Poems 2020

In the Beach Hut

Me on the inside
Everything on the outside
Time lies neatly folded
Like an old cloak
In the corner

White pebbles the size of
Loaves of bread
Rest beyond freshly rinsed
Twice daily

Peeled paint flutters
Subject to capricious breeze

Jaded, weather blasted
It holds fast

Against the onslaught
For now.

Wren
I saw a wren today
Brown, small, fragile
Agile

For the first time
Since I was a
Child

It was only a
Momentary
Glimpse

Maybe I have not
Been looking hard
Enough

Maybe they have
Always been
There

Maybe I will never
See one
Again

Hatton Bridge

They spoke of Waterloo
As the first stones were laid
One asked who Jenkinson was
No-one knew

Elgin sold his marbles
Which surprised the Greeks
They would have looked good
On Hatton bridge

Trout twisted and teased
Descending from the Peaks
Just one might make
Lunch compleat

Tutbury could be reached
Without wet feet

At each end a seat

It took three years, not fast

Built to last.

From a Window
Without others, who are we?
Each moment as unnoticed
As early morning dew

Cold or chilly?
Who knows or cares
As night falls

Solitary confinement?
Watching without
Being seen

Thursday or Friday?
Rolling dusks, blur
Into one

Pasta or salad?
Each mouthful keeping
You alive

Right or wrong?
Planning, scheming, weighing
No one knows

I think, therefore I am
Until I don’t

The Glove
It lay there
On the pavement
By Tutbury Park

It used to
Be a flour mill
It isn’t now

Quite rigid
Solitary
And armless

Pointing west
Its fist puffed up
Brown leather

Forgotten
Severed carelessly
But useful

Dress to Impress

And so comes the time
The time when she goes on- line
To zoom, in her room
To follow her poetic pursuit
Once she finds the button “unmute”
That moment of brief hesitation
When she questions the extent of
Her preparation
Has her perfume been applied to the optimum?
Poison, Angel, maybe a dab of Opium?
Then the matter obsessing her mind
What does she have, what will she find
To assuage her fears, to clear her frown?
What will be the right dressing gown?
They are packed in drawers, they are hanging on rails
They billow as the doors open, seductive nightwear sails
Winceyette, flannelette, viyella too
Silky, satiny, velour, lacy, but not see through
For although she might sport a string of pearls
She is keen to show she is not that kind of girl
Then she sees it, next to her mink
A fluffy warm number in pretty bright pink
She feels like a peacock, a flamingo a parrot
A poem in one hand, in the other a carrot

Hazel
Harry Lauder’s walking stick
Gnarled, contorted, bark
Snarling, bent, thin and thick
Lurking in the park

Fisherman’s friend, with sturdy strut
For bream, and tench and trout
Ancient keelless coracle cup
Waterproof and stout

Nine grew around the placid pool
Feeding salmon nuts
In lazy pace
Burgeoning in belly size
Fattened, satisfied and wise.

Coronavirus Press Conference Bingo
Part One – Questions to the Foreign Secretary
Foot on the pedal,
Social distancing,
Too early to say,
Furlough (pay)
Ramp up
Special measures
R value
Guided by the science,
Pressure point,
Flattening the curve,
Global challenge
Flattening out,
Unprecedented,
Enormous debt ( gratitude),
Enormous debt ( treasury)
Some signs,
Early signs
ONS,
NHS
WHO.
Exponential,
Colleagues abroad,
The surge,
Learning from other countries,
Light at end of the tunnel
Lockdown
Absolutely clear
Not out of the woods,
On the front line
Right measures at the right time,
Tests that work,
PPE (not Oxford),
Overwhelming majority,
Thank the British People.
Unknown
Stay at Home
Save lives
Save the NHS
Part Two -Questions About the Prime Minister
Boris
Precautionary
Hospital
Intensive Care
Almost dead
Spirits high,
Fighter,
Discharged
30year old girlfriend
Exhausted
Recovering slowly.
He will need time

Ingestre Haiku Sequence

#1
Photosynthesis
Changes the landscape with great
Capability

#2
Another morning
Leaves resting still on pathways
Pristine, Unruffled
#3
Grand Arcadia
Manicured cornucopia
In view of a Wren
#4
Archway guiding sight
Disappearing far away
It is a long walk
#5
Athenian mocks
In grand Doric colonnades
It’s all Greek to me
 Viv Albertine
It seems we have parted
Prematurely
There were chapters to play out
Words unread
We did not go as far
As I had hoped
Our relationship had promise
Unfulfilled
You were hot, funny,
Interesting
But I lost you
I don’t know how
It was not expected
Maybe I will find you again
And we can pick up
Where we left off.

At Dawn
I limp, hovering about the tree line
Barren boulders scattered carelessly above
Mists shroud the ground, teasing in wild puffs
Morning dew glistens on my weather worn coat
Steel grey eyes, stare, searching
Scanning the muscle sapping upslopes
Bark bristles in the chill
Underneath an awakening canopy
The pack beyond the horizon now
But their fading scent still cradled in the mountain air
Saliva drips anticipating a kill which may never come

Dying Like A Dog
He limped, haltingly, from the clearing
Each step burdened by the beast within
His cracked feet screaming
A whimper to the pack
Their nuzzles already forgotten
Who stepped away
Far enough beyond
Out of earshot of his final
Not quite silent sibilance
A sparse bush beckoned
A world closing in tight
Tight as his chest
Tumbling onto his side
Alone, tired
Crying for his mother
His children
For everything
Until darkness fell

For Jacob

Stop!
I warned
Eyes fixed
On the ditch

It’s a hat
Of a witch
And she is dead
Or at least

I hope she is

Orange
Pointed and rimmed
It sits silent
In the brook

Or was it just resting?

