I went to see this show not grasping what it was, and came out having thoroughly enjoyed myself.
What is it? A hybrid Drag Queen show, with a bit of Burlesque, a bit of stand up comedy, a bit of Pantomime, a bit of game show. and lots of big costumes, big hair, and singing.It is also a show with a big heart. Drag acts have come a long way since Danny La Rue.
Firstly, this is a big production show with full stage, lights and of course lavish costuming. The premise is that we will vote for our favourite Queen in a series of sing offs via a combination of interactive phone voting. As the evening progressed so the significance of the phone vote seemed to dissipate. What did not dissipate was the singing- and lots of it
Tina Turner, Madonna, Beyonce, Britney, Cher, Celine Dion, Lady Ga Ga and the Spice Girls all received the spotlight. The second act was stronger than the first, and the Spice Girls sequence was the strongest of that- Viva Forever was genuinely moving as was the True Colours finale, which cleverly displayed the girls in Drab mode on screens rather than Drag. Very effective.
The audience surprised me. Very few T girls, some gay men, some husband and wife couples, but overwhelmingly it was a raucous Hen night/ girls night out crowd, many of whom had clearly seen the show before- always a good sign. Of course we were treated to “Its Raining Men” and “Dancing Queen”.
The show was rapturously received , and danced to, and continues on nationwide tour. The surprise feel good hit of the year.
This was my third Legends of Rock, but their fifteenth , hopefully I am getting the hang of it now as are they. Firstly I should point out that this is a festival of some sixty bands over four days. It is impossible to see everybody, with two stages physically impossible . Equally the bill is intended to cover divergent tastes- you are not expected to like every band- and are allowed to go to the toilet, have something to eat , chat to your friends, visit some local sights as well as taking in the music. And part of the joy is warming to acts and music that would not have been on your priority list normally- but they appeared on stage while you were there and couldn’t be bothered to move!
With attendances at live venues under pressure many bands use this event as a showcase for an audience drawn nationwide and beyond. Over a thousand people a night is worth having. The order of appearance has nothing to do with merit with some of my favourite performances appearing at unexpected times.
The opening night was inauspicious. Blackfoot, a rock covers band were strong to open proceedings but I found the ELO Experience a bit of an insipid experience, as I found the original ELO live. The crowd loved them though. The Darkniss were, like the Darkness, ridiculous and preposterous. But my biggest disappointment was Slade UK who closed the night with fantastic material, poor presentation and a ramshackle performance.
Fortunately Friday started with a lunchtime bang. The Doobie experience were sensational. Expert musicianship, crisp sound, committed performance and a stonking set list, my favourite set of the weekend. Ian Dury and the Blackheads picked up where the Doobies left off with a delightful music hall style set and a welcome break from conventional rock. Motorkill did nothing other than great classic rock as did WhitesnakeUK later in the evening.
Saturday was a mainstream blast with Blax Abbath excelling, legends of AOR imperious, but with Derick and the Dynamos stealing the evening, super Mario on bass, and one of the best renditions of “Let it Rain” I have heard
The last day is always sad, and a challenge to the constitution of a four day rock assault.
Too Petty opened Sunday with a ridiculously short 55 minute slot. They should have closed the evening and had ninety minutes, delivering an outstanding set, they were one of the big successes of the weekend.
I room hopped between A little More Gilmour and Telegram Sam. The somnambulant solos of Dave are not ideal for a Sunday afternoon. I have seen Telegram Sam Before and they are not as good as tribute rivals T Rexstacy, the music was fine, the performance and delivery a little lacklustre, but there is only so much you can draw from a fairly limited back catalogue.
One artist who does not suffer from a limited back catalogue is Bruce Springsteen, Forever Springsteen were superb, but again had a criminally short one hour set time. Rainbow in Rock completed the best of the evening trio, established favourites who delivered once again.
All my opinions are entirely subjective and may change tomorrow. If you don’t like them- I have others!
Another wonderful weekend. I shall be back next year, thanks to organisers Eddie and Justin Yates.
