinema, and you enjoy it, perhaps you’d think about making a donation yourself. Martin Scorsese’s Film Foundation recently contributed £275,o00, but you don’t have to give as much as that. For more details, look at the BFI website here.
The Lodger screens at the Prince Charles Cinema on 24 March 2011 at 8.45pm. Piano accompaniment will be provided by John Sweeney and tickets cost £10 or £6 for members. More details here.
You want glamour? We got it. on 26 March, the Cinema Museum will host an evening to celebrate the life and work of the beautiful actress Anna May Wong, star of Piccadilly and Shanghai Express.
The night begins with a screening of the biographical documentary Anna May Wong – Frosted Yellow Willows: Her Life, Times and Legend, and a Q&A session with the film’s director Elaine Mae Woo. Frosted Yellow Willows is the literal translation of Wong’s real name: Wong Liu Tsong. The documentary incorporates interviews with those who knew Wong, and was made with the support of such luminaries as Kevin Brownlow and Leonard Maltin.
From humble beginnings in a Chinese laundry, she went on to star in pictures such as Technicolor’s Toll of the Sea (1922), E.A. Dupont’s Piccadilly (1929) and Josef von Sternberg’s Shanghai Express (1932) with Marlene Dietrich. Never one to rest on her laurels, Anna would utilize her fame to aid her country and the country of her ancestors during times of war. Her body of work establishes her as a true pioneer of early cinema.
For more information about the documentary, visit the official website here. The Q&A will be followed by a screening of the melodrama Song (1928):
After the interval we will be screening a BFI archival 35mm print of the rarely-seen 1928 film Song (Richard Eichberg), an Anglo-German production in which Anna May Wong received top billing. In this her first European film, Anna plays a dancer drawn into a tragic romantic triangle when she meets a cabaret knife thrower (Heinrich George) and his capricious sweetheart. Song is notable both for Anna’s dancing and for the dramatic power of her performance. There will be a live piano accompaniment.
Most British silent film fans will know Wong primarily for her role in Piccadilly, but this will be a welcome chance to see one of her lesser known films, and the whole evening will be an opportunity to learn more about Hollywood’s first Chinese American leading lady.
Tickets in advance are £6.50 available from www.wegottickets.com or 0207 840 2200, and they will also be for sale on the door at £8. Doors will open at 6.30pm and refreshments will be available. The event is due to start at 7.30pm and finish at 10.30. For more information, visit the Cinema Museum website or the event’s Facebook page.
• UPDATE: This event will also be held at Liverpool John Moores University on 22 March 2011. More details here.
This is one of London’s more unusual venues for a silent film screening: the Musical Museum in Brentford, Middlesex, which is just down the road from Chiswick. The museum boasts a magnificent Wurlitzer and regularly shows films with organ accompaniment – every so often we get a silent film in the mix, too. The silent film they are showing next is Carmen (1915), and although the online programme sports a very sultry picture of Theda Bara in the role, I have it on very good authority that they are showing the version directed by Cecil B DeMille, featuring opera star Geraldine Farrar.
Carmen, which was based on the novel by Prosper Mérimée rather than the opera, was a huge hit at the time, first prompting a rival studio to produce the version starring Bara and then inspiring Chaplin to make A Burlesque on Carmen (1916). Was that one of the first spoof movies?
Farrar plays Carmen, a beautiful Gypsy who seduces a soldier in order to distract him from his post and allow her fellow smugglers to sneak contraband into the city of Seville. Well, it all ends rather messily as you probably know, but it’s a classic tale – and the bullring sequence is fantastic. Also, I’m very pleased to see the Musical Museum showing such an early film, rather than the more familiar 1920s fare.
The Wurlitzer, which was originally installed in the Regal cinema in Kingston Upon Thames, will be played by Donald Mackenzie. Carmen (1915) will screen at the Musical Museum, Brentford, on 26 March 2011, at 7.30pm. Tickets, which are £10, are available here, along with all the information you need.
Yet again this blog seems to be suggesting you go to the pub on a school night, but this is strictly an afternoon only event, and it’s in a good cause. The Horatia is a recently renovated pub on Holloway Road, Islington, which offers gigs, dancing, quizzes and film nights throughout the week, but is just about to launch its Sunday afternoon shenanigans.
Starting this Sunday 27th February, the pub will be offering roast dinners, DJs, stalls selling craft and vintage goods, board games, and yes, “Silent film classics” on the day of rest. According to the Facebook page created for the event, the films will be shown on a big screen, but there is no more information forthcoming at the moment.
Well, I’m going to go out on a limb and suggest that a busy bar full of jewellery stalls and people eating roast lamb while someone else plays records is not an ideal screening environment. But I suspect that is not what they are trying to achieve. Enjoying a few scenes from a silent film in the background while having drinks with friends sounds like a very pleasant way to spend a Sunday afternoon – perhaps before hopping on a No 4 bus to the Barbican for one of their Silent Film and Live Music screenings. Why not?
I’ll be getting down to the Horatia as soon as possible to check it out for myself, but I’m thoroughly prepared to raise a Bloody Mary in celebration of their enthusiasm for silent film. I hope the roast potatoes are up to scratch, too.
The Horatia Sunday Fayre is at the Horatia pub, 98-102 Holloway Road N7 8JE every Sunday from 11.30am to 5pm.
It’s back! You may have thought that Metropolis (1927) was dead and buried for 2011, but no – you still have the opportunity to catch the restored, longer “complete” Metropolis on the big screen. The independent Rio Cinema in London’s groovy Dalston is screening Metropolis on a Saturday afternoon in March. So if spring has still failed to spring by that point and you fancy hiding away from it all, let Fritz Lang’s vertiginous sets and glamorous robot lady ease your seasonal pain.
