Les Miserables – Birmingham Hippodrome

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The Birmingham Hippodrome has a sense of occasion. A rarity, it combines modern, superb, front of house facilities, with a lavish, restored, traditional auditorium. It is ideally suited to Les Miserables, a tour which is modern in production and conception, but traditional in its sense of story and values.

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At curtain up, for the overture, an orchestra assails the senses. For the duration of the evening it shares equal billing with the stars on the stage from its unseen pit. Every instrument can be heard, every nuance in playing detected, testament to Musical Director Ben Atkinson. The opening scene is measured, restrained, until “At the End of the Day” explodes onto stage as a full chorus bursts onto the stage. Aggressive, brash and energetic, it is no resigned acceptance of their lot, but a sneering, defiant crie de couer

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The lighting, designed by Paul Constable, is subdued, often a gold diffused glow, sometimes you have to peer into the murk, an effort always well rewarded. Shadows are cast all around.

I last saw the show fifteen years ago. This production, directed by Laurence Connor and James Powell is different, with a distinctive feel to it. “Empty Chairs at Empty Tables” plays without empty chairs or empty tables, just ghosts carrying flames.

Jean Valjean is an imperious creation by Killan Donnelly, never more so than on “Bring Him Home”. Nic Greenshield’s Javert steals the night with a towering “Stars”, Katie Hall snaps at his heals with “I Dreamed a Dream”. Donnelly takes us on an astonishing physical journey as he ages before our eyes, “Bring Him Home” is gentle, plangent, and note perfect. Greenshield sings “Stars” so compellingly that everyone else on the stage disappears for those minutes, so enthralling is his performance.

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Katie Hall as Fantine

For “I Dreamed a Dream”, Hall takes Fantine into a smoky cabaret bar, the house band responding to every nuance of her melancholic musing. All three are outstanding, fresh, and vibrant readings of very familiar, and much loved material. Each singer personalises the song, but not such that the song is not the star.

Martin Ball and Sophie-Louise Dann as Thenardier and Madame Thenardier, master and mistress of the house, provide humour, character and energy to their roles. Comic song “Master of the House” is elaborately choreographed, but just fails to draw the audience into being part of the boozy Inn’s customers, but the duo excel as the interlopers at the wedding feast.

It is impossible to resist the epic sweep of the production, a tsunami which overwhelms cast and audience alike, carrying them along on an irresistible storm surge of drama and emotion. British audiences are rightly sparing in standing ovations, but as the night came to a close, the audience rose as one for a rousing production of a story which shows no signs of fatigue, or age. Runs till 11/5/19, continues on nationwide tour

 

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Dirty Dancing – Wolverhampton Grand Theatre

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The phrase “musical phenomenon” is oft used- and abused. But for “Dirty Dancing” it is apposite. Critics can be critical, yet the crowds keep on turning out to see it, and for so long as they do, it will survive. The film was a sensation on release in 1987, over thirty years on, that excitement and enthusiasm lives on, this stage adaptation, premiered in 2004 has been vital in keeping that spirit alive.

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Its secret is no secret. The stage adaptation recreates the hugely successful film faithfully, it gives the audience what they want, word for word, note for note, the DD aficionados know the score, the words by heart, and the extra scenes too. The music and dance which made the film so popular is gloriously reproduced, skirts swirl, muscular torso’s ripple, the score soars. A classic love story plays out against a beefed -up social backcloth – sit back and enjoy.

