Around the World in 80 Days- Derby Theatre

Posted on November 7, 2017 by garylongden

80 4

*****

Jules Verne’s classic story has obvious cinematic possibilities, and equally obvious drawbacks as the basis for a stage adaptation. How do you portray a worldwide journey on a theatre stage? Yet that conundrum is also the basis for this dramatic incarnation of the tale. You don’t. You allow the audience’s imagination to do the work.A cold November Tuesday night in Derby is not the obvious starting point for theatrical magic, but magic did indeed descend tonight for a very special show.

 

80 1

Fogg and Passepartout

 

Chicago born Laura Eason is a screenwriter and playwright, this production as much the product of her imagination, as the original was of Verne’s. Her adaptation, first performed in 2013, is both homage, and playful hybrid of the original. Nominated for both the UK Theatre Awards ‘Best New Production’ and the Manchester Theatre Awards ‘Best Show for Children and Families’, this is the production’s first national tour. An adaptation by an American woman of a French novel about an English gentleman has “danger” stamped all over it- instead we see triumph. Anyone tired of baggage check-in at East Midlands airport, or delays at Heathrow can rest easy. In Director Theresa Heskins’ capable hands,co-produced with the New Vic in Stoke, you just have to sit back and enjoy the ride. At the front you will be part of it!

80 2

Phileas Fogg ( Andrew Pollard) , places a £20,000 wager with his fellow Whist players in London’s Reform Club that he can circumnavigate the world in only 80 days, and so the fun begins. Lis Evans’s minimal but clever set design provides a hugely effective canvas for the actors and audience to work with. The eight actors play one hundred and twenty five characters, and props assume chameleon like qualities with the suitcases working particularly hard. “There is no balloon in the book!” declares Fogg, as his valet, Passepartout ( Michael Hugo), searches for a connection to get them home on time, and a miniature balloon appears.

Hugo’s performance is the comic beating heart of the production, endearing, accident prone, and very funny. Pollard skilfully unwraps his Fogg from a taciturn, cold fish, to a warm hearted hero. His hapless nemesis, Inspector Fix, is joyfully played by Dennis Herdman, as he frantically tries to satisfy his suspicions that Fogg is a bank robber. Borrowing freely from the  John Cleese school of physical acting, Fix’s constant frustration is a delight. Kirsten Foster is entirely convincing as the woman, Mrs Aouda, to win Fogg’s heart, and help him discover his humanity. The first half at 75 minutes is longer than the second at fifty minutes, but the first half does not drag and the second half is enlivened by a pre-performance comedy routine from Passepartout.

 

80 3

Kirsten Foster

 

The story itself has a surprisingly light touch . The spirit of adventure and possibility which epitomised the Victorian era is captured, but the characters do not take themselves too seriously. We are presented with an affectionate sketch of what it was to be English at the time of Empire, with excesses not airbrushed out. At drama school, the endless rounds of improvisation can dull the spirit, but here every ounce of improvisational ingenuity was required. Physical drama and humour abounds, there was laughter galore, serial rounds of mid show applause,  stunning fight sequences, and a spontaneous standing ovation at the end. The music and special effects impressed throughout.

“The impossibility of it, that is what inspired us” declares Heskins in the programme notes. The company have not let her down, the beaming glows from the audience perfectly mirrored onstage. Runs from Tuesday 7 until Sunday 12 November and continues on tour.

 

Gary Longden

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Bernard Davis – Midlands Poetry What’s On November

Posted on October 30, 2017 by garylongden

Garyswordz used to carry a midlands poetry what’s on. But Gary became lazy. Bernard is not, check his listings out:

FESTIVALS AND MAJOR EVENT

LGBT Arts and Culture 9th – 19th November
LISTINGS Throughout November

Black Country: The Pit to The Pen Poetry by present day Black Country poet Elinor Cole is presented alongside etchings by Richard Samuel Chattock depicting 1870’s industrial life. The Pen Museum, The Argent Centre, 60 Frederick Street, Jewellery Quarter Museum Admission £5

Wednesday 1st November 10.15 a.m. Writing Group , Sutton Coldfield University of the Third Age (for those no longer in full time employment), Writing includes short stories, poetry, novel writing, scripts. Will be producing a poetry anthology in 2018 United Reformed Church, Sutton Coldfield town centre. Charge £1

Wednesday 1st November 12.00 midday to 2 p.m. Crunch lunchtime creative writing session, Artefact, Pershore Road, Stirchley

Wednesday 1st November 6.00 – 8.00 pm Birmingham Writers Group includes poets. Manuscript reading and feedback session. Discussion of works Look at their website http://www.birminghamwriters.org before attending. Downstairs at St Martin’s in the Bullring , City Centre. Meet outside 5.50 pm

Wednesday 1st November 6.30 – 8.30 p.m. Waterstones On The Mic, Poetry, storytelling, music. Waterstones, High Street, Birmingham. Open Mic slots available from 6.00 p.m. Free Entry. This event has been rescheduled from Wednesday 25th October to avoid an events clash at Waterstones.

Wednesday 1st November 7.00 p.m. Freemine Writers Group Food, drinks and poetry. Share your work and meet like minded creative people. Rose Villa Tavern, Warstone Lane, Jewellery Quarter Free

Wednesday 1st November 7.30 – 10.00 p.m. Wednesday Mic Fever and Shakers Past and Present. Poetry, spoken word, singing and music. Mango Lounge, 118b Aldridge Road, Perry Barr. Entry £3
Thursday 2nd November 10.15 – 11.30 a.m. Poetry for Pleasure for those who like reading poetry, writing poetry, listening to poetry. Reading in the round. Erdington Library, Orphanage Road, Erdington. Free entry.

Thursday 2nd November 12.00 midday to 1.30 p.m. Poetry At Lunchtime. In the round reading of your own or favourite poems. Artefact, Pershore Road, Stirchley. Free.

Thursday 2nd November 7.00 p.m. The Hill by Angela France The poet reads from her new collection that gives voice to the people who went up Leckington Hill to stand up for their right to ramble – and asks – what is their relevance today – and whose land is it anyway? Waterstones, High Street, City Centre. Free Entry

Thursday 2nd November 7.00 – 10.00 pm Grizzly Pear: Spaces Hosted by Writers Bloc, the Birmingham University creative writing society. Features Jemima Foxtrot, Jess Davies and Bethany Slinn. Bristol Pear pub, 676 Bristol Roadd, Selly Oak. Open Mic Slots available . £3 Entry

Thursday 2nd November 7.30 p.m. to 11 p.m. Hatstand Poetry, storytelling, song. Kitchen Garden Café, York Road, Kings Heath. Entry through Fletchers Bar 2 doors down. Performers free Audience £5/£4 Pop up shop for artworks and merchandise.