I am a keen amateur student of the history of World War Two. I have long felt that the commercial behemoth which is Holllywood and the artistic excellene of British cinema have combined to offer an incomplete record of the conflict
This wonderful two parter, of which this is the second half rightly reappraises the French role, retracing the battle of Free France .It is a film brave enough to make Roosevelt the antagonist, not the hero.-
Baudry does something cinema rarely risks: he puts Washington, and the Americans in the villain’s chair. Campbell Scott’s Roosevelt treats France as a defeated country to be administered rather than an ally to be consulted, and behaves accordingly. He embodies the pragmatic, almost colonial ambitions of Washington. American viewers will find this uncomfortable, and the film’s reception outside France will turn on how much of it they are willing to accept.
What makes the film stand out is its willingness to cast the Americans as near-villains in the struggle for French sovereignty – an angle that feels both brave and genuinely refreshing. This version of events, with its clear-eyed view of Allied power politics and de Gaulle’s fierce defense of national independence, is rarely given such prominence in mainstream Western storytelling. Baudry leans into the political intrigue and diplomatic brinkmanship without soft-pedaling the tensions, resulting in a historical drama that feels purposeful rather than merely celebratory.
The occupation currency was printed, officers were trained to run French departments, and Roosevelt did float carving a state called Wallonia out of northern France. Jackson’s biography, which Baudry adapts records it all.
Abkarian carries both the awkwardness and the mystique of De Gaulle, without sliding into impersonation. The Churchill exchanges keep the dry needling from part one, still the most enjoyable double act in either film, and the score was beautifully cinematic. The liberation sequence, set against Éluard’s 1942 poem Liberté, was my personal high point of the whole diptych. The film is titled J’écris ton nom for a reason, and it delivers on it.
The African soldiers fighting under Leclerc across the entire film never get a line between them. For a picture that alert to those who get written out of history, it is a rather strange blind spot.
Baudry has admitted compressing and inventing at the level of individual scenes but the spine of the story is sound, and it is a spine most audiences have never been shown.Handsomely shot, well-acted, and driven by a clear-eyed sense of national destiny, De Gaulle: Liberté is a confident, intelligent war film that trusts its audience with a less sanitized chapter of the Allied victory. One scene in particular – a moving montage near the end of the movie that combines archival footage of the Paris insurrection with Paul Éluard’s iconic WWII resistance poem “Liberté” embodies the class and care that has been taken with the entire presentation of these two films.
The Bacharach/David songbook is amongst the most illustrious in modern popular music spanning from the 1950’s to the present day. Some describe it as easy listening, and it is easy on the ear, its is also supremely crafted musically and lyrically.
Thirty five of his songs are played in the evening led by Rob Shirakbari as pianist and Musical Director who had previously performed the role for Burt himself. The vocal talent was outstanding with Rob enlisting the services of his wife Rumer in a goddess style long pink chiffon dress. Burt wrote over a thousand songs, thirty five of which were played tonight, although inevitably a few favourites were missed the highlights were stellar.
Rumer sang “The Look of love” perched alongside the piano as if she was in a small Jazz club back room, not the magnificent Symphony hall. Shaun Escoffery, best known for his role as Mufasa in The Lion King smouldered on “Walk on By” . My favourite performance was Jan Varga on The Windows of eh World”.
My only minor gripes were that Ed Richardson’s drums were sometimes too prominent in the mix sounding discordant and that the immaculately presented Woody Mankowski showed up a decidedly scruffy Ed Harcourt.
An outstanding evening of the best, played by the best.