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The curtain opens in the Summer of 1963. Young Frances “Baby” Houseman is on holiday with her family, chances upon a party, meets a bad boy dance instructor, and learns a few moves which are not found in any dance manual – and we follow her as she has the time of her life, desperately trying to impress her new beau, and learn a few dance steps along the way. Can love draw together an uptown girl and a boy from the wrong side of the tracks? Well, “Nobody puts baby in the corner!” Frankie Valli didn’t arrive until late December, obviously…

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Primarily, this is a song and dance show. A vibrantly costumed cast arrive in full early on to let you know what is coming your way. Principles Johnny ( Michael O Reilly),and Frances ( Kira Malou) ,are compelling . Lizzie Ottley impresses with her acting, her comedy, and her singing, as Baby’s sister Lisa.O’Reilly does not put a foot wrong in his debut professional role, and draws the biggest cheer, and leer, of the night for his bare buttocks moment. . Simone Covele is outstanding as Penny the pro dancer, she absolutely convinces in the role ,sporting a series of lavish dresses and footwork which mesmerises. Indeed choreographer Gillian Bruce does a fine job throughout with snappy, pin sharp routines.

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Although we are never more than a few moments away from a song and a dance, the script has some genuinely funny lines. The physical comedy in the water scenes was consummately executed, assisted by some adept use of translucent screens. I have never seen anyone dance on a log before. Perhaps there should be more dancing on logs in musicals? Revolving scenery produced lightning fast scene changes and a brisk pace, a credit to producer Karl Sydow and director Frederico Bellone.

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Michael O’ Reilly

All the hits from the film’s soundtrack, which includes “Do You Love Me?”, “She’s Like The Wind” and “Time Of My Life”, are featured in the stage show along with some written for stage numbers. Some fifty songs in total. The story itself has been adapted for the stage by Eleanor Bergstein, who skilfully retains the feel of the film whilst making it work for theatre.

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Kira Malou

“In The Still Of The Night” by Billy Kostecki ( Alex Wheeler) was spine-tingling, the rousing finale came from him and the formidable Sian Gentle-Green as Elizabeth who ensured that the audience had the time of their life, and “that lift”.

Full Company; Dirty Dancing - The Classic Story on Stage; Photo credit Alastair Muir (2)
The opening night audience loved it, its slick production and punchy dancing the  highlights, even if the story itself  did not engage as strongly as it might. “Dirty Dancing” runs until 7th April and continues on nationwide tour at: Ipswich, Halifax, Manchester, Guildford, Liverpool, Grimsby, Glasgow, Southsea, Cardiff, Northampton, Dublin, Bristol, Bournemouth, Eastbourne and Leeds
Approximate runtime 135minutes.

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Jerusalem – Sutton Arts Theatre

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****

“Fuck me, the committee have only gone and approved it!”

“They didn’t mind that boring cunts would walk out?”

“Nah, they can have a wank in the bogs for all I care”

The above is an imagined exchange from the production team after “Jerusalem” was programmed for Sutton Arts. Yet it does offer you a flavour of the play itself. Crude, visceral and divisive. Written in 2009 by Jez Butterworth, it should most definitely not be confused with the play of the same name by poet Simon Armitage written in 2005! Butterworth is no street wordsmith, instead he has enjoyed a classic, conventional, distinguished career as a Cambridge graduate, playwright, and screen play writer for TV and film.

Unquestionably the most controversial production in recent years at this theatre, it is, at almost three hours, amongst the longest too. Provocatively staged immediately pre Brexit deadline, this is a play about identity and place. It is as if Ian Duncan Smith, Jacob Rees Mogg, and Nigel Farage are reimagined from their castles and country estates into a caravan in Flintock, an imaginary Wiltshire village, their expensive clothes and specious words stripped away to reveal the ugly core, on St George’s Day.

But instead of Jacob Rees Mogg we have wild gypsy, and former motorcycle stunt-rider, Johnny “Rooster” Byron, brilliantly played by Stuart Goodwin. A pied piper who lures youngsters to his drug and booze fuelled parties. He is a slob, and vain, simultaneously.

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Rooster Contemplates the “Canada Plus” Brexit Option

Shakespeare was fond of setting his plays and scenes in forests for a pastoral setting. Butterworth sees pastoral things as anything but idyllic. It is ironic that in order to write such a tirade about English nation hood,  he should have absented himself to New York to write it, brim full of wildness, rage and defiance. Brexit Stoke, Newport and Sunderland is found here. Mark Natrass and his team excel themselves with a set soaked in decay, debauchery and disillusion.

