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    Listen and weep

    Porn, weed and a wooden park bench: Alfie Boe's big break, from London streetlife to stardom

    Joel Luks
    Oct 2, 2012 | 10:45 am
    Porn, weed and a wooden park bench: Alfie Boe's big break, from London streetlife to stardom
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    Identifying a classically-trained singer isn't rocket science. Listen for the way they intone when they speak, check out the scarf — even in warm weather — and the required water bottle for hydration. That's nothing like Alfie Boe, the British tenor who spellbound audiences on Broadway with his tender Jean Valjean and his passionate Rodolfo.

    In his story, that water bottle was alcohol, his roommates were potheads and internet porn addicts and his bed was a wooden bench in Hyde Park. Typical student life while at the Royal College of Music? Rather unlikely. But so is his fame. He has sung alongside Renée Fleming and for Queen Elizabeth II, performed on the most prestigious stages, recorded albums, filmed DVDs and even penned a book.

    Boe, who's set to performed at 7:30 p.m. Wednesday at the Wortham Theater Center, took a brief respite from his busy schedule to chat with CultureMap via phone from London. En route to the U.S. for a concert tour, Boe spoke to us about his family, his journey and what audiences can expect at his performance.

    CultureMap: Not to quote a song from Les Misérables — admittedly I can't help myself — but the life you dreamed to dream — unlike the character of Fantine — became real for you. Was there a moment in your career when you breathed a sigh of relief knowing that you had made it?

    Alfie Boe: I don't think that, as an artist, you can ever really say that you've made it, that you have arrived. If you say that you've made it, I think it signals that you're settled and you don't have anywhere else to go or room to grow. I am nowhere near the end of my journey. It's always an ongoing thing for me.

    But when people ask me about my biggest break? Was it playing Rodolfo in La Bohème on Broadway or was it playing Jean Valjean in Les Misérables or was it being a part of the Queen's Diamond Jubilee Concert? Honestly, my biggest break was getting an audition for the D'Oyly Carte Opera Company. That's what set me on path to having a career as a professional singer.

    CM: The opening line of your memoir, Alfie: My Story, tickles my sense of curiosity. I put it right up there with "Call me Ishmael" or "It was the best of times, it was the worst of times." For a music devotee to read, "Bizet nearly killed me," there has to be a juicy story there.

    Though your book doesn't come out here until November, would you spoil this bit for us?

    AB: Sure. That was specifically about a job I was doing for the English National Opera. I was playing the role of Nadir in Bizet's The Pearl Fishers, and I had an accident during the rehearsal period where I lost my sight. It was a bit of neglect from the opera company that I was working for. They didn't support me or help me very much. But I survived, as you can hear.

    CM: I am very glad you did. In your book you speak of your difficulty with alcoholism, how you slept in many park benches, how your roommate was addicted to porn. And yet you thrived, found your break and you carved a successful career in the entertainment industry.

    While many who live in the public's eye would be tempted to hide these type of life details, you talk about them openly.

    AB: I don't see any reason why I should hide my past for the sake for keeping the image of what an opera singer should be like. I wasn't trained to be anything other than honest and truthful, and to show people what the pitfalls are in life when you hit hard times. I don't mean to glamorize my life or to merely use it as a point to sell a book.

    I want to show people that it wasn't easy; it isn't easy for many people. I hope that people can get something from the challenges that I lived through in London and the trials that I had to overcome to be a singer.

    That's something I wouldn't want to hide.

    CM: Apropos music and food, as they so often flock together, I hear rumors that you are quite the chef and that there maybe a cookbook in your future? Is that true?

    AB: That's a bit of a rumor I am afraid. I am not proficient enough as a cook — as a chef — to write a book about cooking. But I do love to cook and I cook all the time. But I don't think a cookbook is in the cards for me. I want to be a singer, not a chef. I think I'll avoid that one and stay home and cook for myself and my family.

    I love to make lots of casseroles, traditional English dinners, Italian dishes, a mixture of things.

    CM: Not unlike your repertoire. You sing many different types of music. I am sure you have a cornucopia of tunes planned for your Houston appearance. But what most want to know is: Will you sing Bring Him Home? You have to, don't you?

    AB: I'll definitely will be singing Jean Valjean's Bring Him Home — yes, I have to (laughs). There will be a few songs from my album, Alfie, and I am also going to throw in some melodies that I've been working on for future recordings. And you never know, an operatic aria might just happen.

    I don't really consider myself an opera singer anymore even though I love to sing that genre of music. I just don't like the title of classical singer. I don't like the title of pop singer. I don't like the title opera singer. I just want to be known as a singer and not be tied down a single genre.

    CM: How do you balance being a father and a traveling artist? Has your little girl Gracie shown any interest in music?

    AB: It's very hard. It's part of the job so you have to deal with it and get used to it. It's a difficult balance, but I make it work. I spend a lot of time on the road away from my family.

    My daughter is very artistic. She loves to sing; she loves to dance; she loves to paint. She's a talented little girl. I think that the older she gets, her talent is going to manifest even more. It's beautiful to hear her sing.

    CM: Don't you have a birthday coming up?

    AB: I'll be 39 by the time I get to Houston.

    CM: And what will you do to celebrate? Should we throw you a party?

    AB: (Laughs) It will be on the road. What can I do? I plan on eating a lot of steak while I am there.

    Coming back to America and playing to Houston audiences is very exciting for me. It feels like I am coming home because I spent so much time in America. My wife is American. I've been connected to American culture and American life for a long time.

    It feels like home to me now.

    ____

    Alfie Boe will perform at Wortham Theater Center on Wednesday, 7:30 p.m. Tickets start at $34 and can be purchased online or by calling 713-222-5400.

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    Movie Review

    The Uprising can't make a medieval rebellion feel relevant to modern times

    Alex Bentley
    Sep 14, 2026 | 11:30 am
    Andrew Garfield in The Uprising
    Photo by Betina La Plante/Focus Features
    Andrew Garfield in The Uprising.

    Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

    Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

    The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

    The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

    But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

    When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

    Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

    Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

    ---

    The Uprising is now playing in theaters.

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