Thursday 2nd November 7.00 – 9.00 p.m. Poetry Jam Beatfreeks Open Mic poetry evening. Coffee #1, 12 Newhall Street, City Centre. Free Entry, Open Mic slots available . Arrive 6.45pm to sign up for open mic list

Thursday 2nd November 8.00 – 10.00 pm Cannon Hill Writers Group all genres of writing including poetry, sharing of work and constructive discussions. Horseshoe Bar 1214 Stratford Road, Hall Green. £2 per session/£1unwaged

Friday 3th November 7.30 p.m. till late Spoken Word, Comedy and More at the Ort, Ort Café, Balsall Heath (No. 50 bus route). Poetry, music, storytelling, occasional comedy. Open Mic slots available Suggested Donation £4

Saturday 4th November 10.00 am to 4.00 p.m. How To Be A Poet A one day workshop with the authors of new poetry handbook and manifesto How To Be A Poet – Poet Jo Bell and Jane Commane, editor at Nine Arches Press. Focuses on how to improve your poetry and get it into print. Birmingham and Midland Institute, 9 Margaret Street, City Centre £45 more details on Writing West Midlands website

Saturday 4th October 12.00 noon to 2.00 p.m. Writers Without Borders meeting. Writers of poetry and prose from a wide variety of cultural backgrounds at all levels from starting out to professional. New members always welcome. The Community Hub, John Lewis Store, Grand Central, City Centre

Saturday 4th November 2 p.m. to 4.30 p.m Poetry Workshop with Chris Fewings. Includes looking at poems from books ‘to absorb them, not to dissect them’ and some short writing activities. Birmingham Buddhist Centre, 11 Park Road, Moseley . email chris.fewings@rw5.uk to book place, cost £10.
Saturday 4th November 3.00 – 5.00 p.m. Poets Place. Bring poems for sharing and feedback, with a poetry writing exercise in the second hour. Mezzanine Level, Rep Theatre, Broad Street, City Centre. Free Event.

Sunday 5th November 2.00 p.m. Cannon Poets Meeting, The Moseley Exchange 149-153 Alcester Road (Next to Moseley Post Office), Moseley £3 Sharing poems with feedback, 30 min coffee break, ‘read round’ of participants poems.

Sunday 5th November 7.00 – 9.30 p.m. ‘Do Not Go Gentle’ Huw Warren and Friends present a Jazz Suite based on the poetry of Dylan Thomas Blue Orange Theatre, 118 Great Hampton Street, Jewellery Quarter enquire for price

Monday 6th November 2.00 – 3.00 p.m. Reading for Wellbeing A friendly group who read stories and poems together, reflecting and discussing how they connect with our experiences Sparkhill Library, 641 Stratford Road, Sparkhill Free

Monday 6th November 7.00 – 9.00 p.m. New Birmingham Part One: Craig’s Room A story set in Birmingham 2053 exploring mental health issues. Created by poets Carl Sealeaf and Jasmine Gardosi. It’s a game, a physical installation and a website. Open mic poetry slots available on the optional theme of DYSTOPIA. The GAP Arts Centre, Alcester Road, Balsall Heath. Suggested Donation £3

Tuesday 7th November 1.00 – 3.00 pm. Pens of Erdington fortnightly creative writing group including poetry. This meeting will discuss whether the group needs a social media platform. Community Room, Erdington Library, Orphanage Road, Central Erdington. £2 per meeting.

Tuesday 7th November 1.00 – 3.00 p.m. Poetry for Empowerment Poetry Club explores how to express ourselves and improve confidence through poetry. Sutton Coldfield Baptist Church, Trinity Hill, Sutton Coldfield. For more details email Robin Surgeoner info@whyfestival.co.uk

Tuesday 7th November 2.00 p.m. Shakespeare Studies Sutton Coldfield University of the Third Age (for those no longer in full time employment). Analysis of the language of the script, helping understanding of the plays. United Reformed Church, Sutton Coldfield town centre. Charge £1

Tuesday 7th November 6.00 p.m.- 8.00 p.m. University of Birmingham Slam Team Auditions Only open to University of Birmingham Students. Audition is to compete in UniSlam. No need to memorise poems. See Facebook Events page for more details. Green Room, Guild of Students

Tuesday 7th November 7.30 – 9.30 p.m. Stirchley Speaks, Artefact, Stirchley, Poetry andoccasional music. Featured Poets Sophie Sparham and Aliyah Denton. £3. Free entry for open mic poets, slots available at 7.00p.m.

Wednesday 8th November 10.15 a.m. Writing Group, Sutton Coldfield University of the Third Age (for those no longer in full time employment), Writing includes short stories, poetry, novel writing, scripts. Will be producing a poetry anthology in 2018 United Reformed Church, Sutton Coldfield town centre. Charge £1
Wednesday 8th November Howl 7.30 p.m. till late. Beat poet inspired night hosted by Leon Priestnall Some slots available on the door. Upstairs at The Dark Horse, Alcester Road, Moseley Entry £5

Thursday 9th November 10.15 – 11.30 a.m. Poetry for Pleasure for those who like reading poetry, writing poetry, listening to poetry. Reading in the round. Erdington Library, Orphanage Road, Erdington. Free entry.

Thursday 9th November 12.00 midday to 1.30 p.m. Poetry At Lunchtime. In the round reading of your own or favourite poems. Artefact, Pershore Road, Stirchley. Free.

Thursday 9th November 4.00 to 6.00 p.m. Poetic Eroticism: Sex in Contemporary Poetry Workshop led by Samantha Roden including a writing exercise titled Tackling Taboo. Waterstones, High Street, Birmingham City Centre. Tickets £20 on eventbrite including entry to Brum Poets Showcase

Thursday 9th November 7.00 – 9.30 p.m. Brum Poets Showcase in association with Verve Poetry and Waterstones A live recording of the Brum Poets Radio show featuring poets Solomon OB, Samantha Roden, Sean Colletti and Lexia Tomlinson. Waterstones, High Street, Birmingham City Centre. Tickets £5 on Eventbrite Thursday 9th November Womanly Words 2.0 Launch Event Shakti Women present a night of words by women to launch the second Womanly Words book . Jojolapa Nepalese Bar & Kitchen 55-59 Newhall Street, City Centre £10 Entry, £15 with copy of book

Thursday 9th November 8.00 – 10.00 pm Cannon Hill Writers Group all genres of writing including poetry, sharing of work and constructive discussions. Horseshoe Bar 1214 Stratford Road, Hall Green. £2 per session/£1unwaged

Friday 10th November 6.00 – 9.00 p.m. New Heights Evening of Creativity hosted by Erdington Arts Forum, features a range of performances including music and poetry Tuesday, New Heights Community Café, 108 Warren Farm Road, Kingstanding. Pay-as-you-feel

Friday 10th November 7.00 p.m. Uncommon Ground contrasts the commitment of the women who protested at Greenham Common and the neglect of this important piece of history today. Written and directed by 2011-12 Birmingham Poet Laureate Jan Watts MAC Arts Centre, Cannon Hill Park, South Birmingham. Tickets £5

Saturday 11th November 6.30 p.m. Coffee Catch Up Sessions: An LGBTQ+ Space Monthly creative event for artists and poets top meet, share ideas and create. Artefact, 1464 Pershore Road, Stirchley. Entry free/donations welcome Sunday 12 November 7.00 p.m. doors open for 8.00 start Duke Special performs songs and music based on the poetry of Belfast writer Michael Longley. Glee Club, Arcadian Centre, Hurst Street, City Centre Tickets £15

Monday 13th November 2.00 – 3.00 p.m. Reading for Wellbeing A friendly group who read stories and poems together, reflecting and discussing how they connect with our experiences Sparkhill Library, 641 Stratford Road, Sparkhill Free
Tuesday 14th November 7.00 – 9.00 pm Poetry Society Stanza Group, open to all. Run by former Birmingham Poet Laureate Roz Goddard. Includes feedback on poems. Waterstones, High Street, City Centre, Free Entry Tuesday 14th November 7.30 – 10.30 p.m. What’s The Word hosted by Glyn Phillips, RJJZ Jazz Café Bar, Arch 24, 208 Livery Street, City Centre. Free Entry

Wednesday 15th November 10.15 a.m. Writing Group , Sutton Coldfield University of the Third Age (for those no longer in full time employment), Writing includes short stories, poetry, novel writing, scripts. Will be producing a poetry anthology in 2018 United Reformed Church, Sutton Coldfield town centre. Charge £1

Wednesday 15th November 12.00 midday to 2 p.m. Crunch lunchtime creative writing session, Artefact, Pershore Road, Stirchley

Wednesday 15th November 6.00 – 8.00 pm Birmingham Writers Group includes poets. Reading and feedback session. Look at their website http://www.birminghamwriters.org before attending. Downstairs at St Martin’s in the Bullring , City Centre. Meet outside 5.50 pm.