Maybe
If we tiptoe past
Quietly
We will be safe?

Come quickly!

But
Under no circumstances
Say hubble bubble
Boil and trouble

“I know you are lying Gary.
But what happens
If she is only drying
And you are

Not?”

The Dream
Tatika’s callused palm pressed into mine
Helping me onto the grey bare rock
Smoothed by millennia of rasping winds
My tired feet warmed by the sun baked stone
Below a kaleidoscope of green
Nourished by snaking blue veins
We followed one trickle, which begat a stream
Which begat a torrent
Flowing relentlessly
Until it eased into a giant lake, placid and deep
Our eyes met- and I knew
I surrendered to the medicine man
As the golden bridge became alive beneath our feet

Birmingham Temporary Mortuary
It was the ultimate fast track
Premium Class, frequent flier, Business Class, Aspiring Trier
All rolled into one, with no turning back

No need to worry about
High Parking Fees
It’s an open ended ticket
Although the long stay car park seems wise
Following your mortal demise
Advance booking is welcomed

The departures board offers one destination
Check in checks them in without hesitation
Security scanning ensures everyone is dead
But there is no need to spread your arms
Spread eagled to show that you mean no harm
Each soul is waved through

Spirits in duty free does predictably well
The ghosts of flights to Oslo and Tokyo
From Berlin and Talin
Are called unheard

In the departure lounge
No-one makes a sound
The hearses are clear to land
With no resistance
All keeping a safe social distance.

Lager Lager

Lager, lager foaming bright
From the beer taps of the night
What immortal hand or eye
Could frame thy awful chemistry

In what distant vat or vault
Steeped the essence of thy malt?
What unnatural process led
To the whiteness of thy head?

What the sugars? What the yeast?
And when fermentation ceased
From what market research came
The inauthentic German name?

What dread flavour, what aroma
How much will induce a coma?
How does calling lager ice
Begin to justify the price?

When the bars rolled down their shutters
And the drunks spewed in the gutters
Did he smile his work to see?
Did he who made Chablis make thee?

Lager, lager foaming bright
From the beer taps of the night
What immortal hand or eye
Could frame thy awful chemistry

My Journey here
Stepping outside into fresh air,
The dampness of dewdrops, a glistening glare
The muskiness of rain topping the leaves on the floor
I take in the forest breathing better than before
Sounds of nature, engine roars away
wheels spin on wet stone
Cracks, leaves crumble
Anxiety ramps for what?
The unknown casts a shadow on the moment
a hand of comfort, trust and safety
Returns the peace and forests beauty
Washed leaves whispered in the drying breeze
Minty fresh in autumnal frieze
Squirrel tongue drying drops
Busy paws, tail that flops

The Akashic Records
Suspended in a place,
Beyond earthly reach,
In a store of infinite space.

Where everything is known,
From east, south, north and west.
Where everything is shown

To those who wish to look,
Before now and after,
Recorded in a book.

Past Life Fragment
It was as if I had always been there
That I had known them all my life
My untaught hands knew what to do
I did not need to learn these things anew
Travel
We journey to experience,
To discover.

To learn, to taste new foods,
To hear new sounds, to see new sights,
To touch for the first time.

Yet however far we travel,
The past is never far behind

Goose Fair Nottingham

Amidst the tumult, I grasped her slight hand, tightly,
Cheers, laughter, song and wild gasps
Filled my soul, filled her soul, I knew
A dizzy euphoria, an intoxication, I sensed
Such rapture transcended our temporal happiness
It gathered all the joy that surrounded us,
And had ever surrounded us, and had ever been,
And was yet to come.
It gathered it all in a celebration of what was now,
What had been, and what was to come
In a moment
Past lives Poem
You wake wanting the dream
you left behind in sleep,
water washing through everything,
clearing away sediment
of years, uncovering the lost
and forgotten. You hear the sun
breaking on cold grass,
on eaves, on stone steps
outside. You see light
igniting sparks of dust
in the air. You feel for the first
time in years the world
electrified with morning.
You know something has changed
in the night, something you thought
gone from the world has come back:
shooting stars in the pasture,
sleeping beneath a field
of daisies, wisteria climbing
over fences, houses, trees.
This is a place that smells
like childhood and old age.
It is a limb you swung from,
a field you go back to.
It is a part of whatever you do.