Set 1:
What the World Needs Now Is Love (Overture) (Rob Shirakbari with the Royal Philharmonic Concert Orchestra)
Any Day Now / Baby It’s You (Sung by Ed Harcourt)
Don’t Make Me Over (Sung by Georgia Van Etten)
I Just Don’t Know What to Do With Myself (Sung by Woody Mankowski)
I’ll Never Fall in Love Again (Sung by Jana Varga)
Anyone Who Had a Heart (Sung by Shaun Escoffery)
The Look of Love (Sung by Rumer)
Casino Royale (Instrumental played by Rob Shirakbari with the Royal Philharmonic Concert Orchestra)
Message to Michael(Sung by Georgia Van Etten)
(There’s) Always Something There to Remind Me (Sung by Ed Harcourt)
Are You There (With Another Girl) (Sung by Jana Varga)
Making Love (Sung by Shaun Escoffery)
In Between the Heartaches (Sung by Woody Mankowski)
You’ll Never Get to Heaven (If You Break My Heart) (Sung by Rumer)
Trains and Boats and Planes (Sung by Georgia Van Etten and Jana Varga)
Promises, Promises (Sung by Woody Mankowski)
A House Is Not a Home (Sung by Shaun Escoffery)
One Less Bell to Answer (Sung by Rumer)
Magic Moments (Sung by Woody Mankowski)
What’s New Pussycat? (Sung by Ed Harcourt)
Set 2:
Walk On By (Sung by Shaun Escoffery)
Do You Know the Way to San Jose? (Sung by Jana Varga)
On My Own (Sung by Georgia Van Etten and Woody Mankowski)
God Give Me Strength(Sung by Ed Harcourt)
(They Long to Be) Close to You (Sung by Rumer)
Arthur’s Theme (Best That You Can Do) (Sung by Woody Mankowski)
The Windows of the World (Sung by Jana Varga)
Make It Easy on Yourself (Sung by Ed Harcourt)
That’s What Friends Are For (Sung by Georgia Van Etten, Jana Varga, Woody Mankowski and Ed Harcourt)
South American Getaway (Instrumental played by Rob Shirakbari and the Royal Philharmonic Concert Orchestra)#
I Say a Little Prayer (Sung by Georgia Van Etten)
This Guy’s in Love With You (Sung by Shaun Escoffery)
Alfie(Sung by Rumer)
What the World Needs Now Is Love (Sung by Rumer and Shaun Escoffery)
A solo, economy tour, just one man, an acoustic and an electric guitar- and some songs . I am a long time Parker fans since the 2Marcble Arch ” Ep, that’s fifty years ago. His show at Leeds Uni in 78 is amongst the finest live performances i have ever seen.
For a time he was the hottest rock n roll property around alongside Thin Lizzy, the the New wave/ Punk storm blew and was a Howling Wind he could not weather. There was only toom for one angry young man and Elvis Costello and Joe Jackson became the flavours of the month alongside the Difford/ Tillbrook Squeeze song writing duo. But for a time he was a contender, recording with rock collosuss Springsteen.
The show was split into two halves, the first acoustic the second electric , spanning his entire career. Inevitably some favourites ( Fools Gold, Howlin Wind and Thunder and rain( were omitted) but then many less familiar songs entertained as well.
After 48 years, it was great to see Graham look so well, overflowing with anecdotes which bordered on the “Evening With” chat format and play so confidently and well. Unfortunately without a band the music, and songs, suffered, some appearing to be empty facsimiles of the originals.
The audience reception was respectful, appreciative but generally disappointed. Still love him, but at 76, it’s his recordings frrm now on for me. But thanks for the memories.
Like many, my entire life has unfolded with Queen Elizabeth as Queen. I was not, and am not a Royalist, nor am I ,or was I, a Republican. I certainly wished her no ill. Thus I came to this production to be persuaded. A profound moment came when I attended the Grand Theatre Wolverhampton on the Tuesday after her death and the music to “God save the Queen” was played. The entire audience stood and sang “God save the King”. Something had changed- irrevocably. It was quite a moment
We are placed in the hands of English novelist, TV producer and screenwriter Daisy Goodwin for this her debut stage play for its debut run.
Anyone seeking Piers Morgan salaciousness, or Earl Spencer tittle tattle will be disappointed. This is a light affectionate look at Her Majesty through the prism of her wardrobe.
Set in the inner sanctum of HM Queen Elizabeth II’s Buckingham Palace suite, By Royal Appointment offers an intimate insight into the late Queen’s life outside of the public gaze, opening her wardrobe to the whens, whys and wherefores of the outfits she wore for various occasions from the 1960s until her death in 2022 and turning the spotlight on the close relationship forged between her and her dresser: a largely invisible force to be reckoned with, and possibly the most influential courtier of the late Queen’s court. A glimpse into the holiest of holys.