Wednesday 15th November 7.00 p.m. Freemine Writers Group Food, drinks and poetry. Share your work and meet like minded creative people. Rose Villa Tavern, Warstone Lane, Jewellery Quarter Free

Wednesday 15th November 8.00 pm Brainstorm open mic including poetry. The Spotted Dog, 104 Warwick Street, Digbeth. Free Entry.

Thursday 16th November 12.00 midday to 1.30 p.m. Poetry At Lunchtime. In the round reading of your own or favourite poems. Artefact, Pershore Road, Stirchley. Free.

Thursday 16th November 7.30 p.m. to 10.30. p.m. Hit The Ode Poetry Night with featured poets The Victoria, John Bright Street, Birmingham City Centre Tickets £5 on the door. Thursday 16th November 8.00 p.m. Barbara Brownskirt Poetry Theatre Show. Barbera, unsuccuessful poet in residence at the 197 bus stop, Croydon Road, Penge is trying to find out who she is as she tries to survive in 21st century Britain. Part of Shout Festival. The Old Joint Stock Theatre, 4 Temple Row West, City Centre Tickets £10. Thursday 16th November 10.15 – 11.30 a.m. Poetry for Pleasure for those who like reading poetry, writing poetry, listening to poetry. Reading in the round. Erdington Library, Orphanage Road, Erdington. Free entry.

Thursday 16th November 8.00 – 10.00 pm Cannon Hill Writers Group all genres of writing including poetry, sharing of work and constructive discussions. Horseshoe Bar 1214 Stratford Road, Hall Green. £2 per session/£1unwaged

Friday 17th November 1.10 – 2.00 p.m. Baudelaire in Song Professor Helen Aboott explores song settings of poems by 19th century French poet Charles Baudelaire aided by Soprano Mary Bevan and pianist Joseph Middleton. Barber Concert Hall, Birmingham University, South Birmingham Free Entry
Friday 17th November 6.00 – 9.00 p.m. Evening of Creativity hosted by Erdington Arts Forum, features a range of performances including music and poetry. Oikos Café, 58 High Street, Erdington. Pay-as-you-feel

Friday 17th November 6.00 – 8.30 p.m. In Conversation & Reading with Roy McFarlane and Open Mic Poetry Night. Contact Serena Trowbridge at serena.trowbridge@bcu.ac.uk for open mic spots (6 minutes) Birmingham & Midland Institute, 9 Margaret Street, City Centre £5/£3 for members

Friday 17th November 7.30 – 9.30 pm Funkenteleky Four Poets perform with Four Musicians. The Poets are Leon Priestnall, Bethany Slinn, Tarik Ross Cameron, Andy Owen Cook. Poetry Open Mic without music accompaniment.

Sunday 19th November 1.30 p.m. Jamal Gerard Poet and Performance artist, includes his alter ego Fabulash Jones who draws upon the black LGBT ballroom culture of New York Free Venue to be announced

Monday 20th November 2.00 – 3.00 p.m. Reading for Wellbeing A friendly group who read stories and poems together, reflecting and discussing how they connect with our experiences Sparkhill Library, 641 Stratford Road, Sparkhill Free

Tuesday 21st November 1.00 – 3.00 pm. Pens of Erdington fortnightly creative writing group including poetry. Community Room, Erdington Library, Orphanage Road, Central Erdington. £2 per meeting

Tuesday 21st November 2.00 p.m.Shakespeare Studies Sutton Coldfield University of the Third Age (for those no longer in full time employment). Analysis of the language of the script, helping understanding of the plays. United Reformed Church, Sutton Coldfield town centre. Charge £1

Thursday 23rd November 10.00 a.m. to 1.00 p.m. NAF CAF Northfield Arts Forum Presents a pay as you feel surplus food café with live music, dance, poetry and arts and crafts workshops. Weoley Castle Community Church, 115 Quarry Rd, Weoley Castle.

Thursday 23rd November 12.00 midday to 1.30 p.m. Poetry At Lunchtime. In the round reading of your own or favourite poems , Artefact, Pershore Road, Stirchley. Free.

Thursday 23rd November 10.15 – 11.30 a.m. Poetry for Pleasure for those who like reading poetry, writing poetry, listening to poetry. Reading in the round. Erdington Library, Orphanage Road, Erdington. Free entry.

Thursday 23rd November 6.00 to 9.00 p.m. NAF CAF Northfield Arts Forum Presents a pay as you feel surplus food café with live music, dance, poetry and arts and crafts workshops. Northfield Baptist Church, 789 Bristol Road South, Northfield.

Thursday 23rd November 7.00 – 9.00 p.m. Verve Present: A Burning Eye Showcase Spoken Word Poetry from poets published by Burning Eye, Britain’s first Spoken Word Poetry Imprint Kate Fox, Toby Campion and Shagufta Iqbal perform. Waterstones, High Street, Birmingham City Centre Entry £5.90

Thursday 23rd November 7.30 for 8.00 p.m. Lorca! The Poetry of Federico Garcia Lorca Dramatic and sensual poetry arranged as songs and performed by guitarist Keith James. Kitchen Garden Café, York Road, Kings Heath Tickets £10

Thursday 23rd November 8.00 – 10.00 pm Cannon Hill Writers Group all genres of writing including poetry, sharing of work and constructive discussions. Horseshoe Bar 1214 Stratford Road, Hall Green. £2 per session/£1unwaged

Friday 24th November 6.00 – 9.00 p.m. Evening of Creativity hosted by Erdington Welcome Centre and Erdington Arts Forum, features a range of performances including music and poetry. Erdington Welcome Centre, Erdington High Street, Erdington. Pay-as-you-feel

Saturday 25th November 1.30, 4.00 and 7.00 p.m. Rocking The Wire present the stories of the Greenham Common protest through the eyes of Deborah who recalls them and how they shaped her life and inspire protest today, using theatre, spoken word and poetry. For ages 12 up. Hexagon Theatre, MAC Arts Centre, Cannon Hill Park, South Birmingham Tickets £6 Saturday 25th November 5.30 to 9.30 p.m. Akwasi’s Open Mic Night Hip Hop, Spoken Word, Comedy and Rap. Tower of Song café, 107 Pershore Road South, Cotteridge. £5 Entry

Saturday 25th November 7.30 to 11.00 p.m. Songs and Poetry at The Lamp Tavern Generally 3 or 4 songwriters and one poet 157 Barford Street, Digbeth Free Entry

Sunday 26th November 1.30, 4.00 and 7.00 p.m. Rocking The Wire present the stories of the Greenham Common protest through the eyes of Deborah who recalls them and how they shaped her life and inspire protest today, using theatre, spoken word and poetry. For ages 12 up. Hexagon Theatre, MAC Arts Centre, Cannon Hill Park, South Birmingham Tickets £6

Sunday 26th November 5.00 p.m. Sunday Xpress Poetry & Music Open Mic 5.00 p.m. Bands from 7.00 p.m., The Edge, Cheapside, Digbeth. Free Entry.

