Derby Demo 6 Saturday 12th December 2015

Having savoured the best sounds from Status Quo, Free/Bad Company and Thin Lizzy, Saturday night offers a four course helping of music as follows, not listed in order of appearance.

Rock Buffet

Rock Buffet

Rock Buffet comprise Vocals, Steve “the vicar” Fletcher,Drums, Phil “the ginger prince” Bowdler,Lead Guitars Colin “iron grip” Weightman, Rhythm Guitars, Steve “the hermit” Wylde and Bass, Eddy “the legend” Lush. A rock covers powerhouse band from Derby they were formed in 2009, and play mainly in and around Derby in the pubs and clubs and we play the biggest songs so that the audience know the vast majority of them and can sing and air guitar along, doing it for the love of it and to keep them in strings and sticks!

Legends of AOR singer Jimi Anderson

Legends of AOR singer Jimi Anderson

The Legends of AOR comprise Jimi Anderson – Lead Vocals, Matt Pearce – Guitars & BVs, Julia Krajewska – Keys & BVs, Mel Gabbitas – Bass & Hair, Tony Piper – Drums. They specialise in big American guitar rock with soaring harmonies. The band is the brainchild of Jimi Anderson. Born In Rigside, Lanarkshire, Scotland . Jimi’s first Rock band was in 1978, singing mainly Rush & Deep Purple songs & so his passion for ‘Classic Rock’ had begun.

The next few years brought many hours of practise & to Paul Rogers, David Coverdale & Ronnie James Dio for Inspiration.

He began writing songs and formed the Rock band ‘Sahara’ whilst spending any spare time attending a gazzillion gigs at the Legendary ‘Glasgow Apollo’ till it closed in 1985.

Various incarnations of the band ensued until they were picked up by ‘Wet Wet Wet’s manager Elliott Davis and offered a management contract on the strength of a Demo Tape.

Showcasing his phenominal voice, 5 years of recording demo’s, touring, notable sell out gigs at Glasgow’s King Tut’s, London’s ‘Borderline Club’ and a support to ‘The Wets in front of 30,000 people at Glasgow Green.

Unfortunately line-up changes of the band, mainly guitar players proved their undoing.

Jimi continued writing, performing and recording, appearing on Michael Barrymore’s shows ‘ My Kind of People’ & ‘Barrymore’ in 1997/98 and went on to sing at concerts & festivals in Romania, Turkey and Holland

Living now in York, Jimi has continued writing and has had a spell singing with a local covers band ” Invitro”.

Having spent two years as Lead vocalist with Tribute Band ‘A Foreigners Journey ‘ he toured extensively in the UK and Rhodes. Meeting new friends along the way and his voice has never been better and the next adventure begins.

After recently recording an EP of original songs at FML studios in Scotland with Sandy Jones and Greame Duffin he is looking now for a new challenge and take his own music out to people……….Any great musicians get in touch.

His latest project is a tribute to great American Melodic Rock with some great musicians and friends “Legends of AOR” debut gig was in Spain in front of a crowd of Rhodes Rockers, safe to say it was so emotional that tears were shed.

The Pepper Hearts

The Pepper Hearts

From melodic American rock we then cross back to melodic English pop with The Pepper Hearts who play the best of Beatles, and Beatles era, sounds.

Garry Barrett is on Bass Guitar / Vocals. Garry is a well respected musician and has been on the York music scene for many years now (despite his youthful looks!) He has been involved with numerous bands including: Nerve Senta, Watch with Mother, Overload, and Stone Cold Sober amongst many others. His dedication to music has taken him to many parts of the world, including Greece, Florida in the USA, Holland, Austria and France. Garry is a prolific song-writer and has penned many songs for the various original bands he has played in. Garry is a true pro and continues to gig as often as possible.

Geoff Locker plays Drums / Vocals. Like Garry, Geoff is also a former member of Nerve Senta. Geoff was also a drummer with other bands including Aldo’s Orphans and High n Dry – which featured Garry’s younger brother Gavin on Vocals. Geoff is a dedicated and reliable musician who keeps perfect time holding down a steady and unwavering tempo.