It is an allegory for the English condition. The once great Rooster finds himself confronted by forces he doesn’t understand. Stupefaction, or fighting, his default ,conflicted response. Like Great Britain, his Empire is now gone, and he awaits eviction from his dilapidated home . His big man reputation of yore now reduced to that of a joke figure, humiliated, lost.

And as Brexiteers blame everyone but themselves, so Rooster brags defiance, that he will prevail in the end, despite the incredulity of his coterie. Perfectly capturing the zeitgeist of our country, his braggadocio is such that he tempts you to believe that maybe, just maybe, he is right. Maybe it isn’t fantasy after all?

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The “Help to Buy” scheme only applies to alcohol, not houses in Wiltshire

The supporting cast is strong. Rooster’s mate, Ginger, inventively portrayed by Robbie Newton is amusingly bamboozled by the party that never happened being name checked by people who had attended it. Dexter Whitehead is memorable both as pub landlord Wesley, and a Morris dancer, and has clearly concentrated on his lines in more ways than one.

A missing teenage girl and imminent eviction provide the stuff of a memorable finale for a story which asks us to re-examine identity, and what the “real “ England is, or if it exists at all?

Director Emily Armstrong has done a fabulous job staging this production, which is an unequivocal success. It is unlikely to win over the Ayckbourn / Agatha Christie theatre going stalwarts – but I doubt if she ever thought she would. The upcoming “Gin Game” and “Guys and Dolls” will ensure normal business is returned soon enough.

“Jerusalem” ran until 23/3/19.

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Derby Theatre – Avenue Q

 

Avenue Q – Derby Theatre
****

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Avenue Q was premiered in 2003. Sixteen years on, this Tony Award Best Musical award- winning show has lost none of its freshness, or mischief. Its writing credentials are formidable. The music and lyrics are created by Jeff Marx,and Robert Lopez, co-creator of “The Book Of Mormon” and Disney’s “Frozen”. Its heart is as big as its New York setting. The book is by Jeff Whitty. This UK Tour is produced by Selladoor Worldwide with Richard Darbourne Limited who are behind Footloose, Flashdance and American Idiot. Production values are high. Puppets are designed by Paul Jomain of Q Puppets with Puppet Coaching by Nigel Plaskitt.

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The central proposition is that this is Sesame Street grown up for grown- ups. A child like puppeteer presentation belies a teenager’s base humour, and a razor -sharp adult take on the world around us all. The big numbers still resonate. “Everyone’s a little racist sometimes” is painfully on target, “The Internet is for Porn” seems to elicit widespread approval.

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Lucy the Slut

 
The production bubbles with energy and vim. Lead puppeteers Lawrence Smith, Cecily Redman, Tom Steedon and Megan Armstrong are unobtrusive in stage- hand black, the puppets are the stars. What amounts to a group sex session had the house howling with laughter. Set designer Richard Evans has combined a simple, vivid, Avenue Q overshadowed by the New York skyline, complete with Empire State Building from which coins may drop at any time. The lighting, by Charlie Morgan, is bright and brash.

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Simplicity is the order of the day in a production which is largely sung through, assisted by some big screen messages above the stage. Director and Choreographer Cressida Carré keeps things moving briskly from song to song, ensuring that the puppeteers, while an intrinsic part of the show, play a strictly supporting role. The heart of the show is its verité, not smut, as it holds a mirror up to the audience’s prejudices and experiences. She eschews contemporary political references, bar the odd Trump call, staying faithful to the original script.

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It is an ensemble performance, but the people, literally, behind the puppets do so with dexterity and skill. Lawrence Smith excels as Princeton and Rod, Cecily Redman becomes Lucy The Slut. It is the “double hander” (pun intended) of Tom Steedon and Megan Armstrong as Trekkie Monster which thrills the audience. The “real people”, Nicholas McLean as streetwise, Gary Coleman, Saori Oda as the Therapist who need therapy, Christmas Eve, and Oliver Stanley as her husband, have almost as much fun as the puppets.

