While the audience mainly consisted of the mature middle-class, there was a notable scattering of ‘young’ people: either teenagers coming with their parents or young professionals coming in groups of friends. I counted roughly 20 ‘young’ people out of an audience of around 300. Their manager Trevor Eyles emphasised the band’s broad appeal as they perform in venues from retirement homes to colleges.
I was struck by the slick nature of the show. The fact that they tour with the same programme has enabled them to produce a highly polished performance, particularly in regards to stage presence. The repertoire was confidently memorised which in turn meant that they were able to play out to the audience with an assortment of facial expressions and stage antics. Though the shiny suits and patent black shoes are not to my taste, their matching outfits turned the performance in a show with all aspects are taken into consideration.
Stringfever also successful communicated with the audience. This was evident in the spoken introductions to the repertoire as well as the musicians’ ability to portray they individual and distinct characters on stage. I think Ralph Broadbent’s dialogues were well balanced between informative and accessible. He introduced the works simply by giving a bit of background information like the piece’s original orchestration and then slowly incorporated any composers’ names or technical terms before giving the full formal name of the composition. I enjoyed how Neal Broadbent helped bridge the music and the dialogue by sustaining a pulse on the cello. Furthermore the false clap was very tactfully dealt with to diffuse any air that it mattered if you clapped in the wrong place.