Dave Powell performs on Lead guitar / Ukulele/ Vocals.Dave’s Mum and dad bought him his first guitar from Bulmers (a famous York second hand shop) when he was 11 yrs old ( Dave says “I know that’s a bloody long time ago!”) he still owns it, even though it’s virtually unplayable! Dave is self taught and has owned various guitars over the years some of which Dave says that he wishes that he still had. In 1974 he bought a Fender Stratocaster which he still uses today. Dave started playing in bands when he was still at school and has played in a variety of bands including: Midnight,( later renamed The Envoys ) Spellbound, Airport, One Night Stand, Wavelength and Flaming Pie with former Pepper Hearter Paul Leatham. Mr Powell has played many clubs over the years and supported acts like Roy “Chubby” Brown, Dougy Brown, Stan Richards, Paper Lace, Nookie Bear and too many more to mention!

Mark Payne plays Keyboards and percussion.Mark studied the piano from aged 8 which led to a BA music. He has toured both the UK and Europe with Guys and Dolls and Ricky Valance. Now living in Selby Mark divides his time between playing and sound engineering. Mark adds both keyboards and percussion to the band and has helped to expand the range of The Beatles, Wings and sixties songs that the band play at their live gigs.

A fine, good time live band, they are sure to entertain and evoke the oldest of memories.

Aynt Skynyrd

Aynt Skynyrd

To close the night Aynt Skynyrd will take the stage. Aynt Skynyrd are committed to paying tribute to that legendary rock band Lynyrd Skynyrd. For eight years, they have played the length and breadth of Britain to passionate fans of this music paying the ultimate respect to a band that defined a whole music genre and generation and epitomise the best in Confederacy Rock. Aynt Skynyrd have a passion for recreating the songs of the greatest Southern rock ‘n roll band the world has ever seen – and their philosophy is simple… Don’t play it, FEEL it !
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The band comprises:Mike Sawyer – Lead Vocals,John Crosby – Lead Guitar,Nick West – Guitar,Tony Batchelor – Drummer,Angela & Emma Hartley – Vocals,Dave Barker – Keyboard

Lynyrd Skynyrd were never about making hit records, although they seemed to be very good at it! That’s because they played honest southern rock which your average Joe could relate to. There was no pretence in the message or the music. I was fortunate enough to see the band in their heyday,pre Street Survivors from the third row at the Rainbow Theatre in London, a night seared in my gig going consciousness forever, e are fortunate that Aynt Skynyrd keep the music alive.

As per Friday, Gary RokJok LLewis will be compering and djing between for what promises to be a fabulous night, for tickets at £20 per person per night . Electronic Transfer Sort Code 20-15-96 Account Number 33588009 Reference DD6 plus INITIALS + SURNAME Any questions or to pay by cheque, email georgysgigs@msn.com for details.

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Derby Demo 6 – Dec Fri 11th/Sat 12th 2015 ,7.30pm start

Derby Demo 6 promoter Goldie Rox

Derby Demo 6 promoter Goldie Rox


For the sixth consecutive year midlands rock promoter Goldie Rox is holding the Derby Demo over two nights at the Hairy Dog , 1 Becket St, Derby DE1 1HT.

Offering seven bands over the two evenings, tickets are just £20 per person, per night, for some of the best tribute and original rock you are likely to hear live on stage.

Friday the 11th December boasts State of Quo, Renegades Lizzy, and Free at Last. Saturday 12th offers Rock Buffet, The Pepper Hearts, Aynt Skynyrd, and legends of AOR. Both nights are compered by DJ Gary RokJok Lewis.

Tickets are available in advance by Electronic Transfer Sort Code 20-15-96 Account Number 33588009 Reference DD6 plus INITIALS + SURNAME Any questions or to pay by cheque, email georgysgigs@msn.com .

The Hairy Dog is Derby’s premier live music pub regularly hosting household names and is ideal for enjoying rock. Located in the city centre a range of accommodation is within easy reach including the International Hotel 288 Burton Rd, Derby,DE23 6AD and East Midlands Guesthouse, 100A Douglas Street, Derby, DE23 8LJ.

Goldie is a veteran of the midlands rock circuit and regularly travels as a fan to the likes of Legends of Rock , Rhodes Rock, and RR Espana.

She commented; “ As both a promoter, and fan, I know what makes for a good rock event. A good venue and good music are a given, and I think I have delivered that with what promises to be the biggest and best Derby Demo yet. But more than that is required, bands with personality and showmanship are needed. Musicians committed not just to playing music, but to involving the fans in the event and creating a party atmosphere for all to enjoy.”

“ I watch around a hundred bands a year and take great pride in handpicking those bands who I think can deliver the best time to my loyal audience. If you have been before, you will know that booking tickets in advance is the best way to ensure entry, if you haven’t been before, book now and find out what you have been missing!”