Sunday 26th November 4.00 – 6.00 p.m. Poets With Passion, bring poetry you love or some of your own to share. Myrtle Cottage, The Old Print Works, Balsall Heath (on No. 50 Bus Route). Free.

Monday 27th November 2.00 – 3.00 p.m. Reading for Wellbeing A friendly group who read stories and poems together, reflecting and discussing how they connect with our experiences Sparkhill Library, 641 Stratford Road, Sparkhill Free

Tuesday 28th November 10.30 a.m. Poetry Group, Sutton Coldfield University of the Third Age Poetry Group (for those no longer in full time employment), United Reformed Church, Sutton Coldfield town centre. Charge £1

Tuesday 28th November 7.30 pm Poetry Bites. Open mic poetry night featuring Anthony Owen. Kitchen Garden Café, York Road, Kings Heath. Tickets £5/£4 concessions Wednesday 29th November 12.00 midday to 2 p.m. Crunch lunchtime creative writing session, Artefact, Pershore Road, Stirchley
Wednesday 29th November 6.00 – 8.00 pm Birmingham Writers Group includes poets. Social Evening. Venue to be confirmed. Their website is http://www.birminghamwriters.org .

Wednesday 29th November 6.30 p.m. Waterstones On The Mic,. Poetry, storytelling, music. Waterstones, High Street, Birmingham City Centre Open Mic slots available from 6.00 p.m. Free Entry

Wednesday 29th November 7.00 p.m. Freemine Writers Group Food, drinks and poetry. Share your work and meet like minded creative people. Rose Villa Tavern, Warstone Lane, Jewellery Quarter Free

Wednesday 29th November 7.30 – 10.00 p.m. Spoken Trend Poetry and Spoken Word. Featured Artists and Open Mic slots available on the door. Door 7 pm. Entry £3, free for performers. The Bulls Head, The Green, Kings Norton. B38 8RU.

Thursday 30th November 12.00 midday to 1.30 p.m. Poetry At Lunchtime. In the round reading of your own or favourite poems , Artefact, Pershore Road, Stirchley. Free.

Thursday 30th November 10.15 – 11.30 a.m. Poetry for Pleasure for those who like reading poetry, writing poetry, listening to poetry. Reading in the round. Erdington Library, Orphanage Road, Erdington. Free entry.

Thursday 30th November The Grind Live A night of rap and spoken word fusing genres and supported by a full live band. Featuring Angnezia, Casp, Casey Bailey, Infamous Dimez and P Shand. Hare and Hounds, High Street, Kings Heath. Minimum age 18 Tickets £8 advance

Thursday 30th November 8.00 – 10.00 pm Cannon Hill Writers Group all genres of writing including poetry, sharing of work and constructive discussions. Horseshoe Bar 1214 Stratford Road, Hall Green. £2 per session/£1unwaged
List compiled by Bernard.S.Davis 80 Events 28 10 2017 7.3 hours

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“Our House”, Sutton Coldfield Musical Theatre, Lichfield Garrick

Posted on October 18, 2017 by garylongden

madness

I saw Madness play live twice. They were fabulous, raucous, and with a touch of Music Hall about them. I am also a veteran of the era when they formed. Their incubation was not seamless. They morphed from what might best be described euphemistically as a “lad” band, through innovative interpretations of traditional Ska and  Two Tone , to a band whose lyrics were known verbatim by junior school age children. That trans- generational travel has served their longevity well. Their milieu is the three minute pop song, accessible lyrics, ubiquitous subject matter, and vocalist Suggs’ deadpan delivery. All of which does not necessarily equate with a hit musical, so I approached the night with an ear expectant of familiar songs, and an eye curious as to what I would see.

 

SCMTC are good at this sort of production, big dance numbers have always been their strength, and with a thirty plus cast, they can handle what is needed. Great singing is not a requirement to sing Madness songs, attitude and enthusiasm is. Fortunately, you will never find this company lacking in that department. The winner of an Olivier Award, “Our House “ was written by Tim Firth, who also wrote “Calendar Girls”, and was first performed in 2002. It tells the story of Joe Casey ( Matt Branson) who, on the night of his sixteenth birthday, commits a petty crime in a bid to impress the girl of his dreams, Sarah (Sophie Hammond). When the police arrive he faces a life changing decision; does he stay and own up like an honest man, or make his escape and go on the run? The opportunity to perform the Clash song “Should I Stay or Should I Go ?” is surely missed here. Unfortunately, Branson is miscast, looking both too old, and awkward in the part. His love/lust affair with Sarah never convinces.

our house ensemble

 

Joe’s world splits in two, and, in a “sliding doors” moment, two very different paths unfold before him. Whilst offering dramatic possibility, particularly when there are two “Joes” on stage, the narrative can feel a little muddled, as we are offered two very different outcomes for Joe, depending on which decision he had taken. Themes explored include love, family values, growing up, responsibility and dealing with losing the people that shape us, throwing a bit of “Blood Brothers” into the “Sliding Doors” mix.

 

Ben Addams enjoys playing villain Reecey. Mark Skett is convincing as Joe’s Dad, a part played by Suggs for a time in the original stage show.his performance of “One Better Day” being the solo highlight of the night. Elisa Gorle ( Angie), Chloe Child (Billie) Adam Coulthard (Lewis) and Anil Patel ( Emmo) provide welcome comic relief as  two comic double acts. The big production numbers are well handled by choreographer Maggie Jackson, she imaginatively incorporates a “42nd Street” interlude into the middle of a stretched out “Embarrassment” by introducing a female chorus line, sequins and all. Musical Director Sheila Pearson produces an authentic period sound, whilst still offering musical theatre production values. Saxophonist Jen Pollock will have gone home exhausted.

 

our house car

You will never guess which song this set introduced…

 

 

A greatest hits medley  opens  an instrumental overture  before kicking into a storming “Our House”, and from there the musical fun never really stops. Unfortunately the narrative never really gets off the ground. All the songs were written by the band, with the exception of Labbi Siffre’s, “It Must Be Love”. “Tomorrow’s Just Another Day” and “One Better Day” are great, superbly crafted, songs, even if at the time of release they were not the best sellers. English, laconic and wry, they are strong counter-points to the obvious rabble rousers “Our House” “Baggy Trousers and “Embarrassment”. When in doubt, “Our House” appears again to keep things moving musically.

 

There are some issues with the production. Vocal cues were routinely missed, some of the chorus harmonies were off key, “NW5” was so dreary that even the cast started to read newspapers, a coffin which appeared at the end of the show probably contained the libretto, and the set piece dance number around “Sun and the Rain” had the dancers in long loose fitting trousers, masking some well drilled dance moves, in a bizarre, ill-conceived routine. Costuming was anachronistic and inconsistent. I also wondered whether the Director had ever seen Madness live or watched a live recording. The majestic “Night Boat to Cairo” was emasculated into an “It Aint Half Hot Mum” pastiche. the eponymous call to arms being uttered with all the confidence of a year seven child asking a sixth former where the toilets were on their first day in Big School. it cried out for the saxophonist to perform from the balcony in full view, instead she was hidden in the pit. Equally, for the finale of “One Step Beyond”, the “Hey You-, don’t watch that watch this…” intro was ditched, robbing it of its build up.

 

The main problems with the show goes beyond any production. Madness songs require a central focussed narrative. When the vocal duties are shared out, the strength of the songs drains out.