Social Media is Wrecking Our Kids

the neuro-scientists are alarmed
our children’s brains are being harmed

they’re being re-wired, infantilised
they’re not learning to empathise

with endemic obesity
it’s all too easy now to see

we will inevitably find –
enormous kids with tiny minds

a bloated, brainless generation
with no concept of concentration

hang on – I use facebook, I’m quite clever –
I don’t suffer from attention defic- whatever

The Frozen Few

say no to biodegrading and to corporeal corruption
say death is not an absolute it’s just an interruption

while some await the last trumpet to sound to be saved
others wait for the ping! of a kind microwave…

then they’ll quench their curiosity – get futuristic tlc
get their body fine-tuned by a Dr McCoy
get their psyche seen-to by a Counsellor Troy

and while I wouldn’t criticise
those few who would revitalise –
reconstitute – reanimate –
drop off without a wake-by date…

…to lie in liquid nitrogen
in a vacuum flask in Michigan
at minus 196 degrees
– indefinitely –
doesn’t do it for me
while there are those few, to whom, I know,
the notion of being deep-frozen gives a nice warm glow

rather than be a birdseye sleeping beauty woken with a techno-kiss
I prefer to achieve immortality through poetry… …like this

Magical Memories

I remember the dress that you wore when we met
The dress with the dots – how could I forget
Two hundred and four – none exactly the same
I counted them all as you came through the door
…I gave each one a name

We walked out together, beneath a lumpy grey sky
I see it so clearly now in my mind’s eye,
The pavement, the drizzle, the cars grumbling by…

You kissed me. I missed one. But I didn’t mind.
We were young. We had time.

The Thai restaurant. We held hands. Once more we kissed.
And whispered sweet nothings – well, you did,
I whispered the whole set menu and wine list…
[And what’s really nice is:
I can still recite it, including the prices]

And then back to your place, your face stuck to my face
While my eyes memorised your cd’s
I noticed a book there beside the computer
The abridged Kama Sutra (for the hurried lover)
And took a quick look – in two minutes, I’d red it – from cover to cover
You said, Hey do you seriously think that kind of thing can impress me?
And I closed the book, and my eyes, and said, Test me
Slug
low-born land mollusc
high-impact intruder
free-loader, sprout-spoiler
meandering marauder
disrespecter
of my broad-beans’ border
you’ve a one-track mind
in a one-track body
diligent pillager
soft-horned invisigoth
slow silver scribbler
paradoxically busy sloth
you’re a squishetty spoilsport
a glistening drag
the liquorice all-sort
nobody wants to find in the bag
it’s time that you were brought to book
you’re not as tasty as you look
listen chum, you are disposable
look at my thumb, it is opposable
unwelcome invertebrate
this might just hurt a bit
I pluck you and chuck you
into distant dew-drenched greenery
isn’t that mean of me?
slug, when all is said and done
you can hide but you can’t run

The Gargoyle

A stonemason’s craft is a solitary one
Granite and chisel,eyes specked with dust
Amidst rain snow and sun
From morning to dusk
Fashioning cherubims and saints
Angels and archangels his usual tasks
Fashioned without complaint
Saints and disciples, sometimes death masks

But high out of view
He fashioned himself, in lieu
Normally the prorogue of the wealthy
He fashioned the first selfie

My Town Part One
My town is like your town
C & A has gone away, John Collier’s window
Once the one to watch, now a thousand yard stare
From front and behind
There is nothing there
My town is where
Woollies pick n mix lured a generation of young fingers, fresh faces
Ratners was crap, its demise was heralded
After it had been unceremoniously Geralded
Not available now from BHS
Bed linen lamps, little brothers socks and vests
Not available at Comet, mums tumble drier
Not available from Rumblows a deep fat frier
Staples is stationary, Toys R us crushed by the folly
Of not foreseeing the supermarket trolley
The New Look in my High Street
Is a shuttered shop front
Don’t just book it Thomas Cook it
If you fancy going nowhere
Mothercare doesn’t, anymore
Soap wiped windows, empty store
Amazon knows no Borders
While betting shops throw loaded dice
Temples to empty avarice
My town is like your town
Its closing down.

My Town Part Two

My town, is like your town
A few bewildered denizens of the past
Hover outside the concrete carcasses of the old ways
New Gods are worshipped,
Kelloggs, Andrex and Dettol
Gucci, Prada and Burberry,
Now corpses in fading thoroughfares
Toppled icons
Overlooked by sterile skyscrapers
Whose night lights
Flash SOS into the emptiness
Without reply
The sick gasp for medicine,
The shelves of the healthy groan
Just in case
Mosques, churches and synagogues
Offer no prayers
While the aisles of Morrisons, Tesco and Aldi sing.
My town is like your town
There’s no-one around

My Town Part Three
My town is like your town
Citizens are flushed out of
Their hiding places

Like laboratory rats
A mad professor’s
Experiment

Masked, bewildered by
The glare of the new normal
Two metres apart

Foot soldiers beckoned
Over the top, towards work
By the daily briefing whistle

Towards a camouflaged foe
Waiting for the
Not so alert

Children return to school
While bodies flow
Over cold slabs

Behind which a swirling
Torrent of new infection
Gushes close behind

Porting a deadly raft
Of next week’s victims
Unstoppable

Furlough money buys beer
Millionaire footballers prepare
To play

In stadia whose empty seats
Could be filled
By the dead

Instead of salvation
We are offered circuses
And bread.

Leaves

Bending to soft breeze
Gently bowing to raindrops
Shadow from the sun

No Flowers Visible
She said write about flowers
Yet there were none
That I could see
From the fixed camera position

Three PM exactly
The screen flickered into life
To remember her death

After ninety- two years
An almost empty chapel
Save for two sons and wives
Two metres apart
United in grief

She was Welsh
There should have been daffodils
But maybe they would have looked
Insipid

I could hear a choir
Not see them
They were out of time

I could see the son’s sobs
But not hear them
Handkerchiefs stuffed
Into pockets rarely opened.