Friday night is a must for rock devotees. State of Quo will ensure that there is plenty of boogie. Renegades Lizzy will serve up the best of Thin Lizzy untamed. Free at Last cover not only the best of that immortal Rodgers/Kossoff pairing, but also Rodger’s time at Bad Company.

Think you will have had enough? Well Goldie doesn’t! On Saturday, local Derbyshire covers band Rock Buffet ,fronted by Steve “the vicar” Fletcher will be dishing up some classic rock, followed by The Legends of AOR, a tribute to the glory days of American melodic rock music, big guitars, soaring keyboards & huge harmonies. The Pepper Hearts play the best of sixties Beatles and era faves, the evening closes with Aynt Skynyrd, faithfully recreating the sounds of the greatest southern rock band ever to come out of the Confederacy. They might even finish with “Freebird” if they are asked nicely!

For more details on the bands click on:
Friday Night Derby Demo 6
Saturday Night Derby Demo 6

The Hairy Dog, Beckett St, Derby

The Hairy Dog, Beckett St, Derby

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The Bodyguard- Birmingham Hippodrome

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I came to this show neutral, but curious. Whitney Houston, upon whose music, the show depends, has always been an enigma for me. A fine singer for sure, but neither she, nor her music, ever touched me. She entertained, but never won me over. Nevertheless her music has sold millions of records so familiarity, if not love, was never going to be a problem.
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The star of the show is X Factor reality show winner Alexandra Burke. A criticism of the format is that it launches careers of singers vocally up to professional standard without offering the building blocks of experience which helps that vocal talent to be realised. A two and a half hour musical show provides nowhere to hide.
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The advance word of mouth for the show was strong, the London run impressive, ticket sales frenetic, and a full first Friday night house was crackling with expectation as the cast exploded into the first number “Queen of the Night”, and from that moment on, the show never looked back. The film narrative has been simplified, the soundtrack beefed up with more of Whitney’s back catalogue, the staging is lavish and innovative.

No-one will have any problem following the plot. Rachel Marron (Alexandra Burke), international single parent superstar is threatened by a stalker, Frank Farmer (Stuart Reid)is the bodyguard hired to protect her. They fall in love, they part, he saves her life, and… she will always love him…

Burke is tremendous, nearly always on stage, and boasting a quantum of costume changes which will leave Diana Ross green with envy. Indeed there are so many that at one point she simply changes on stage, her modesty protected by little more than dim lighting. All the big numbers are here, One Moment in Time, I’m Every Woman, I Want to Dance With Somebody, So Emotional, All The Man That I Need, The Greatest Love of All How Will I Know and of course I Will Always Love You.

Melissa James plays Rachel’s sister Nikki ,and sets a formidable standard for Burke with her reading of Saving All My Love For You before duetting with her on Run to You. Reid reprises Pierce Brosnan’s comedy vocal performance in Mama Mia with a hugely amusing and comic pastiche of “I Will Always Love You”.

Although ticket prices are high, so are production values. Designs are by the award-winning Tim Hatley (Betty Blue Eyes, Private Lives, Spamalot) alongside choreography by Arthur Pita (English National Opera, Royal Opera House, Young Vic), orchestrations by Chris Egan (Crazy For You, End Of The Rainbow, Grease), musical supervision by Mike Dixon (Never Forget, We Will Rock You), lighting by Mark Henderson (Chitty Chitty Bang Bang, The Sound of Music, West Side Story), sound by Richard Brooker (Chess, A Christmas Carol, Jesus Christ Superstar) and video designs by Duncan McLean (Shrek, Evita, All New People).

The finale is glitzy, over the top and pure schmaltzy showbiz, big dress, elevating rostrum, sound cranked up to ten – you will never guess what she finishes with! British theatre audiences are rightly sparing with standing ovations, but when the raucous audience rose as one for the final number it was because the entire cast had earned it, and were rewarded with a sing-along, dance-along, encore.

A fabulous show packed with great songs, no little humour and immense energy and commitment from Burke, this is simply the best jukebox musical around and runs till 5th September, do whatever you have to do to catch it!

Gary Longden

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Grimm Up North- Old Joint Stock, Birmingham

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The Second City on a Friday summer night is a vibrant thing. Brummies know how to have a good night out, and Colmore Row was buzzing with weekend revellers, England cricket fans celebrating a three day Ashes win, and England cricket fans with tickets for the fourth day drowning their sorrows. Inside the grand and imposing Old Joint Stock, the downstairs was packed with drinkers, the upstairs theatre packed to capacity for the debut performance of “Grimm Up North” by the Rachel Green Drama Queen Company, part of Birmingham Fest.
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The pre- show theatre bar discussion was of exactly what it was we were about to see. No-one was quite sure, adding to the frisson of expectancy for curtain up ( if there had been one). As show time approached, a flat-capped Yorkshireman moved amongst the masses, handing out bingo cards and raffle tickets. This was to be no ordinary show.