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Nick McLean

 
A live band makes a big difference, and in the pit Dean McDermott and his five other musicians imbue the evening with vibrancy and pizzazz.

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Some shows are of their time, and once that time has passed, appear dated and irrelevant. Avenue Q has grown up and flourished, but still enjoys dirty jokes and innuendo. A well -attended first night had brought out a younger theatre crowd, which is always welcome. Runs until Saturday 23rd March.

Gary Longden

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Derby Theatre – Avenue Q, A Preview

 

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It is cold, windy and still a bit dark in the evenings. Winter has not quite left us yet. Derby County’s promotion challenge is failing as Frank Lampard discovers that the team is not quite as good as Chelsea’s was. Brexit baffles.

So, you need cheering up. Fortunately, Derby Theatre have the remedy next week when “Avenue Q” arrives in town. It is a musical like no other. It is “Sesame Street” grown up – with puppets. It is one of only two comedies that has had me fall from my chair with laughter ( “Hotel Paradiso” – Feydeau is the other).

Comic songs cover topics no ordinary musical deals with – like internet porn, and covers topics that others do, such as racism, with a smile and bite.

So if you ever wondered what happened to the characters on “Sesame Street ( I am sure you worry about little else) buy tickets – and laugh!

Avenue Q production shot

The show runs from Monday 18th to Saturday 23rd inclusive. A Behind the arras review will be available on the Tuesday.

https://www.derbytheatre.co.uk/avenue-q

 

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Vietnam: An Epic Tragedy, 1945-1975 by Max Hastings – book review

 

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The Ubiquitous Huey Cobras on Patrol

I was a young child living in America from 1965- 68. Although too young to make an informed judgement myself, nonetheless, the Vietnam War created an indelible impression on me. Every television and radio bulletin carried a butcher’s bill of the number of American , and North Vietnamese Army/ Viet Cong, casualties that day. The number was invariably high.

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And in action

Television news carried colour footage of B52 / Superfortress bombing raids in which sticks of high explosive tumbled lazily out of bomb bays, of missile traces from F1-11’s and Phantoms, of vast artillery barrages, the gunners muffling their ears from each round delivery as a toddler might mask their ears at a firework display, and, of course, of the ubiquitous Huey Cobra helicopters sweeping into, or away from, action, infantrymen’s legs dangling , catching the cool air.

The peace movement was gaining traction. The popular reflex response was to brand anti -war demonstrators as traitors and commies.

Back in the UK in ‘68 I was struck by how the war was covered so prominently by the British News corporations. Although I did not appreciate it at the time, it was the first televised war to which the Americans afforded a level of journalistic freedom which they, and no-on else, would ever repeat.

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LBJ

Anti- war demonstrations also spread from America, to London and Paris. The March ‘68 Grosvenor Square demo in London was the tipping point in the UK against a war which Harold Wilson had wisely refused to become involved in, a snub which festered for years, and manifested itself in the US’s refusal to assist Britain in the Falklands War conflict.

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An accident of language meant that the “Hey hey LBJ, how many kids have you kicked today,” and “Ho, ho – ho chi min” chants resonated and stuck in the chants of protestors, and were difficult to ignore.

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Ho Chi Minh

Khe San, the Battle for Hue, the Tet offensive, the Ho Chi Minh Trail ,all ingrained themselves into my childhood consciousness and remain to this day.

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The Siege of Khe San

At 650, densely packed pages, working your way through this book can sometimes feel like hacking your way through the jungle. Completing the book feels like fighting the entire campaign. But with a difference. For the protagonists there were no victors, for the reader a profound sense of satisfaction at having completed the work.

Hastings has been assiduous in his sources, far beyond the obvious in North and South Vietnam and America. First person testimony from American CIA operatives, and Russian Advisor veterans, as well as recently declassified Chinese material all adds to the mix.