You asked me to write about flowers
Any flowers
But I have to report
There were none.

Statues
I fucking love statues
They just stand there
Doing nothing.

Stone, concrete
Bronze, gold
Fibreglass

You cannot beat
A good
Statue

People use them for directions
Don’t they have
Google maps?

Birds shit on them
Perhaps they are smarter
Than we think?

No-one really knows
Why they were erected
Or who erected them

Or when.
Maybe it was just
An afterthought?

Or even who they were.
That’s why they have plaques
To remind them

In the pub
We argue
About little else

They should make
Them float
That would show the topplers

St Paul, the Corinthians
Idolatry?
Nah, that’s ancient history

Work Wanted

Window fitter sought

Haiku writers are preferred

Must understand meter

Buxton

Where summer arrives late

And winter arrives early

Where rain lashes your face

In pellets

Where axe peaks are blunted

Blurred by mist

And the sandstone buildings

Are permanently soaked

Where six thousand years ago

At Lismore Fields

Before the Pyramids

Our ancestors made their home

My Alter Ego
Is a summer’s day
With gentle clouds
Perambulating
As ladies in heels
And long skirts
Being seen
Then gently moving on

Is a bold green hillside
Fractured into myriad shades
Dipping and sloping
Elegant, content
Refreshed by springs
Warmed by midday sun

Is a sea caressing beaches
But gnawing at rock
Glimmering and shimmering
Nibbling at pristine sand
Ebbing to draw breath
Always returning

Is certainty
Is relentless
Is beautiful
Is delicate
Is defiant
Is in thrall to no man

This is a Fibonacci poem, the syllables need to be 1, 1, 2, 3, 5, 8, 13 and then I went backward…

The storm.

Dark
Wet
It pounds
Against my
Windows curtains drawn
Against the incessant onslaught
But nothing  shuts out natures brutal cacophony
Drumming, beating, hammering pounding upon frail panes
And I cower under the sheets
But nothing stops the
Lashing blast
This
Night

Seconds out- Round One

Bish, bash, bish bash
Grunt, groan, grunt, groan
Watching the bout
From the safety of home

Probing left, probing right
Roar, yell, roar yell
The blue shorts boxer
is doing well

Thump, thud. Thump thud
Squelch, spurt, squelch spurt
The white shorts boxer
Is grievously hurt

Howl, pow, moan
Howl pow moan
It won’t take long
Ominous song

Wack, thwack, wack thwack
Bang slap bang slap
He lies out cold
On canvas mat.

One, two three four
Gerrin, yeah, phwoar
He’s counted out
Flat on the floor

Wren sees Man

He saw me today

Brown, small, fragile

Agile

For the first time

Since he was a

Child

It was only a

Momentary

Glimpse

He has not

Been looking hard

Enough

But I have

Always been

There

Our worlds

Rarely collide

We are too busy

Maybe he will never

See me

Again

Retribution

It was equipped with radar

Which never failed.

For the errant child.

There was no escape

Nor jamming device available

Propelled by the flick of a wrist

And a keen eye

Its aerodynamic properties

Were battle proven

Its oak frame was the missile

The softer sponge the warhead

No matter what defensive manoeuvre

Was attempted, it failed

Its target  pre-programmed

Terrible impact assured

A puff of white chalky dust

Exploding against youthful skull

Shrill yelp as the wood gouges skin

Then spins wildly to the floor

Mr Dunkley never missed

With a chalk duster

This Sporting Life

He studied every day, straining to beat the gaff

Talking gibberish, prey to vigorish

In thrall to

Lazy cannon fire of hooves,

Swathed in dragon’s snort mist

A morning dew of sweat in the 3.15

Rippling haunches kissed

By a reminder of the task

Bunched together, poised

To do what is asked

With gaits of silk

Pygmies carried by giants

Only the finish counts, blinkered

Riding the swelling oaths

From willing stands

With galloping heart, from standing start

And it is over in a flash

To a sauntering gambol

Amidst the slips of misfortune

Before weighing room judgement

All is in the balance.

The Mask

Warm water

Soap

Towel dry

Moisturised, primed

Block foundation,

Sticky

Then liquid,

Slick

Smoothing, soaking in

Concealer

Loose powder

Puffed on

Blush

Pale blue eye shadow

Eye liner then mascara

Lashes in Peacock tail splay

Lipliner

Lipstick

Lip gloss

Sealed

Posted in Poems | 1 Comment

Ben Kane – Eagles in the Storm, Novel Review

eagles
My first foray into Kane’s writing had been with “Clash of the Titans” it had been disappointing, with Simon Scarrow and Bernard Cornwell easily better writers and storytellers on that evidence. But I decided to give him another chance. I am glad I did.

 
“Eagles in the Storm” is the third part of a trilogy, not necessarily the best entry point for a new reader. To my surprise, and delight, what had gone before was no obstacle to my understanding of the story, or my enjoyment of it. Instead I discovered a tight, taut, novel which grabbed my attention from start to finish.

 
Set in AD 15. The German chieftain Arminius has been defeated, one of the lost Roman eagles recovered, and thousands of German tribesmen slain. But senior centurion Lucius Tullus has a score to settle, not only for his lost comrades, but for his legion’s honour, for Rome’s honour and for his own honour, the recovery of the lost eagle.