To get everybody in the right ( northern) frame of mind, Bushy Brenda ( don’t ask!) delivered a prologue, making use of the bingo and raffle tickets only tangentially , to hand out prizes and abuse in equal measure. Northern Working Men’s clubs have a gritty, no-nonsense reputation, but in Brenda they would have found their match. Rachel as Brenda unleashed a formidable matriarchal persona, with a tongue so acid, and wit so quick, that it made Liverpool’s Lily Savage look like Florence Nightingale.

Rachel Green as Bushy Brenda

Rachel Green as Bushy Brenda

With Brenda’s credentials established, we were then treated to Brenda’s backstory- her abuse and murder of her hapless menfolk, for which she also multi-roles as Patsy Tipper. Her doomed love interests, Big Al and Tommy Tipper are engagingly played by Richard Nunn. Amidst the murderous mayhem Kirsty Mitchell innocently narrates from a high backed chair as favoured by storytellers in the children’s programme Jackanory.

 

 

 

 

Richard Nunn as Big Al

Richard Nunn as Big Al

Part stand up , part revue knockabout, and part macabre Grimm northern fairy tale, the show had the audience involved, and laughing, from start to finish. Rachel Green’s indefatigable energy and enthusiasm carried the show, ably supported by a talented cast. Her Doncaster roots were grimily evident as the grotesque Brenda careered around stage intoxicated by tinnies and an audience, always encouraged to participate, more than happy to feed her worst excesses. Although the tale itself is scripted, the rest is largely ad- libbed around a framework driven by Brenda.

Rarely have I seen an audience leaving a show with broader smiles, or a cast more exhausted by their exertions. I do hope that it will now tour more widely, the format not only has considerable space to develop as is, but it also has potential to take Brenda to new places and challenges.

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Absent Friends – Derby Theatre

absent friends One of the lesser known of Ayckbourn’s seventy plus plays, London Classic Theatre Company have revived this classic gem as a 70’s period piece, rather than attempt to update it. First performed in 1974, it plays in real time as a claustrophobic relationship drama, classic Ayckbourn , in a format which found its apogee in Mike Leigh’s “Abigail’s Party”. The neurosis will be familiar to all devotees of contemporaneous comedies “Fawlty Towers” and “Rising Damp”.

The plot unfolds in the lounge of Diana and Paul’s executive house, at a party organised to cheer up Colin, whose fiancée has recently drowned. However it is the lives of the enthusiastic, and less than enthusiastic, party givers which come under scrutiny, rather than that of the bereaved Colin. Colin, nerdy and oblivious to the chaos around him, is confidently and pleasingly played by Ashley Cook. Even before he arrives, relationships are being tested and imploding.

Diana, played by Catherine Harvey with engaging wit, convinces, as she systematically unravels before us. The brooding , frustrated Evelyn (Kathryn Ritchie) endures her inept, restless husband, John (John Dorney)with bored stoicism even when confronted by Diana who is convinced she is having an affair with her bully of a husband Paul (Kevin Drury) who bears an uncanny resemblance to the politician Ian Duncan Smith.

Director Michael Cabot handles Ayckbourn adroitly with a well- paced production which overcomes the inevitable stasis of the setting. Our awkwardness with death underpins the narrative of the play, illuminated by the juxtaposition of the bereaved but seemingly ebullient Colin who exposes the fault lines in the lives of those around him as he explores love, almost as a narrator. The absent friend, Gordon, husband to the fretful Marge ( Alice Selwyn), who is indisposed, hovers throughout. Selwyn is wonderful in her supporting role, as awkward in her newly purchased shoes as she is in saying the wrong thing.

However Cabot’s touch is not beyond reproach. Evelyn, while consistently monosyllabic, fails to convince as a temptress. Her antipathy towards Paul fails to explore their love/hate relationship and borrows a little too heavily on Catherine Tates’ ” Am I bovvered?” template. Paul himself exudes plenty of affected ennui, but lacks bite and spite in his exchanges with Dianna. Crucially, Madge’s pivotal final coda to proceedings is almost lost at the end.

The simple single set evokes the 70’s with painstaking precision, the comedy is spiky, sometimes uncomfortable, but often laugh out loud. This is a satisfying revival which will please all Ayckbourn fans as much as it did when first performed some forty one years ago.