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The Ho Chi Minh Trail – Low Tech Solution to a High Tech Enemy

I was surprised by his antipathy, and occasional hostility to Kissinger. The evolution of the US, and world, anti war movement is inadequately covered, no mention of Grosvenor Square London, or Paris, protests is made. Yet at some point in any book you have to make decisions about how much any reader can digest in one tome. That subject is a book in itself.

Hastings writing has the air of authority of a man who was there – he was. His style is not as easy as his contemporary history rival, Antony Beevor, instead we have a dense, fact heavy, analysis, a journalistic report rather than a critical overview, which is not to say that he does not make numerous, cogently argued, arguments.

His case that militarily the US did well, but politically it was doomed, is well made. His description of a dysfunctional, corrupt, incapable South Vietnamese regime is compelling, as is his point that the differences between South Korea and South Vietnam were slight, but one prospered, and one failed. The tight, secretive, disciplined, regimented, focussed approach of the North ensure that few of their failures or shortcomings became known within their own country, let alone beyond. In the South, the liberal, lazy, undisciplined, but open, regime unwittingly became PR for the North as every setback was beamed back into American and world living rooms on evening television news broadcasts.

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The Photo That Lost the War? – Children flee a napalm attack

There are numerous vignettes which ease the readers’ journey. The image of an Aussie soldier, caught mid defaecation, returning fire with his trousers down is a memorable one, as is the Australian minefield efforts being undermined by their opponents simply digging them up, and using them against their erstwhile owners.

The logistics of the war are fascinating, The Americans had more aircraft carriers than the rest of the world combined. B52 raids were made from Thailand which was political sensitive but practically welcome. The raids from Guam involved eighteen hour round trips from a base operating at four times its designed personnel capacity.

This is a journalist’s take on a military campaign. He is uncompromising in his condemnation of an American regime which allowed thousands of Americans and Vietnamese to die when the futility of the endeavour was beyond doubt. Intriguingly he reveals that neither China nor Russia were as ideologically committed to Vietnam as the Americans thought, their influence much less than the Americans imagined.

Wartime Saigon is meticulously, and fondly, described. Awash with American war dollars, contraband, hustlers, US materiel, political intrigue, whores, brothels, liquor and drugs. The seamy side of the conflict is not dodged , fragging, drug addiction, cowardice , racial tension and corruption grew as the futility of the war became more apparent. But so also is the heroism of many recorded, on all sides. A significant number of American soldiers steadfastly did their duty. The North Vietnamese stoically accepted an appalling attrition rate of 10:1 knowing that each American body carried a far greater political value than numerical value, rightly confident that they could carry their losses, while the Americans could not carry theirs.

Hasting’s point that the open access that the Americans afforded the world media juxtaposed with the minimal, strictly controlled access that the North Vietnamese afforded the media, damaged the United States and put them at an unfair disadvantage is well made. If the cruelty and privations of life in the North had been better known, the resolve of the South to resist, and the compliance of the North’s citizens may all have been affected.

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A Viet Cong Informer is Executed

The Americans lost the war, yet post unification, the result was not as had been feared. After the inevitable blood-letting, the North’s organisation was welcome, the South’s more laissez faire modus vivendi embraced quietly, but with enthusiasm.

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The Last Chopper form the American Embassy – The Final Humiliation

For practical purposes Hastings has written the definitive history of the Vietnam military campaign.

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The Band – Wolverhampton Grand Theatre

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*****
Although not a fan club member,I have been always aware that Take That were “there”, and can recognise most of their songs. That is a good start point for a Juke Box Musical. The music needs to transcend the established fan base to reach a broader audience if it is to endure, and Take That’s back catalogue is ubiquitous.

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As the years have rolled by, so perceptions have changed of the band. Robbie Williams has become one of the biggest solo acts around, Gary Barlow one of the most distinguished songwriters, his career diversifying to include film scores and musicals.
Writer Tim Firth also has a distinguished pedigree. A Cambridge Graduate, he has had a string of theatrical successes, most notably with “Calendar Girls”, and has worked with Gary Barlow previously. It quickly becomes apparent that this has the ingredients to be a little more than a Take That greatest hits cash in. The television casting show series for the production gave it, and Gary Barlow, exposure which money cannot buy. The stage was set. But would it fly?