 
Arminius is the Germanic warlord opponent, fearless, brave, and an adept politician. Kane seems much more at home, and convincing, in exploring the intricacies and treachery of tribal alliances than he does Rome’s in “Titans”. Arminius , burning for revenge, raises another large tribal army, to confront the Roman invaders.

 
Tullus is brilliantly envisaged, and is very reminiscent of Scarrow’s centurion Macro. He epitomises what is good and morally right, while at the same time being perfectly happy to skewer and send to Hades as many barbarians as possible. What makes this story so strong, is that Rome and their Germanic opponents are credibly described, Tullus and Arminius are appealing opponents, and Kane underpins the story with a fragile Germanic Tribal alliance which might split at any time.

 
Kane also resists the temptation which Kane and Scarrow can be guilty of, making the defining confrontation of the book pivotal for Empires. This is primarily about personal confrontation and honour- and is much the better for it.

 
A great read, I intend to read the first two in this trilogy now, and risk the sequel to “Titans” in the hope that it improves.

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Clash of Empires- Ben Kane. Novel review

 

clash of emp

This was my first introduction to Kane’s work I was disappointed. It was swamped by too much unnecessary detail, diluted by multiple sub plots which either went nowhere or added little, and was careless with character.

In one strand Felix and his brother Antonius stand in the Roman legions, ready to deliver the decisive blow against Hannibal Barca and establish Rome as the pre-eminent power in the ancient world. But they are no match for Simon Scarrow’s creations of Macro and Cato. I was not that bothered about them.

In another strand, young senator Flamininus is set on becoming one of the Republic’s greatest military commanders with his eyes on the as-yet-unconquered Macedon and Greece. Too much time is spent on politics in Rome. Once again, he is not drawn in such a way that we are particularly interested in whether he personally succeeds or fails. There is no jeopardy in his personal story.

In the north of Greece, Philip V of Macedon is determined to restore his kingdom to its former glory but needs a strong army to help him do it. Young Demetrios dreams of fighting in the phalanx but is just a poor oarsman. But he is given an opportunity, and seizes it, bringing him into the sphere of influence of Philip. It is broadly a rags to (relative) riches story, and by far the most satisfying.

 
Kane’s historical detail, and love for the period, is beyond reproach. But just because you know something does not mean you have to share it. The story is told from multiple viewpoints and loses focus, and reader empathy, as a result. He has epic ambitions, but falls well short. The ending itself is inconclusive and unsatisfying, the loose ends left being frustrating, rather than enticing, for the next book in the series.

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Traitors of Rome – Simon Scarrow, Novel Review

 

Image result for traitors of rome
The eighteenth instalment of the “Eagles of the Empire” series takes our leading protagonists to the Eastern edge of the Roman Empire, Parthia, for their latest adventure. Aficionados, of which I am one, will find it fits like a well- worn pair of slippers. Visceral Macro has plenty of opportunity to use his brawn, cerebral Cato finds his rational power tested to the limit.

 
Scarrow still finds new ingredients after all of these years, a training exercise attack, a river pirate raid, and Roman Army rebellion.

 
All the well fashioned elements are here. Atmospherically created battle scenes. A credible take on the soldier’s lot, and a narrative that skips along.

 
This story features a mysterious agent of Rome, and spy, Apollonius. He is an exceptionally promising character. In past books, Scarrow has drafted some memorable supporting cast, then abandoned them. Hopefully, Apollonius will be given more time to grow in future books. Cato still has plenty left in him as a Tribune and politician, Macro’s military career as a Centurion is inevitably time- bounded. At some point the dynamic of the brainy and brawny soldiers finishes.

 
Macro is now married to Petronella, if their ardour is anything to go by, children will be on the way soon. Cato has a young son Lucius. But something will need to happen before their offspring come of military age to change the established narrative.

 
The book itself is classic Scarrow, a formula which we know and love, which is not to say that it is beyond reproach. The ending is rushed. I physically checked the number of pages left when I realised that the book was drawing to a close and was alarmed at how much needed to be addressed.

 
Nevertheless, a fine read, as always, leaving us wanting more.

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The Book of Mormon – Birmingham Hippodrome

bm8

I waited for curtain up with no preconceptions. I did not know the plot. I knew none of the songs. I did know that the show has been phenomenally successful on Broadway and the West End grossing over $500m since its premier in 2011. Theatreland is savage towards poor shows – quite clearly, this had passed the test of public approval.

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Awaiting Curtain Up

I know someone who had been to see it last year. She was obtuse about the plot and content. Maybe that is because superficially, a plot that centres around a mission of smug Mormons trying to convert a remote Ugandan village to their faith while paedophilia, female genital mutilation, summary execution, and sodomy abound, seems unlikely box office success. But it is. A delightful rich vein of sardonic wit is at the core of the show. Is life a bit shit? Well a trite saying will change all of that, as evidenced by the hilarious and  catchy “Hakuna Matata” send-up “Hasa Diga Eebowai” , a wicked alternate take on Disney’s “Lion King” from which there are several references.

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Because underneath the shock lines there is an old fashioned tale. One where the awkward, geeky, guy comes good, and gets the girl, and the vainglorious hero gets his comeuppance and eats humble pie. Also, in an era in which Theatre is trying to adjust to the ethnic demographic around it, a sizeable chunk of the cast is Black African. What you see on stage is reflected by the diversity that you experience as you leave the theatre and walk onto the street.