But  the songs and singing were rousing, nostalgic and entertaining , once the cues had ben picked up. No fan of Madness, or anyone who listened to the radio in the 1980’s, will leave the auditorium disappointed. But it is the songs that carry the night, with Director Faye Easto doing a valiant job at driving a libretto which often has a tangential relationship with the music. The show is still a bit of a mess, despite the Company’s best efforts and it is not difficult to see why the West End run did not complete twelve months.  Fortunately, the finale is just for fun with the Company blasting through “One Step Beyond” and the other best bits with conviction and commitment, brio and elan, but it was too little, too late to save the show. Runs till 21st October.

 

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Hairspray – Birmingham Hippodrome

Posted on October 9, 2017 by garylongden

Hairspray-400x400 poster
*****
This show is beguilingly deceptive. Its title implies froth and artificial glamour, yet when heated, hairspray can be explosive. Marc Shaiman and Scott Wittman’s adaptation of John Waters’ 1988 film for stage was itself based on the book by Mark O’Donnell and Thomas Meehan. First appearing on Broadway in 2002, it is both glitzy and gutsy. Stage adaptations of films have a chequered history, this is a rarity, an incarnation which is more powerful on the boards than on the screen.

 
There is a political message. That can be good in offering substance to a show, but it can also date it. Fortunately, and sadly, the themes of casual racism and mistrust of immigrants were a feature of the Brexit debate, and legislature corruption dominated the US Presidential Trump v Clinton battle, offering a contemporary dimension to the original screenplay. “Hairspray” focusses on the integration debate in early 1960’s America, body image, and how outsiders fit into mainstream society. But this is no dour, didactic dirge. Instead it is a celebration of diversity, hope, and the talent of youth .

 
Resident Director and choreographer Lindsay McAllister has managed to successfully tiptoe along the tightrope of delivering a show which musically fairly fizzles with high octane effervescence, whilst retaining the integrity of playing out a dramatization of the Civil Rights struggle in America. A brash, clever set nicely reflects the time and place. Takis earns his corn as set and costume designer, producing a riot of colour and flared dresses. The costumes are as much a star of the show as the actors boasting an operatic look, a cut above simple sixties kitsch

 
Rebecca Mendoza, taking the lead role of Tracy Turnblad, blazed into the opening number “Good Morning Baltimore”, and never looked back. It was as if she, and the cast had plugged themselves into the mains electricity socket. This role is her professional debut and Rebecca is superb in the role, offering a powerful vocal and a commanding stage presence. Yet she isn’t all front. Her love interest with Link Larkin is nuanced and believable, helped considerably by Edward Chitticks’ assured vocals and charisma.
Gina Murray, as producer and scheming mother Velma Von Tussell, comes close to stealing the show. She specialises in a withering glare that could turn milk sour, ostentatiously enjoying her role as villain of the show, injecting a healthy dose of Cruella De Ville into her character.

 
The musical score is fabulous featuring 1960s-style dance music and “downtown” rhythm and blues, played by a live onstage band under the musical direction of Ben Atkinson. Not skimping on musicians by using a pre- recorded sound track makes such a difference. All the vocalists, without exception, rose to the occasion, none more so than Miss Motormouth (Brenda Edwards) whose spoken rhyming couplets morphed into a huge interpretation of signature ballad “ I Know Where I’ve Been” sending tingle down the nape of my neck. She is a talent who has developed far beyond her X Factor appearances.

 
Tracy Turnblad’s parents have almost as much fun as the audience as a sparkling comedy duo. Norman Pace ( of Hale & Pace) gives a masterclass in timing and facial expression, while Matt Rixon appears in drag, breathing fresh life into the “man- in- a -dress” gag in a little and large pairing .Both come together for a very well received duet, “You’re Timeless to Me”.

 

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Norman Pace

 

 

 
A compelling part of this show’s success is McAllister’s choreography. There are no back line shirkers, the shapes, footwork and movement are a delight, and she shows commendable discipline in not flooding the stage with chorus unnecessarily. Inevitably, she works “You Can’t Stop the Beat” until it is wrung dry, and why not? It is a great song, with unusually satisfying lyrics, the performance of which demands, and receives, a deserved standing ovation at its close.

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Delightful cameo’s abound. Layton Williams (Seaweed Stubbs) is a striking performer, as slender as a microphone stand, but with seemingly nuclear powered dancing energy playing opposite love interest, ugly duckling turned swan, Annalise Liard- Bailey ( Penny Pingleton) The two of them imbue their roles with comedy and poignancy. Little Inez (Monifa James) gives a big performance. Jon Tsourus entertains hugely as the oleaginous television host Corny Collins.

 
Amidst the infectious song and dance a witty, and occasionally risqué, script is brought to life by the cast with some great lines, my favourite being from Velma ;“ It pays to have a politician in your pocket and a polaroid in your safe”.

 
This is an exuberant slice of musical theatre, beautiful to look at, kind on the ear, and with a big smile on its face. Runs till Sat 14th Oct.

 
Gary Longden

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Tom Petty – an appreciation

Posted on October 8, 2017 by garylongden

 

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Thomas Earl Petty (October 20, 1950 – October 2, 2017)

 

The phenomena of public grief for public figures whom were not known personally to the mourner is not new, but often ridiculed.

Tom Petty was one of a handful who caused me to double take, and to feel, that just a little bit of my soul had been taken away.

Most eulogies tell of someone who was the greatest, the best. Curiously, Tom did not fall into that category. A very good songwriter, live performer, singer, band leader – but not the greatest.

I first became aware of him with the release of the first album, in November 1976, the eponymous Tom Petty and the Heartbreakers which is a traditional rock album. It contained diverse, well written, well- constructed, well played songs. In “American Girl” he had also written a song which would be their signature for an entire career. In Britain the highly influential Fluff Freeman radio show backed it for rock fans. All should have been good, but a big cloud gathered on the horizon, Punk. A British phenomena which stopped dinosaur rock acts in their tracks, and strangled traditional up and coming rock acts at birth.

In retrospect the solution was risible. For the second “You’re Gonna Get it” Album, released in May 78, the band wore biker jackets and shades on the cover and released the punk length, spiky, guitar driven “I Need to Know” as the single. The album was not as strong as the first, rushed to capitalise on the success of the first album, with only “Listen to Her Heart” enduring. But it worked. The trompe de l’oeil was pulled off. The single, and album, were a success, and was accepted by the all- powerful British music critics, they stayed the right side of the music press.

I saw them for the first time on June 24th 1978 at Knebworth supporting Genesis in front of a 100,000 fans. In retrospect it was an ostensibly monumental task for such a relatively young band, in practice it was easy. This was no fledgling band of wannabees washed up on the shore by the first wave of punk, instead a group of seasoned stage performers and practiced musicians. It was the biggest test of their careers to date- but one which they took in their stride.

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With only two albums behind them, the forty- five minute slot suited them down to the ground. They just played their strongest songs, stretched out “Breakdown” ,and Tom, in his top hat tried to look overwhelmed by the universal mid- afternoon acclaim at the end of the set. Their “stadium” credentials instantly established.

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Tom Petty, with top hat, at Knebworth

I next saw them on March 7th, 1980 on the “Damn the Torpedoes” tour. Despite management/ contractual wrangles, they had produced their strongest album yet, and the 3.487 capacity Hammersmith Odeon, with its 192ft wide stage, was perfect for them. The place was packed with their fans who knew all the songs, the capacity was big enough to produce a vibrant atmosphere, yet small enough to bottle it. They were sensational, opening with a swaggering, searing “Shadow of a Doubt” , and the mid set quintet of “Refugee/ Listen to her heart/ American Girl/ Breakdown and Too Much Ain’t enough” reaching heights that few artists can match.

