SINGER, songwriter, and musician Evan de Roeper’s recently released single Midnight Drive is part of his new EP Lavender. It is another deeply thoughtful offering from a half English and half Indian artist, who has widely diverse inspirations that include Frank Ocean, The Weeknd, Chopin, The Arctic Monkeys and Japanese acts like J-rock artist Gackt.
Eastern Eye found out more about the talented artist by getting him to select 10 songs he loves.
Hurricane by Kanye West: I like a lot of Kanye West’s music, so, it was hard to choose one, but I landed on Hurricane and it’s not because I also like The Weeknd. I liked how The Weeknd’s vocals were added to the powerfully produced song and how my head immediately bops along!
Trust by Brent Faiyaz: I like how the instrumental gradually adds new elements until the vocals and drums tie it all together. I can’t remember how I originally came across this song but from it, I delved more into Brent Faiyaz’s music, and don’t regret it.
Pyramids by Frank Ocean: It’s all about how this song constantly changes. If you have heard this before, then you know the second half is completely different. However, it still shares strong imagery of the pyramid just in a different context. I also like how the first instrumental changes to the second during the middle of the song.
Ottolenghi by Loyle Carner: I love how stripped back this song is. Just keys, drums, and vocals. Simple and very effective. I feel very introspective when I listen to this and can clearly hear what Loyle Carner is saying. The music video is also very nice to watch.
Midnight Joke (Mayonaka No Joke) by Takako Mamiya: This song is seeing a resurgence in popularity. City pop is 80’s Japanese pop music which is groovy, funky, and melodically intricate. Just a vibe all round to be honest. I am now a huge fan of this genre!
King Of Everything by Dominic Fike: I am drawn to how Dominic Fike builds the song up here. The first minute and a half is just instrumental, which is a lot as the song is only three minutes long. Half the song has no vocals! I really like it and will probably try something similar for myself in the future.
Last Time by Giveon Ft Snoh Aalegra: To me, this song feels like a conversation between a couple who shouldn’t be doing what they’re doing but can’t resist. The mixing on this is incredible; every aspect of the song is placed perfectly. Giveon and Snoh Aalegra compliment each other very well.
Birdcage by Gackt: I love this beautiful track so much and the instrumentation is phenomenal. Gackt’s voice sits very nicely within the mix too. I also like how the song explodes in tempo around two minutes in. The song has three distinct parts and it’s amazing. I want to create and evolve my music like this at some point.
Champagne Shots by Sainte: Really good music to have in the background or to just do nothing too except listen. This is another one I really like the music video to, especially when he’s with the mug. Production is really smooth and nice.
Don’t Stop Me Now by Queen: Well, It’s Queen. They have quality songs all around. This track is particularly close to me. It was an early song I learnt when I was taking singing lessons and had such a fun time singing it at karaoke in South Korea. The title captures this energy-filled song perfectly. Freddie Mercury’s vocals here are outstanding. I will achieve this someday!
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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