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All American Mission Hero Colvin

Three performers dominate the show. Robert Colvin is the tall, athletic, All American hero Elder Price, with the Colgate Dental Ring of Confidence, who is upstaged by his plucky, diminutive, rotund missionary companion Connor Peirson, as Elder Cunningham. It is a fabulous double act. Their physical tall and small / slim and fat juxtaposition makes for marvellous physical comedy, their nuanced performances as their roles change are subtle and heart-warming.

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Nicole Lily Baisden and Connor Peirson

However, the star of the show is Nicole-Lily Baisden as Nabulungi. Sassy and energetic, she sings powerfully, and beautifully, and supercharges proceedings whenever she is on stage. There are numerous outstanding supporting performances, not least from Ewen Cummins as village elder Mafala Hatimbi, and Thomas Vernal as General Butt Fucking Naked, delightfully demented as a psychotic militia leader.

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Anyone looking for a flavour of what to expect should reference the TV series South Park and the musical, Avenue Q. The music, lyrics and book of the show are by Trey Parker, Robert Lopez, and Matt Stone. Parker and Stone created the animated comedy South Park. Lopez co-wrote the music for the musical Avenue Q. The humour is left field, sexual and irreverent, the lyrics contemporary and caustic, but it is all done with a smile, not a sneer, and a twinkle in the eye.

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“Book of Mormon” runs until Saturday 28th March then continues on nationwide tour.

Gary Longden

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Joseph and the Amazing Technicolour Dreamcoat – Wolverhampton Grand Theatre

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****
On a wet, windy, wintry Wolverhampton midweek evening, there has to be a very good reason to go out. Fortunately, this production of “Joseph and the Amazing Technicolour Dreamcoat”, music by Andrew Lloyd Webber, lyrics by Tim Rice, provides just that reason.

 
Its performed inception dates back to 1968, but debuted in its full format in 1974, almost half a century ago. It is broadly contemporaneous with “Jesus Christ Superstar”, first staged in 1971, with whom it shares numerous musical motifs, although the latter is strictly Rock, while “Joseph” is pop, with a bit of Calypso, French Balladry, Charleston, Country and Western, and 50’s Rock n Roll thrown in.

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Alexandra Doar and  Mark McMullan

It is not difficult to see why there have been well over 20,000 schools and amateur productions. The content is colourful, family friendly and upbeat, the music melodious, the lyrics nursery rhyme simple.

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Joseph and father Jacob

The trend of casting big names in lead roles, irrespective of talent, is thankfully waning.
The title role is played by Mark McMullan, a “Britain’s Got Talent” finalist. Popular appeal and a great voice is no guarantee of an ability to carry a flagship musical.

 

However Director Bill Kenwright knows a thing or two about spotting rising talent. That skill has not deserted him. McMullan is tremendous. He can sing, has presence, a powerful physique, and can wear tight trousers with a panache that would make Robert Plant blush.

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The Pharaoh showing Joseph how to rock n roll

His highlight comes in the penultimate number of the first Act, “Close Every Door”, beautifully performed, and delivered, a performance which will have had the casting scouts for “Les Miserables” twitching with excitement. So strong was the delivery, that the first Act finale, “Go, Go, Go Joseph”, a perfectly decent number, seemed routine and perfunctory by comparison.

 
Alexandra Doar co-stars as the narrator, telling the Biblical story of Joseph, from the Book of Genesis. The thirty plus children’s chorus is permanently seated on trestle perimeter terraced seating, serving as a stage audience for her tale, as well as vocal accompaniment. She is terrific, with a great voice, pizazz in abundance, and a cheery disposition which never fades.

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Astonishingly, both Doar and McMullan are making their professional Musical debuts with this production – both are assured of a long career if they can maintain the levels of performance they gave on this night’s show.

 
Unusually for a musical, the cast comprises significantly more men than women. Gary Lloyd has been brought in to provide new choreography and succeeds in producing numerous eye-catching set pieces and movement. Including children, there are frequently over forty people on stage, sometimes around fifty, keeping the stage sharp is no easy task, but he succeeds admirably. Although this is not a dance show, it is very pleasing on the eye with the three Handmaidens working overtime to provide a splash of glamour.

 
The title song is the one everyone knows, and Kenwright ensures that it is not wasted, as it appears four or five times in various guises throughout the evening. At two hours running time, including interval, the show is an object lesson in not overstaying its welcome. It makes no pretence of great meaning, grandeur, or depth. Instead it offers wholesome entertainment, with a light touch and a smile. It thoroughly deserved the rousing applause at the end from a very well attended opening night, with subsequent performances until Saturday 29th February.

 
Gary Longden

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Red Shoes – Birmingham Hippodrome

 

Red Shoes – Birmingham Hippodrome
*****

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I am slowly working my way through Mathew Bourne’s repertoire. Single-handedly, he has introduced me to ballet as an enjoyable art form. He seems to have had the same affect on others, the opening Tuesday night was packed.

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Awaiting Curtain up

“Red Shoes” is a visual extravaganza, culled from the eponymous Powell and Pressburger’s film which appeared in 1948 ,it tracks a young woman’s obsession with art which ends in spectacular tragedy. Victoria Page wants to be the greatest dancer in the world but is caught in a romantic and creative vice between two men who are pivotal to her aspirations.