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What the show isn’t is a concert show of Take That’s material. Nor is it the story of Take That. What it is, is a celebration of the lives of five young Take That fans, and their first ever Take That concert in the 90’s, the story of whom is reprised a quarter of a century later as they join up to see a reunion concert. It is about female friendship and fandom.
Right from the opening scene, the calibre of Firth’s script stands out. Authentic, humorous , warm with several good jokes, and a faithful sense of period, there is also a nice visual gag as the cover shot of “Progress” is visualised on stage. “Top of the Pops”, “Smash Hits” and cassette recordings of radio and tv programmes all take music fans on a trip down memory lane.

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There are several musical highlights, all of which are ballads. “ Back for Good” is performed as a duet between the teenagers and their adult selves , poignant, tender and moving. “A Million Love Songs “ becomes an elegy to a lost friend, the imperious “Patience” seals a middle aged relationship. Throughout, the songs are skilfully arranged ,or rearranged, to fit the mood of the narrative, rather than vice versa.

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A show which had the audience gagging to get up and dance finally unleashed the hordes when the omnipresent Dave invoked the crowd to do so with the exhortation, “It was your show all along”. And so it was.

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An unexpected star of the show was the physical stage, and staging. The band appearing from nowhere in schoolgirl Rachel’s bedroom was just the first of many clever surprises. Back projection screens combined with physical stage props deftly and effectively, never more so than when a passenger airliner took off directly over our heads. The music is played live, adding to the vibrancy of the event, the musicians largely discretely appearing behind illuminated gauze screens.

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The young Rachel and her four school friends , Debbie, Claire, Zoe, and brassy Heather (the subject of a cracking joke about the Duke of York) ) plot to dupe their parents to enable them to see the band at the Manchester Apollo in a heart-warming feel good start, which is abruptly interrupted when tragedy strikes.

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Twenty five years later , the girls are reunited when Rachel wins tickets to a reunion concert in Prague, a device which skilfully facilitates some shrewd, and telling reassessments of life, achievements, failures, and personal identity. Alison Fitzjohn is particularly strong as the older version of the once lithesome Claire. Emily Joyce also excels as the older ex-siren Heather matching the sterling efforts of Katy Clayton as her younger self. It is those juxtapositions which make the show. Revelations about each other’s lives abound as the four become reacquainted.

 

 

Take That and their co-producers David Pugh and Dafydd Rogers with writer Tim Firth, have created a gem of a show that makes you laugh, cry and sing along to the soundtrack of a distant youth. It succeeds in transcending their large, but niche fanbase, winning over men who had dutifully accompanied their partners to relive their own schoolgirl dreams. Slick, with a big budget, big cast and many costume changes, this is a show which combines supreme professionalism from all involved in crafting the show with a beating brave heart. A feel -good musical needs to make you feel good as you left. I felt good.

Gary Longden

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Poems 2019

FILES-US-AEROSPACE-SPACE-MARS

Opportunity

“And Its No Nay Never”
An elegy upon the expiry of Opportunity , the veteran Mars explorer, 2003 – 2019

It is lonely
One hundred and fifty three
Million miles away

Your friends at Toyota and Amazon
But memories

Yet you roved, and roved
A long, lonely, twenty eight mile walk
Determined to do your duty until the end

Still talking the talk
After fifteen years

“My battery is low
And it is getting dark”
Your final remark
Funereally, Nasa said
You were dead

Enveloped by red dust
Never to rust

Doomed to be a metallic feature
Until far off galaxies declare you
An extra -terrestrial creature.

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Viv Albertine

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

How Steep is Steep?