The last time I saw him live was on Oct 17th, 1987 supporting, and playing with, Bob Dylan. Roger McGuinn opened the show, but Tom joined him on stage to play “Tambourine Man”. Then Tom and the Heartbreakers backed Dylan. Dylan was awful. Tom tried his best, but Dylan was sloppy, the rearrangements poor, and for once the band were probably grateful that they were not in the spotlight.

Although England broke the Heartbreakers, a fact that Tom happily acknowledged, despite his professed Anglophilia, he was not a regular visitor to our shores, leaving me, and others, to watch from afar, no less interested or supportive.

Through the Travelling Willbury’s, a solo period, and then back with the Heartbreakers for good, his trademark was strong songs, great live shows ( albeit Stateside!) and a regular output of interesting new material. Mike Campbell’s guitar and Benmont Tench’s keyboards were essential. They were to Tom, as Miami Steve and Roy Bittan are to Bruce Springsteen. The extra space that Benmont was offered for live performances was always welcome, how I adore his stretched out piano breaks.

The curious thing about Tom is that he is undoubtedly up there in the American Rock n Roll Pantheon with Springsteen, Dylan, Young and Buddy Holly. Yet was there a cross-over, defining album? A “Blood on the Tracks”, a “Born to Run” a “Harvest”. Probably not. And how many standards did he write? “American Girl”, and beyond that a plethora of fine songs for his fans, but not much that reached beyond. It bothers me, because when I listen to “It’s Good to be King”, “Refugee”, “Crawling Back to You” and “Woman in Love” I hear songs I love and admire, but whose currency was limited.

 

So if he was not the greatest, where did his greatness come from? I believe it was from his forensic knowledge of the history of guitar pop from Buddy Holly and the Beatles onwards, and his ability to synthesise that with his arrangements and voice. He was a typical American Southern conservative, generous, genuine but not too bothered about what was happening way beyond. That meant that when he was playing with the Travelling Wilbury’s and on all- star bills, he shone by not shining. He was the alchemist, the oil, the glue, for whom the sum total was always more important than the constituent parts. My favourite clip of him is when he is playing “While My Guitar Gently Weeps” in an all star band tribute to George Harrison. Jeff Lynne harmonises, Steve Winwood plays keys, Prince steals the show with an outrageous magnificent guitar solo, Tom smiles, holding it all together.

If you have never really delved much into Tom’s work, I thoroughly recommend the four disc live anthology. It isn’t a greatest hits record, but a compilation of his best live performances over the years. You cannot fail to be impressed.

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And maybe, collectively, this all explains my sadness on learning of his death. It was not him personally. It was about owning every record he made on release, and realising that now there would be no more. It was about the distant figure with the top hat saluting the masses with his guitar at the end of his set at Knebworth, and the exhilaration and euphoria of his show at London’s Hammersmith Odeon, memories now wrapped and sealed. It was about the four hour documentary “Runnin Down a Dream” (2007) which offered me the illusion that I “knew” him. It was about putting on one of his albums, any one of his albums, and smiling. It was about an American Great – who wasn’t, best summed up by these lyrics:

“There’s a southern accent, where I come from
The young ‘uns call it country, the yankees call it dumb
I got my own way of talking, but everything gets done
With a southern accent, where I come from”

 

 

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Great Expectations – Derby Theatre

Posted on October 4, 2017 by garylongden

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One of Dickens’ latter works, his thirteenth novel, “Great Expectations” lends itself to a dramatic stage presentation. An atmospheric opening triggers a chain of events that will bring a young man riches, break his troubled heart, and lead him deep into a mire of deception and discovery. “Great Expectations” is a story about transformation, loss, forgiveness and home coming. Neil Bartlett’s stage adaptation is bold, strong and imaginative, the perfect partner to Dickens. Torches illuminate the stage as Pip seeks answers in the darkness, hidden behind concealed doors.

 

Barney George’s set is stunning, the lighting by Tim Skelly haunting and ethereal. Geoffrey Breton as Pip is enthralling. His unrequited love for Estella, beautifully realised by Kate Spencer, is particularly poignant, the consequences severe. But it is Polly Lister’s Miss Haversham who steals the show wrenching emotion, character and nuance out of every line in one of the most compelling interpretations of the role I have ever seen. She prowls, spider like on sticks, her frame seemingly swathed in decaying layers of web, bitter and acerbic. Robert Beck oozes menace as Magwitch, Jack Quarton has lots of fun as lawyer Mr Jaggers, one of my favourite Dickensian creations.

 

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Polly Lister is superb as Miss Haversham

 

 

As in “David Copperfield”, there is a first person narrative. The story is a bildungsroman which twists and turns into a dramatic finale, drenched in tension, the nine actors assuming multiple roles. Director Sarah Brigham wrenches the maximum out of an imposing set which is strong on impact, but unfussy and uncluttered in use, allowing the characters to shine. Her imaginative use of chairs is once again evident ( her parents must have forever been putting them back in place at home when she was a child!) be they gravestones or boats . Inset ponds are a particular feature of this production doubling both as marshes in Kent and the Thames in London.

 

Dickens aficionados will be satisfied with the faithful and authentic presentation of the tale, newcomers will find it instantly accessible, all cannot fail but be impressed by the consistently strong acting by all the cast and the coherence of vision displayed by Sarah Brigham’s staging.” Great Expectations” runs until Saturday 21st October.

 

Gary Longden

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Table Tipping – Long Eaton, with Pietro Politano

Posted on October 1, 2017 by garylongden

 

“It must be a trick – mustn’t it? A table moving of its own accord. It just is not possible.”

Those were my thoughts prior to attending a table tipping evening. So, when an opportunity to experience it for myself presented itself, it was a chance I could not miss. Spiritual Medium Pietro Politano was hosting the evening, I went along with my partner Jane Osborne , who specialises in Past Life Regressions.

 

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Pietro Politano , centre, with Stacey Deacon , left, Jane Osborne, right

 

It started at 7.30pm on a Saturday evening and was restricted to seventeen people to ensure that everyone could have a go themselves at least once. The crowd was mixed, young and old, men and women, Spiritualists and the casually curious. The table itself was an ordinary early 20th Century oak side table with barley twist legs exactly like the illustration. I inspected it myself. There were no motors or magnets, alterations or modifications.

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As soon as Pietro summonsed three people to help him on the table, at random, the table began to move. All four parties were touching the table lightly, finger tips only. It was possible that Pietro was manipulating the table with his fingers and palms as the table was light. It rocked, it rotated, it spun, it sped around the floor, seemingly of its own accord.

Then Pietro invited me to join him. On the table was myself, Pietro, and two random audience members. I was stood next to Pietro, so was very close. I could see no obvious signs of him manipulating the table. As my hands were also close to his, I pushed the table a little, it was not easy. The reason why I did it was to observe how my fingers visually responded to the exertion, and to compare them with Pietro’s. Pietro’s fingers showed no signs of the stress mine did, nor did his wrists show signs of stress if he had been using his palms. The table was moving at a very fast rate causing us to have to run to maintain finger contact.

Then theatrically he excused himself under the pretence of a toilet break, leaving us three, random audience members at the table – and it started again. Physical manipulation by Pietro was physically impossible.