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The ingredients are tried and trusted. A love triangle between veteran talent spotter and upcoming composer and ballerina, the subtly different pas de deux with her suitors are exhilarating. An aspiring soubrette seizes her chance from an injured seasoned prima ballerina, and a play within a play. The latter is delightfully subversive as house applause is mixed with pre-recorded applause at the shows end, blurring the edges between performance and reality.
Michela Meazza was suitably haughty and aloof as the Prima Ballerina, Irina Boronskaya, exuding Russian hauteur. Liam Mower’s Ivan Boleslawsky was riotously excessive.
Reece Causton as Boris Lermontov, the Ballet Impresario, was brooding and demanded the stage at every entrance, while Dominic North portrays Julian Kraster, Victoria’s love interest, with tenderness and drama and his solo performance at the piano in Act One is a highlight.
Physically, the set is dominated by a rotating proscenium arch which rotates to present the action as both front of stage, and backstage, it too appears to dance along with its human co -stars. Bernard Herrmann’s classic Hollywood style score , orchestrated by Terry Davies, beautifully underpins the action which offers numerous highlights. A glorious beach dance, a stunning storm scene, and a monochrome dance in front of a surreal white arches backdrop, the highlight of the cinematic designs by Lez Brotherston, lighting by Paule Constable, sound by Paul Groothuis and projection from Duncan McLean.

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Bourne has an instinct for the accessible, without dumbing down the dance content, although I did struggle with the narrative from time to time. Not that this made any difference, you do not have to understand what you are seeing, you are compelled to enjoy it.

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Ashley Shaw rests

Ashley Shaw is the staggeringly good principal ballerina, a blur of sharp feet, beguiling seductive shapes, and glorious movement, her skirt moving as if it were part of her body in spectacular choreographed fluidity.
An after show “audience with” Mathew Bourne revealed that he regularly rotates the cast to keep the show, and dancers, on their toes. It also serves to underline that the show is the star, which runs at the Hippodrome until Sat 15th February, and continues on national tour.

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Bohemian Rhapsody – the film

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I had been looking forwards to this. Queen were a great band, the reviews had been enthusiastic, but the experience of watching it fell short of my expectations.

 

The entire film felt contrived, a construct by Brian May and Roger Taylor. The pre Live Aid schism was inadequately explained, and flawed , the gratuitous multicultural crowd shots during Live Aid were historically inaccurate. The narrative a disjointed cut and paste.

 

Mercury’s compulsive sexual behaviour is awkwardly shown, as is his personal relationship with manager John Reid, whose character was poorly written, particularly in contrast to his portrayal in the Elton John biopic “Rocketman”. Aiden Gillen’s Reid here is insipid, and anonymous. There is no hint of his business or sexual prowess, Richard Madden’s portrayal in “Rocketman” smoulders.

 

The making of the film was disrupted by a false start with Sacha Baron Cohen dropping out as Freddie, and veteran Hollywood Producer Bryan Singer also leaving for Dexter Fletcher to complete the project. It shows. Current Queen manager Jim Beach is on the production team ensuring that the image is as favourable as possible. It feels like a feature length promo.

 

I found Rami Malek as Freddie irritating, superficial and lightweight. The dynamic of his relationship with Sarah Austin never worked, or was convincing. Lucy Boynton as Sarah Austin performs well, and looks good, yet she feels like a plot device, rather than a person. Malek is strong in being fey and affected, weak in demonstrating the force that Mercury was.

 

As a film, rather than documentary, it has clearly succeeded. The music is strong, memorable and well presented. But I found the work as a whole unsatisfying.

 

Comparisons with the contemporaneously released “Rocketman” are inevitable. The distinction is clear. “Bohemian Rhapsody” relies upon the personality of a dead man, and is produced by third parties with a personal interest in the favourable depiction of their supporting roles. “Rocketman” is an Elton John project in which he dares to bare his soul rather than rely upon the music to carry the day.

 

“Bohemian Rhapsody” taught me nothing. There were no facts or insights of which I was unaware as a music fan. Following the success of the musical “We will Rock You” the film was the logical last piece in the artistic Queen jigsaw. As a stand-` alone music film it is pretty good, but only because of the live music sequences, particularly Live Aid. Led Zeppelin’s Jimmy Page must look on ruefully at the way in which Brian May has kept the money tree blossoming without Mercury.

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Aladdin – Town Hall, Sutton Coldfield

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*****

Pantomime at the revamped Town Hall is fast becoming an essential feature of the Sutton Coldfield Arts scene. This year it returns, courtesy of the Production Exchange, with a revamped “Aladdin”, amongst the most traditional of pantomime shows. An almost full house on a cold wet early December opening night augurs well for the success of the season. They were well rewarded for their fortitude.

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Seren Sandham – Davies as Jasmine

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Jasmine and Aladdin

This is a professional production, with the effort and money unashamedly in the cast and music. Brightly costumed, the evening opens by bursting into song and dance which drives the show to the finish. Star turn is Seren Sandham- Davies as Princess Jasmine. I last saw her in the best production of “Brassed Off” I have ever seen playing Gloria at Derby Theatre. She seems to make a habit of featuring in excellent shows. Here she is choreographer, leading lady and solo instrumentalist, most notably on clarinet during “I Will Survive”, of which more later. She sings confidently, beautifully, enthusiastically, and with a smile on her face, the focal point whenever she is on stage. Ben Boskovic is a skilled foil for her talents as Aladdin, looking good, but allowing girl power to shine.