The Queen’s long standing dress designer Hardy Amies isn’t called Hardy Amies here, and her milliner isn’t called Freddie Fox either. They are simply billed as The Designer and The Milliner respectively, the Queen’s Dresser is simply billed as just that too. Yet her identity is well known- Angela Kelly Personal Assistant, aka Gigi, Adviser and Curator to Her Majesty The Queen, Jewellery, Insignias and Wardrobe who, for almost 30 years, oversaw every detail of everything The Queen wore and, in the Queen’s latter years her dressmaker too.
Punctuating a narrative relayed through a series of vignettes that whisk us from the 1960s to The Queen’s final engagement welcoming the then Prime Minister-elect Liz Truss to her Balmoral estate is Gráinne Dromgoole ( Laura Matthews) — as the curator of a forthcoming multi-media exhibition of the Queen’s clothes. We learn it will be produced “ABBA Voyage style” (Ironically Mama Mia was playing in the adjacent Concert hall), doubling-up as the play’s narrator — she gives context to the relevance of the Queen’s wardrobe choices as the story is told.
Who was in power when she dazzled in daffodil yellow for the very first time? Which Wham! single topped the charts when she wore the pink coat? How much had the price of milk risen to in the UK when she wore orange silk chiffon for a state visit to Bahrain? And could she ever upstage her infamous sister-in-law Mrs Simpson? (Yes, actually) the script answers all those questions for you, whether you did, or didn’t want or need to know.
None of the wardrobe choices were random, —, maximum visibility to cameras and crowds, comfort and tradition were always paramount , from style of hat to choice of footwear with length of hem falling in between the two… and, always including the handbag.
The problem is that Goodwin’s script is not merely light- it is lightweight. The epherema only serve to undermine the gravitas of the production. Back projected video could have been used both to showcase the real outfits and the respective periods, they were not- presumably to save money. Jonathan Fensom’s simple, set is palatial but unostentatious with mood lighting on curtains echoing colour choices.
Asher is an assured Queen, yet is occasionally apparently uncertain of her lines but depicts the years of the Queen’s advancing decrepitude well and sensitively
Prickly, trustworthy and protective the native Wiganner, long-term Dresser, companion, confidante and anchor, is the reliable pivot of the show.
As The Designer and The Milliner respectively, David Robb and Mathew Cottle are a pleasant enough comic double act, but the badinage is as limp as their wrists. One almost risque joke about Dickie Mountbatten, a few duds about Harry and Andrew, and that is your lot. Goodwin tries to emulate the wry humour of Yes Minister, but fails dismally.
Poignant, thoughtful and elegant, By Royal Appointment is an imposing facade behind which lies very little.
This was my third visit to see the band, the first being at the start of the tour in Nottingham some eight months ago, which had launched in a blaze of glory. But, as Bruce Springsteen sagely once observed; “You gotta prove it all night- every night”, and that I am pleased to say is exactly what Forever Clapton did on Friday in Bromsgrove.
What should you expect? A classy, eclectic, romp through Eric’s back catalogue and consummate musicianship played with care, sincerity, and a smile.
The show is broadly chronological, starting off with the Bluesbreakers and finishing off with a Tina Turner duet – harmony singer Gayle Fraser taking the female vocal.
With a cv incorporating the Carpenters, Shania Twain and Madonna there seems to be nothing “G Force” cannot sing. Sharing harmony duties is Kimberley Ann who excels on “Holy Mother” ably abetted by Andy Price’s suitably ecclesiastic sounding organ, reminiscent of Jon Lord.
Having an opening salvo of Crossroads, White Room and Badge gives them quite a start with “Ginger” Millington giving the drums a beating ,but it is with “I Shot the Sheriff” that the band really find their groove as the girls channel their inner Ronettes/ Shirelles with some sassy dance moves to help proceedings along the way.
Holding the backline together is the fluid mellifluous bass work of Ben Hackett who positions himself firmly in the shadows while making an essential contribution to the band’s sound, particularly during “Bad Love”.