As the table moved around the audience, sat in a semi- circle around the floor he occasionally delivered spiritual messages, prompted by the table. All were accepted by the recipients. And so this continued for the best part of ninety minutes with the table always moving, rocking, and rotating, but at different speeds and with varying force dependent upon who was around the table at the time, Pietro regularly changed the “table touchers”. Only the energy of movement changed, despite the constantly changing personnel. At nine thirty, the session drew to a close. Everyone had been spellbound by what they saw, no sceptics, of whom there had originally been more than me were able to offer any explanation for what they had seen – other than that they saw it.
Today, I was at a hotel and looked at a table. It was stationary. It was not going to move without being pushed. The idea that it could, the day after, seemed absurd – but I know what I saw…

 

Pietro will say that I witnessed ectenic force, where the table was moved by the collective psychic energy of those present.
Some may claim that all the table touchers were victims of the power of suggestion, causing everyone to subconsciously behave in a manner consistent with the expected outcome. Yet beforehand many expressed my uncertainty of what might follow. Faiure was as anticipated as success.
Others point to Odic force, and Galvanism, no more preposterous than any other explanation.
The most common explanation is one of simple physical manipulation – but I saw no evidence of that at very close quarters.
You decide.

 

 

Gary Longden

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‘Allo ‘Allo – Trinity Players, Sutton Arts Theatre

Posted on September 20, 2017 by garylongden

 

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As a television situation comedy series, ‘Allo ‘Allo was a steamroller success for a decade from 1982. Written by David Croft and Jeremy Lloyd, it was a mix of cultural stereotypes, physical comedy, farce, sexual innuendo and sauce. The best comedy television series of the late 20th century have transferred to the stage with mixed results, with the likes of “Yes Minister” and “ Dad’s Army” amongst those who have sought to make that leap. I had not seen this as a stage version. I wondered firstly how easily it would adapt to the theatre, and secondly how well, thirty- five years on, the humour was going to travel.

The curtain opened to reveal a physical set which was impressive, convincing and authentic. Set manager John Islip has once again performed his role with customary aplomb. As the production wears on, its versatility becomes apparent too. Although the cast at twenty- three, is large, the success of any presentation of ‘Allo ‘Allo hinges on the character of Rene. Trinity Players are fortunate to have Paul Wescott in the role. He has the physical presence of Gordon Kaye, who defined the role, and enough natural ability to become the part, rather than an impersonation of Kaye. Lynette Coffey ,as his wife, has the difficult task of being his foil, failing to keep her man faithful, and failing to sing in tune to great comic effect, but shines in a performance which is enthusiastic, understated, and poignant.

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The show is famous for girls and stockings. Marie Lock (Yvette) tantalises and teases with comely abandon, Stephanie Miles (Helga) is a delight with her frustrated libido and mouse traps ( you have to have seen the show), Beth Hooper(Mimi) is somewhat more modest, but needs a box to stand on, so is excused!

Whirling around Rene are numerous character roles, all of whom have fun, and convince. Simon Baker’s gay Gruber always entertains, Steven Blower’s Flick is enjoyably repressed and authoritarian. The character of Captain Bertorelli is probably the most absurd, Ray Smith just goes with it, Colin Townsend as Von Strohm, the German Commander who wants to do as little commanding as possible made me chuckle whenever he appeared. I particularly enjoyed the pairing of Ray Lawrence as LeClerc, and Ann Dempsey as Madame Fanny, the elderly couple desperate to get it on before it is too late. The script is still funny and has plenty of laughs, although some of the front of curtain exchanges, designed to facilitate scene changes, work less well as stage vignettes than they would do as screen interludes, but that is a script, not production, issue.

I am a huge fan of the show. It transfers to stage well, and the humour endures. It may rely on stereotypes and familiarity, but it works. Director Hellie England, a veteran actress in farces, does not labour the innuendo and sauce, whilst ensuring that a stocking top is never far from view. The narrative moves at a brisk pace to a satisfyingly chaotic conclusion. As an amateur production, this is pretty much as good as it gets and runs to Saturday 23rd September.

Gary Longden

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Miss Saigon – Birmingham Hippodrome

Posted on August 26, 2017 by garylongden

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*****

Invariably, this show is identified as the one with the helicopter . Just in case anyone was in any doubt about this, the lights go down to the sound of a helicopter swooping overhead. I had seen the show once before, around ten years ago, and had been hugely impressed. I arrived with expectations high.

 

Although the story is a reworking of the classic Puccini opera “Madame Butterfly”, the modernised narrative is gritty. We are taken through the sex bars of Saigon patronised by off- duty GI’s where bar owner, and pimp in chief The Engineer, marvellously played by Red Concepcion, plies his trade. Here, whore Kim falls in love with client GI Chris. They are separated by the evacuation, but Kim has a son by Chris. Post war, Chris returns to Saigon with his new wife Ellen, is briefly reunited with Kim and his son, but then faces a climactic ending as Kim commits suicide to attempt to force him to take their son back to the United States. It is an adult show, with adult themes, both of which contribute to a surprisingly large number of empty seats on a Friday night. In the summer, it is family shows sell.

 

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Dreamland entertains the GI’s

 

 

Four things stand out for me about this production. The singing is excellent, individually, and ensemble. The all -male chorus for “Bui Don” at the start of the second half is moving and sublime. The music is superbly arranged and played by conductor James Mckeon. Most outstanding of all is the lighting by Bruno Poet. It is an object lesson, admittedly with a bucket load of cash, of what can be achieved with lights. I have never seen a better lit show. Finally, the choreography is beautiful. I do not refer only to the big production numbers, but also the graceful movement of all cast members.

 

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The Enginer enjoys the American Dream

 

 

The magnificent sets, the music, lighting, singing and movement were sumptuous. On second viewing, the introduction of a cute kid ( around three years old?) as Kim and Chris’s son towards the end feels a little contrived, and the part of Ellen, Chris’s new wife, is underwritten and a little awkward. However overall this is a satisfying big production show where the set pieces impress, the songs stir, and the solo’s draw tears from the audience. Well worth a visit.

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Schools Hebridean Society Trip 1974

Posted on August 20, 2017 by garylongden

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What a delight it was for my friend, Peter Kerr, to introduce me to the website commemorating the Schools Hebridean Society whom I joined for their 1974 trip to Rhenigidale, on Harris, in the Outer Hebrides. It brought back many memories, I am pleased to say that most were readily recalled, but much useful supporting information was less well remembered, and gratefully read. My recollections are as follows:

 

I agreed to go without giving it much thought. My father was in the RAF, and one of my friends Mike Thirkettle, whose father was also an RAF officer, was going, and it seemed as good a way as any to spend the summer after having sat my “O” levels. I was not an experienced walker, or camper. The furthest north I had ever been was Leeds. I did no background research. Pre-internet, there would not have been much anyway. So I turned up at London Euston station for the overnight train to Inverness as unprepared, apart from the helpful checklist items supplied by the SHS, as it was possible to be for the 8.30pm departure.

 

Although I assume that some Society Officers were present, they were not visible, so we boarded our train, said farewell to parents who were probably grateful to be losing their sixteen year olds for a fortnight, and settled down for the ride. They were the old fashioned carriages with an side aisle thoroughfare off which cabins of six were accessed by sliding doors. Mike and I chose one, and soon found friendly company in the other four who joined us in the reserved accommodation. Before long we were introducing ourselves to the other SHS reserved compartments, it was a good crowd.

 

The first few hours of our journey were spent consuming as many Woodbine and No6 cigarettes as it was humanly possible to smoke, and to drink dry the Tartan Ale (in anticipation of our Scottish destination obviously) and Watney’s that we had brought for the journey. It was to be a long journey, and it soon became apparent that sleep in a full carriage of six was not going to be easy. So, displaying a resourcefulness which had no doubt been a pivotal quality in the selection process, two boys slept on the luggage rack, two on the facing seats, and two on the floor. I am not saying that it was comfortable…

 

I recall us stopping at Preston, and wondering what on earth was the point on an already full train, but yes overcrowding and sleeping in corridors was a feature of British Rail back then too. You just pay more for the experience now. Glasgow station in the small hours was as desolate, and god forsaken a place, as it is possible to imagine. Imagine a post disaster Chernobyl, then wind your expectations down a little. For the first time , my excitement about the trip began to dip.