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Ben Boskovic as Aladdin

 

Sam Pay is well cast as Abanazar the Baddie, laconic, relaxed and duplicitous, he laps up the boos and is an essential part of the stand -out double handed scene with Widow Twanky in the second Act.

 

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Sam Pay as Abanazar

Characterisation of the Widow is bold. In the first Act, Mathew Bugg plays her fiercely, she would easily be able to moonlight as an Erdington bouncer. In the second Act, she is transformed as femme fatale, seducing Abanazar to win back the stolen lamp. A wonderful pastiche of Dirty Dancing’s “Time of My Life” segueing into “I Will Survive” rightly had the audience howling for more. Physical comedy, great comic timing, and gutsy singing by Bugg, combined with multi-instrumental skills, was an absolute show-stopper.

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Mathew Bugg as Widow Twanky

Opposite Widow Twanky, Ruby Ablett plays Wishy Washy in an assured performance. She opens the show, sings and dances, and leads the audience participation sections admirably. How my heart went out to her when she had to turn away two angelic three year old girls who wanted to sneak onto stage, much to the dismay of the crowd.

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Ruby Ablett as Wishy Washy

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Wishy Washy and Widow Twanky calmly consider a problem

She was aided and abetted in her audience interaction by Jack Alexander, who plays both Hanky Panky and Gene the Genie, with a deft comic touch.

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Jack Alexander as Hanky Panky

The music and singing shines throughout, courtesy of Musical Director Sue Appleby who mainly plays keyboards, but also features as Princess Jasmine’s mother, Empress Double Chinn, in a great performance, stealing some moves and mannerisms from Cruella de Ville, and singing very well indeed. The pop songs were well chosen and well executed, with George Ezra’s “Shotgun” an unexpected delight, and highlight.

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Sue Appleby, MD and Empress Double Chinn

Director  Colin Blumenau conceived the original production some years ago in adversity, when circumstances forced him to put it on in a big top tent. As a consequence the set is functional, with no special effects or big cave scene. Instead he has created a show with heart and life where the stars are the performers, both principals and chorus. It is modern in its interpretation, but never too far from its traditional roots. The vibrant music is mainly performed live, on stage, by the versatile  cast, generating  intimacy, colour and connection .

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The evening runs for around two hours and twenty minutes. Children soon let you know if they are becoming bored by demands to go to the toilet. In the second half, no child or adult left their seats, so compelling was the wonderful entertainment put on by this talented cast. My expert assistant reviewers, Beau, aged seven and Sol, aged five, declared the evening to be “brilliant” and “amazing” respectively. “Aladdin” runs until the 31stDecember, with numerous matinee performances and some 6pm starts to ensure that young children do not have to stay up too long beyond their normal bedtimes. If you haven’t secured your tickets yet, I would hurry up, as many others have.

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“A Self Help Guide To Being In Love With Jeremy Corbyn” – An Evening with Jess Green at the Lichfield Hub

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I had heard much of Jess before, but never seen her perform. I have also lived around Lichfield for almost thirty years, but never seen St Mary’s Church upstairs used as a performance space. So I approached the performance, her final date on a thirty date tour with curiosity, as well as expectation.The venue itself, turns out to be excellent. Unsurprisingly, the acoustics are excellent, the setting grand, yet intimate, perfect for a spoken word performance.

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Jess performed to a good -sized crowd that was a little older in age profile than I had anticipated. I felt that her entrance could have been beefed up a little. An MC giving her an energetic welcome, and a prominent “Seven Nation Army” would have drawn the ubiquitous “Oh Jeremy Corbyn” chant from the audience, and started proceedings on a high, but she quickly won the crowd over by sheer force of personality.

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I was not entirely sure what to expect, what was performed was unashamedly political, polemical and on point for the largely Corbynista audience. There were extended periods when it felt like we were listening to a political speech, but was none the worse for that. Poetry can be accused of being anodyne, and this was anything but. In centuries gone, poets were often commissioned to produce extended poems about politics, heroes, and anti-heroes. Jess is tapping into that tradition but in a 21st century context.

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There is light and shade in her performance, with anecdotes providing between poem interludes. The story of how her Labour supporting family found a way to inflate LibDem election expenses, and the story and poem of her noisy neighbours delighted and entertained in equal measure. Delivering a one hour show, solo is no easy task. Jess succeeded with her BBC Slam Championship winning material, charm and verbal and textual dexterity.

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She closed with “Jeremy Corbyn is 68 going on Sexy” which is a tremendous performance piece, but as she reflected in her introduction can be dangerously misinterpreted if its tongue in cheek nature is taken out of context. The closing film clip of Corbyn meeting her and endorsing the book was perfect. You do not have to be a rabid Corbynista to enjoy the show, there was plenty of excellent merchandise, but no pamphlets on Soviet Tractor Production figures, pictures of Mao on the walls were notable by their absence. All you have to do is be prepared to listen to one of the best spoken word performers around right now.
A great show, a fine performer. As she gains traction production values will improve still further.

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