Laser dots
Ten metres apart
Were the start
Of when it happened
Baldwin Street Dunedin
Was flattened
By the Men of Harlech
Whose angle was more acute
On the Welsh route
At Forde Pen Llech
Thirty five degrees is high
Reaching to the sky
But thirty seven
Takes you to heaven
Resulting in being unfurled
As the steepest street in the world
From Above

I was five when
I held a magnifying glass
Over a line of ants

In a white spot
They disintegrated
One by one

Some escaped down cracks
As I wished I could
Disappear

When the white light
Found me
Frozen

Melting
Before I
Disintegrated.
On a Beach
Me on the inside
Everything on the outside

Time neatly folded
Like an old cloak
In the corner

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

Peeled paint flutters
Subject to capricious breeze

Jaded, weather blasted
It holds fast
Against the onslaught

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

Orange

She’s a cowgirl and she wears fringes.
It’s the fashion that defines her. Her life hinges on fringes as oranges on a tree.
Fringes, oranges and me.

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Caroline’s Kitchen – Derby Theatre

*****

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Following the highly successful run of “Invincible” at Derby last year, this year, playwright Torben Betts, and the Original Theatre Company, present a new, recently commissioned work, “Caroline’s Kitchen”. Tonight’s opening night at Derby was the first night for a new national tour, with a new cast, which finishes on 13 April 2019 at The Mercury Theatre, Colchester.

 
Ostensibly, this is about fictional celebrity chef Caroline Mortimer ( Caroline Langrishe) projecting a veneer of perfect cooking, from a perfect kitchen, in a perfect north London house, with a perfect family. Unsurprisingly, underneath, it is not so. A single set, comprising the eponymous kitchen, dominates throughout, as a family get together provides the crucible for the action.

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Caroline Langrishe

Betts is a vibrant force in contemporary theatre with a distinguished artistic lineage. In 1999, he was invited to be resident dramatist at Scarborough’s Stephen Joseph Theatre by Alan Ayckbourn. Ayckbourn in turn had worked as an actor under Brian Rix’s direction. Betts’ himself studied in Liverpool, home of the best social dramatist of the eighties, Alan Bleasdale. His writing combines those former influences in comic farce, with the latter’s dark social satire.

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Torben Betts

The play is divided into two punchy halves, each around fifty minutes long. Setting the scene, the first half is a little uncertain in its treatment of a well -off celebrity, and her family woes. Few of us have to worry about paparazzi intrusion into our indiscretions during a return from a booze fuelled night out. The competing humiliation of whether the story is to run in the print , or online only, platforms of the Mail on Sunday, are not something that trouble most theatre audiences.

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Aiden Gillet

Fortunately Langrishe holds the fort admirably before the cavalry arrives in the shape of her husband Mike (Aiden Gillet). Gillet is the star of the show, fusing the repressed frustrations of John Cleese’s Basil Fawlty, with Richard Wilson’s bombastic, grumpy, Victor Meldrew in a role he clearly revelled in. A retired banker, Mike, is now a golfer and sometime lothario, and dominates the stage with a brilliant character performance.

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Jasmyn Bailey

Jasmyn Banks, as PA Amanda, is feisty and fun, boasting the shortest pair of shorts and the longest pair of legs I have seen in a long time without having to do too much to move the plot along. Son Leo (Tom England) eschews his privileged education to help refugees in Syria, a course of action which may strike a chord in Islington, whereas in Derby, the Syrians come to us.

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Elizabeth Boag

Elizabeth Boag offers a powerful supporting performance as Sally, an unhinged, cheated – on, wife. James Sutton is strong as odd job man Graeme who admires more than just Caroline’s souffles.

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James Sutton

The second half of the show is darker, and more sure footed, pacey, and with some good one liners, the best received of which was Mike’s observation that; “Vegetarianism is Neolithic for shit at hunting”.

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Tom England

Director Alastair Whatley positions the action adroitly with Langrishe the pivot around which all else rotates in a draining, nuanced , entertaining, and hugely satisfying personal performance. The evening combines satire, black comedy, and straight forwards humour in equal measure. A suitably climactic ending was greeted with enthusiastic applause from a very well- attended opening night which augurs well for the tour. If you don’t have a ticket yet – why not?