You may have seen the neon blue lights of the Rio before. It really is a very elegant cinema, and although the current curved facade dates back to the 1930s, there has been a cinema on that spot since 1909. So it’s a fine vintage.
And if you need any persuading that Metropolis is a must-see film, try this slideshow from Salon magazine that attempts to chart how far its influence has spread.
The Complete Metropolis screens at 1.30pm on 19 March. Tickets are available here.
The Loop Collective is a group of jazz musicians and the Loop Festival is their annual four-day event, which this year will take place in the Forge music venue in Camden. On the Friday night a trio comprising Alcyona Mick (piano), Geoff Hannan (violin) and Jon Wygens (guitar) will perform their score for FW Murnau’s sublime film Sunrise: A Song of Two Humans (1927). The film tells the story of The Man (George O’Brien) who is tempted, by a seductress from the big city no less, to murder his wife (Janet Gaynor). It is one of the most beautifully photographed Hollywood silents you could hope to watch, with stunning mobile camerawork – I often recommend to people who haven’t seen a silent film before.
The group’s score was commissioned last year and has previously been performed at the Flatpack Festival in Birmingham. It combines improvisation with pre-written music. You might be interested to know that when the score was performed at the Flatpack Festival they used a print of Sunrise that had recently been found in Czech Republic, which is a little shorter than the better known Movietone print, the one that is available on DVD and Blu-Ray.
That is just the start of the evening’s entertainment: the Risser/Duboc/Perraud trio will play later, and the headline act is Andrew Plummer’s World Sanguine Report, described as:
Part demonic vaudeville, part psychotic big band, vocalist Andrew Plummer revels and writhes in the macabre as he heads his jazz noir project World Sanguine Report through visceral tales from the dark side of life, love and death. Propelled by demented carny rhythms, Plummer’s bruised, gruff vocals and darkly-enthralling lyrics are enveloped in a tide of swirling tones and textures, with the constant threat of breaking into waves of cacophony.
Sounds too good to miss!
Sunrise screens at The Forge, Camden on 18 March 2011 at 8pm. Tickets are £15 for the whole night of music or more for a festival pass. More information is available from the Loop Festival website here. And you can buy tickets at the Forge website here.
This blog is primarily, but not exclusively, about silent film screenings in London – but when there are festivals, exhibitions or special screenings elsewhere in Britain they deserve a place on these pages too. Which is my excuse for telling you about this show coming up in Lincolnshire in May.
The Kinema in the Woods is a former concert pavilion, which began showing films in 1906 and continued to do so until it burned down in a fire in 1920. Two years later the Pavilion Kinema was rebuilt as a purpose-built cinema, with a rear-projection screen and the Phantom Orchestra providing the tunes.
These days, the Kinema in the Woods (named for its rural location) is still running, showing current releases and classics in its gorgeous 1920s-style building. So what better place could there be to watch a 1920s film? Particularly a 1920s film set in a 1920s cinema? I am hugely pleased that the Kinema in the Woods will be screening Buster Keaton’s Sherlock Jr (1924) on Sunday 8 May 2011. It’s a beautiful, hilarious film about a projectionist who falls asleep in the booth and has a strange dream that he is a movie detective, prompting a series of fantastically inventive gags. Music will be provided by Alan Underwood on the Kinema’s Compton organ and a short film will be shown also.
Sherlock Jr screens at 2.30pm on Sunday 8 May 2011 at 2.30pm.
If music be the food of love …
In this early film (possibly from 1899), posted on the Library of Congress YouTube channel, a woman chooses between the affections of two musicians. The rejected serenader takes his revenge, but true love finds a way.
And in the spirit of love, togetherness and all that jazz – did you know that you can now “Like” Silent London on Facebook? Spread a little affection today, people. Happy Valentine’s Day!
The Forest Row film society in East Sussex are discerning and enthusiastic cinephiles, who show heaps of exciting films, old and new, every week. Like all people of taste, they love silent films, and so I am pleased to say that their forthcoming comedy festival will feature some slapstick delights. Top of the silent bill is a screening of Buster Keaton’s magnificent The General on Saturday 19 March, with musical accompaniment by award-winning composer Terry Davies.
And the following day, Sunday 20 March, there will be a programme called Silents, Please, which is still slightly TBC, but this is what they have to say:
Many of the great silent comedies of the 20s were two-reelers, lasting around twenty minutes. The festival will also screen a programme of these, including Buster Keaton in Cops, maybe some Harold Lloyd, Chaplin and other gems. Screened with live music from Terry Davies and Anna Cooper.
Cops is hilarious. This should be great.
For more details about the festival, check out the website here, or find the Forest Row film society on Facebook. Forest Row is easily accessible from London. Simply catch a train from Victoria to East Grinstead, then a bus or cab three miles to Forest Row itself, I am told.
I hoped this might happen: a standalone performance of Adrian Utley and Will Gregory’s score for Dreyer’s The Passion of Joan of Arc (1928), as a warmup to the screening at the I’ll Be Your Mirror Festival in July. It’s a staggeringly powerful film, with an unforgettable performance by Falconetti in the title role. If you’ve never seen it, I urge you to do so.
This score, which involves rock guitars, a choir and an orchestra, promises to be of a suitably epic scale and has been reviewed well. It was commissioned by Colston Hall in Bristol and premiered there last May. This, its first London performance, is part of the Ether Festival, a celebration of “innovation, art, technology and cross-arts experimentation”. You might also be interested in another event in the festival: a live soundtrack by the Philharmonia Orchestra and Philharmonia Voices to Kubrick’s 2011: A Space Odyssey in the Royal Festival Hall.