They played a generous two hours, not including interval, before an audience clearly well steeped in Clapton’s music, and convinced us all, earning a well deserved standing ovation at the end from a healthy Friday night crowd.
I had been disappointed to miss out on seeing Eric himself live again earlier in the year after his Sandringham show was pulled when the promoter went into bankruptcy, but Forever Clapton more than compensated for that shortfall.
Pivotal is Benny Guitar Smith as guitar virtuoso and frontman, both roles at which he excels.
He cheekily runs a snatch of “Samba Pa Ti” into “Wonderful Tonight” – how I wish he had played “Let it Rain” and allowed the girls to segue into “It’s Raining Men”! Although he replicates Clapton’s blues breaks to perfection he also puts his own stamp on the melodies with more than a touch of Prince style as well. Clapton has a huge back catalogue, but Benny makes a shrewd stab at his choices for the setlist. Inevitably fans will miss omitted favourites- I for one would love to see the inclusion of “Presence of the Lord” to offer another female vocal opportunity and “Double Trouble” to unleash Benny’s inner blues man once again.
At the end of the show, he and the band meet the audience personally on the way out, a nice touch cementing the bond between band and audience. The sound was excellent, the audio visual backdrop effective, a proper show production. Another terrific night out.
On 1/2/81 I saw the original Thompson Twins support U2 at the London Lyceum and triumph. I have followed them ever since into the commercial success of Mk2 with Alannah Currie and Joe Leeway seeing them live several times at Wembley Arena and Leicester de Monfort hall. My wife was a big fan.
My affection was won during the agitpop years, but I couldn’t help be pulled by the melodious songs and quirky arrangements of Mk2. Not all of it worked but sufficient did to make them one of the more successful 80’s synth based acts. It was the visuals of the trio which engaged in the Smash Hits poster era.
Forty five years on I approached the show with some trepidation. Tom sans Alannah and Joe has now become Mk3 Would the songs stand up? Would the band be any good? Would Alannah and Joe be missed? Can Tom still do it?
A 902 seat sell out. The band, On keyboards/cello, Charlotte Raven. On drums, Paulina Szczepaniak. On bass/keyboards, Meelie Trail aka Liz Truss!
Th embryonic band saw their first gig at Buxton and in an act of warm nostalgia Tom invited Pete Dodd and John Roog on guitars to join him and the band for a romping cover of “Revolution”, there wasnt a dry eye in the house, and the woman sat next to me was in Tom’s Junior school class!
The most watchable weather forecast ever. This has received mixed reviews. Pay no attention to the naysayers- it is a terrific film
Directed by Anthony Maras,this is a World War II drama regarding the final 72 hours before D-Day. How’s the weather?
Andrew Scott as Chief Meteorologist Group Captain James Stagg who has to convince Brendan Fraser as Eisenhower that he should postpone D Day Kerry Condon as Eisenhower’s ADC provides emotional depth and beauty in a role which remember Susannah York’s in Battle of Britain.
The sub plot of Eisenhower’s angst at the bloodbath of American troops in a botched UK landing rehearsal is well made. The period detail is exact, and lovingly recreated. At just under 2 hours it moves along nicely, taut, tense, but not overblown
U2/ Thompson Twins/ red Beat/ Delta 5 – Lyceum ballroom, London 1/2/81
I had come to see U2, but it was the Thompson Twins with Perfect game and Politics who stole the show.
Red Beat and delta 5 were instantly forgettable but the Twins played with a passion and verve which was incendiary. The build up to the show was massive, 1000 or so sold out inside, as many outside trying to get in.
I had never seen U2 before and have never since. Even then, Bono was preposterous. The music was fine, and the Edge was clearly a star, Inevitably they were short of material s the hype had overtaken them playing “Tick Tock” twice and encoring with Dylan’s Watchtower. Hearing I Will Follow and out of control fresh was wonderful the rest looked contrived with Bono desperately endeavouring to look overwhelmed by the adulation.
But Tom Bailey and the Thompson twins were the winners.