 

Around 3am, the train was approaching the Highlands, and as dawn broke the magnificence of the scenery was brutally apparent, dominating the rest of the journey until we arrived in the Granite City some twelve hours, and 560 miles, later. Inverness by morning was considerably more attractive than Glasgow at night, but we didn’t have time to explore as we caught our connection to Kyle Lochalsh, a much shorter 63 miles along a single line.

 

There, we caught our coach, and the short ferry to Kyleakin (a ferry journey sadly no more, made redundant by the Skye bridge). By now, the thirty boys, and officers who had joined us along the way had started to become acquainted. About two thirds had been before, but all were up for an adventure, and it was not long before the drama started. I have read two other accounts of the road traffic accident we encountered, mine, if my memory serves me correctly, may add to them.

 

I noticed the coach in front of us attempting to overtake a slow -moving car towing a caravan, the coach pulled in t0o early, all vehicles lost control, and the car ended up, upside down, under the coach. A Dutch couple, who spoke good English, and a child were in the damaged, and worryingly creaking overturned car. Understandably they were worried about being crushed under the coach, but were trapped. We were worried about rescuers being crushed attempting to extract them. Fortunately in our leader John Hutchinson, and Medical Student Alan Sagar ( his training may not have reached the bit about car crash trauma at that point), we had two men ready to rise to the moment. With no passing traffic, and some twenty five years before mobile phones, we were, in the wilds of Skye, on our own. Thirty boys were lined up, hands under the chassis of the coach sitting on top of the car, and on the count of three we flipped the coach off with an ease which would have surprised Superman. It certainly surprised us.

 

In truth, it was an agonising call. Do nothing and the weight of the coach could have crushed the injured couple and child. Enter the car to try to extract the injured, and more injury could have been caused by the extraction, and the rescuers could have been crushed along with the occupants. Try to flip the coach and fail, the coach would crash back and the occupants could be crushed. Flip the coach in one, and the danger would be over and a safe rescue executed. They made the right call.

 

Fortunately, the remainder of the fifty mile trip was uneventful as we stopped off at Portree at the Portree Hotel for the night before heading on to sail from Uig to Tarbert the following morning. I remember well the mental financial calculation the landlord made when weighing up the risks of serving what were clearly thirty under age boys alcohol, versus the financial benefits. Money won. The ferry journey itself was an introduction to what was to come. It was wet, it was windy, the sea was rough, it was August. Fortunately, I had assimilated good advice about rough sea crossings. Go below deck so you cannot see the horizon, and find a seat in the middle of the boat where the roll is minimised. It worked, as many of my companions succumbed to sea sickness on deck, I was quite happy resting up below, for the journey of just under two hours.

 

Tarbert was small, dour, and non-descript. It was also the last piece of significant habitation we would see for some ten days. The coach stopped abruptly on the Tarbert to Scalpay road for no apparent reason. As we decanted, the reason became clear. A rough track, five and a quarter miles, a zig zag path, and a descent of around 1000 feet. An advanced party had taken our camping equipment by sea, but we were still quite heavily laden carrying all of our personal possessions needed for a fortnight plus some additional group supplies. It was our first test. We were there. Shelter was over five miles away, the rain was coming in again, and the only way that was going to change was for us to crack on, which we did.

 

We arrived at our campsite at Rhenigidale at teatime, almost two days of travel from when we departed London. The good news was that our sleeping tents, mess tents, and toilet tents were up, the bad news was that there was still plenty to do as our six man tents were rostered for all the tasks that are needed to keep almost forty people going. As soon as we were organised and had prepared our evening meal, we all retired for a very sound sleep.

 

The following, rainy, morning we took in our surroundings. The most remote hamlet in Great Britain comprised a handful of stone cottages, fourteen people, no running water, no mains electricity, a track in, and egress via boat, with no jetty or pier, just rocks, if conditions allowed. John did an excellent job at fostering good relations with the locals, the boys generally busied themselves elsewhere.

 

One of the pleasures of the stay was that although there was plenty going on, we were largely free to do what we wanted from the options available. Rules were at a minimum, self-discipline was essential. I went sea canoeing, having never set foot in a canoe before, in retrospect it was dangerous, at the time it was exciting and exhilarating, the brakes were your self- awareness that you had entered into a situation, and you had to be able to exit it.

 

I fished, I helped John with the road survey, and now lay claim to my place in the building of the road which now makes everything so much more accessible and easier for everyone. We hiked miles and miles, almost always in rain. For some reason I didn’t climb Todun the 1733ft hill which dominates the village. I do recall on a hike traversing streams in spate, in rain, and taking lunch pressed against a rock face, barely sheltered by an overhang, which comprised dried date, and leek soup heated with a portable stove. At the time it was the most welcome meal I have ever had.

 

But it was the second major incident of the trip which shook me the most. A group of us set off to do some abseiling down a cliff. The leader, mountaineer Gerald Smith, was the first to make the descent, but a piton came loose causing him to fall some dozens of feet to the rocky shore below. A few managed to make their way down to where he had fallen, but he was unconscious, on rocks. The situation was grave. The incoming tide meant that if we did nothing, he would drown. A rescue by inflatable was impossible because of the jagged rocks. His position at the foot of the cliffs, in wind and rain, meant a helicopter rescue could have been impossible. With tremendous resourcefulness, and courage, a party, including Alan the medic, took a wooden boat, with a villager, to rescue Gerald and take him to the headland where the air sea rescue helicopter could rescue him and take him to Glasgow. Fortunately, he made a full recovery.

 

The third mini drama was my own. I was overcome with overwhelming stomach cramps which lasted all day and night, resulting in my boat journey to Tarbert to see the GP with suspected appendicitis. Fortunately, he banked on waiting to see if a concoction of gastric remedies would do the trick, before my also being flown out, these proved successful resulting in a much more pleasant boat trip back to camp.

 

The summers evenings are long in the Western isles and most nights we had a Ceilidh, comprising traditional songs led by John Hutchison with his tin whistle, and contemporary, mainly Neil Young songs accompanied by Roger Hancock on acoustic guitar. There was, and is, something magical about a group of people making their own entertainment through song in the evenings. On the final night the villagers joined us, but mostly kept themselves to themselves, I vividly recall one of them coming across on a Sunday when we were playing football, and being told we were not allowed to play games on the Sabbath. It was with some bemusement that we reflected that we were in about the remotest populated place in the country – and there was someone stopping is play football…

 

I remember nothing about the trip back to London. We were so wet, so tired, and so grateful to be returning to civilisation that everything else seemed to be shut out. As the above suggests, it was one of the most eventful trips of my life, memorable both positively, and negatively. Before the days of reality television, a group of strangers were thrown together for real, forged relationships, endured adversity and challenge, and made it through. The place made a lasting impression upon me, and I was lighted to return to Lewis, some forty years later, to reappraise the islands. It did not rain, the hotel was comfortable, the shops were well stocked ( though not always open when you might expect) and the people exceptionally friendly. The scenery was to die for.

 

Thank you to the schools Hebridean Society for giving me the chance to visit in the first place, I hope that in the future, its noble aims might be resurrected for new generations.

 

 

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