 
“Caroline’s Kitchen” plays at Derby until 26th January, then continues on national tour, for details: http://www.originaltheatre.com/portfolio-item/carolines-kitchen/

Gary Longden

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Behind the Arras Theatre Review of the Year 2018 by Gary Longden

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Theatre continues to be very strong locally, both professionally, and amateur. I count myself fortunate to be able to see so much of it. I write almost all of my reviews immediately after I have returned home from a production, so as well as being factual, they are also an emotional response to what I have seen. It has been a delight to trawl back through those reviews for this piece, fond ( and not so fond) memories rekindled. The following awards simply relate to what I have seen. Inevitably others of merit will have evaded my critical gaze.
Derby Theatre continues to set the pace artistically in the region, unsurprisingly winning in the “Most Innovative Production” category. The Birmingham Hippodrome continues its position as the theatrical Dreadnought, putting on the biggest and most expensive productions on a stage that few in the West End can rival, Sutton Arts Theatre continues to be a beacon for amateur productions of the most consistently highest order, and I am pleased to report that the amateur Grange Theatre in Walsall survived closure due to building’s dilapidations and successfully reopened.
Show of the Year – Mathew Bourne’s Cinderella , Birmingham Hippodrome – a masterpiece.

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Best Pro Play – The Kite Runner, Birmingham Rep. Visceral, compelling, funny, and tragic, an international story that had me spellbound.

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Best Am Play – The Perfect Murder, Sutton Arts . A decent formula thriller lifted above its station by a superb cast, and skilled direction.

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Best Pro Musical – Spamalot , Derby Theatre. A riotously funny Monty Python outing performed lovingly by the cast, with the love and laughter returned in spades by an appreciative audience.

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Best Am Musical – All Shook up, Lichfield Garrick. I tried to resist Elvis’s music, I tried to resist the cheesy script, I tried to ignore the joyful dance numbers, I tried to stop my feet from tapping and my fingers from clicking. I failed.

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Best Pro Dance/ Ballet – Cinderella, Birmingham Hippodrome. An immense slice of theatrical genius in the ballet dance genre, by Sir Mathew Bourne, in which the Café de Paris is blown up on stage before your very eyes.

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Best Pro Comedy – Private Lives Derby Theatre. A trusty old war horse of a show, brilliantly reimagined, but faithfully staged

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Best Am Comedy – Boeing Boeing – Highbury Theatre, Sutton Coldfield. Amongst the best farces ever written, the company threw themselves into the show, the audience threw themselves around in laughter.

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Best Children’s Show– Morgan & West Magic for Kids, Derby. Children’s shows are tricky. The children have to like it, obviously, but the parents who bring them along, and pay for the tickets, need to like it too. Morgan & West delivered that crossover, delighting children and adults alike, in a period magic show which had me wondering how they did it- let alone the children!

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Most Innovative production- Two, Derby Theatre. The stage was extended and converted into a working pub serving beer to the audience and enabling the cast to interact with those seated around them. Brilliantly acted and executed, playwright Jim Cartwright himself was present, and declared it one of the best realisations of the play he had ever seen.

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On stage for “Two” with a working bar!

Best Male Professional Performance – From Ibiza to the Norfolk Broads, Derby Theatre, Alex Walton is stunning as Martin, a Bowie fan who follows in his idols footsteps to find his hero, and himself. A one man tour de force.

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Best Female Amateur Performance – Dick Whittington, Sutton Arts. Phebe Jackson as Fairy Bowbells. Her energy and singing brought sunshine whenever she appeared. Confident, assured and professional, she set a standard for the rest of the cast to aspire to.

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And with 2019 almost upon us the schedule for the year is taking shape. Torben Betts is bringing the dark comedy “Caroline’s Kitchen” to Derby in January, Mathew Bourne’s “Swan Lake” comes to the Birmingham Hippodrome in February, as does “Les Miserables” in April. “Avenue Q” tours at both Wolverhampton Grand and Derby. I can’t wait!

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