Review: NOW, THAT'S WHAT I CALL BACH - The Fitzgerald, Manchester (11/10/26)
Comedy and classical music blend together for a sublimely silly time
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Fresh off of fringe season, with engagements at both Brighton and Edinburgh Fringe this year, violinist Tasmin Sarkany's solo show, (during which she goes by the gloriously exaggerated alter ego Amelia Crotchet) entitled "Now, That's What I Call Bach", has made it up to the north of England to regale Mancunian audiences with the same brand of bizarre, fairly niche humour that blends two art forms which, arguably, are particularly tricky to sell to the masses, and perhaps even more so when one melds the two together. After having this recommended to me though, as well as having enjoyed L.A. cellist Karen Hall's solo classical-clowning show "Delusions & Grandeur" in Edinburgh this year, I was optimistic going in.
Sarkany saunters onto the stage with all the unbridled confidence of a global concerto star, over-egging her entrance applause with a deliberate and calculated graceful swagger about her, before channeling the late, great Freddie Mercury with a note-for-note recreation of his iconic call and response from his performance with Queen at Live Aid. Though this clearly was never going to have the same desired effect due to the issue of the space missing approximately 71,990 people from the audience, it still gave a real and tangible marker of the conviction with which Sarkany presents herself, or rather her violin-shaped lover, simply named "Violin".
She immediately has us on side, largely through her interactions with the audience, and how she has clearly tailored this piece to make everyone in the room feel included, whether or not the various references to J. S. Bach's music and contemporaries landed with everyone, there was still plenty of material that hit home. From jokes, bits and puns about being "on pitch", or the twenty children Bach fathered, to ultimately channeling the spirit of the late, great composer himself to assist in the final moments whilst she treated us to a greatest hits reduction of his Chaconne in D minor, this is a comedic musical journey like none other.
Clearly an enormously talented violinist, since the Chaconne is often considered one of his more challenging works, and being able to successfully convey a seagull in an ambulance through the violin alone is no mean feat, Sarkany also shows that she is no slouch as a singer either. She treats us to her stunning, soaring voice, in an operatic ode to Pingu, not to mention combining this vocal prowess with her violin by means of their mutual friend "Kazoo". She is clearly equally proficient as a musician, comedian and cabaret performer, and has mixed all of these together for a positive pot-pourri of unhinged genre bending theatre.
What sells this show more than anything though is Sarkany herself as a person, who operates with such effortless English rose charisma and wit, as it is clear she has brought a great deal of herself to the table with this show, her own experiences as a musician peppered here and there throughout, such as her prior experience working with the London Philharmonic Orchestra. This makes the whole experience feel deeply personal, and it simply exudes candour, substance and emotional honesty; sure, not every joke lands as she would have wanted, but truly this is secondary to the immense personality and heart that she has injected into her performance.
Whether or not you are familiar with the great works of music showcased during this highly unique, at times rather surreal piece of musical comedy, there is plenty to admire for the neutral, casual fan or novice. Sarkany brings so much effortless charm and charisma to proceedings, that you can't help but root for her, and this show is her on a plate, warts and all, and this goes for Violin too.
★★★★☆ (4*)
You can find out more about Tasmin via her Instagram page, follow her to find out more
{PR/invite}
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