London Classic Theatre Company team for

London Classic Theatre Company team for “Absent Friends”

Absent Friends performed by London Classic Theatre, runs until Saturday 11th July . Gary Longden

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Holy, Holy- The ultimate tribute band?- Birmingham Academy

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When tribute bands first started to form, I was scornful. I began to watch a few, some were good, some were not. Then a friend pointed out that you don’t go along to a Beethoven concert and report: ” It was rubbish, Beethoven didn’t play.” It’s about the music, not the names of the people who play it.

As time has passed, and the musical giants of the 1960’s, 70’s and 80’s have either died, retired or seldom play, so tribute bands have come of age. The best are now better than those that inspired them, the scions more able to keep the memories alive and fresh.

Of course tonight’s band is not really a tribute band, but it is potentially a trailblazer for a new hybrid. The set list comprises the Bowie album “The Man Who Sold the World” ,and Bowie’s greatest hits on which Woody Woodmansey played drums. More intriguingly it also features Tony Visconti who produced the album, on bass.

Visconti is a seminal figure in contemporary music spanning some five decades. The band is his, and Woodmansey’s, creation, although clearly Visconti is the musical director. As such it offers a new phenomena, a live remix of songs orchestrated by the original producer.

Glen Gregory in imperious form

Glen Gregory in imperious form

The success of the project hinged on their choice of vocalist, and in Glenn Gregory, Visconti chose well. I first saw him in 1978 as part of the Human League, supporting Siouxsie and the Banshees. He sang “You’ve lost that loving feeling” before a febrile, hostile crowd, and won. As the evening unfolds his maturity, stagecraft and voice flourish. Never does he offer an imitation of Bowie’s vocal, instead he offers his own interpretation.

“The Width of a Circle” opens proceedings and is a hugely impressive statement of intent. The ten piece band produces a big panoramic sound under Visconti’s tutelage and never looks back. “After All”, sung by Marc Almond, the eponymous title track, ”Supermen” and “She Shook Me Cold” are all fabulous re-imaginings of the original recordings.

Thereafter we race through a joyous, joyful, and riotous run through early Bowie when Woody drummed. “Five Years”, “Moonage Daydream” ” Rock n Roll Suicide” “Wild Eyed Boy From Freecloud” “Dudes” “Pretty Things” “Changes” “Watch That Man” “Time” Suffragette City” “ Life On Mars” “Ziggy Stardust” and “Suffragette City” were all simply wonderful. Three members of the late Mick Ronson’s family, and Visonti’s daughter were in the band, Lisa Ronson’s solo rendition of “Lady Stardust” shone.

Tony Visconti, the creative genius behind it all.

Tony Visconti, the creative genius behind it all.

It was a perfect evening for any Bowie fan, and for anyone who enjoys live music. Visconti was responsible for producing and helping to arrange not only several of Bowie’s finest albums, but also did the same for numerous rock luminaries over the decades. His biography is fascinating. On stage he cut a slightly frail, diminutive figure, but his joy at playing live and creating such magic on stage was palpable. The band, bigger than Bowie ever toured with, not only offered a richness in sound, it also gave Visconti maximum scope to arrange the songs just as he wished, which turned out to be rather splendid.

On vinyl, I was never that impressed by Woodmansey, and on the four occasions when I caught Bowie live, Bowie had “had to break up the band”. But live, he was excellent ,his wiry frame squeezing a sound out of all proportion.

Woody in full flow

Woody in full flow

Visconti did name check Mick Ronson and Bowie, but curiously no mention was made of  ex Spider bassist the late Trevor Bolder. The rest of the band comprised; James Stevenson (Generation X, The Cult, Scott Walker), guitar;Paul Cuddeford (Ian Hunter, Bob Geldof), guitar ;Terry Edwards (Gallon Drunk, PJ Harvey, The Blockheads, Yoko Ono);saxophones, 12-string guitar, percussion ;Rod Melvin (Brian Eno, Ian Dury), piano ;Berenice Scott (Heaven 17), synthesiser ;Hannah Berridge Ronson (Colin Lloyd Tucker), keyboard, recorder, backing vocals;Lisa Ronson (The Secret History), vocals, as well as Suzy Ronson, Visconti’s daughter, Jessica Lee Morgan  and Marc Almond.

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I last saw James Stevenson playing with Chelsea when they were support on The Jam’s first tour, little did I know that forty years later instead of grinding out “Right to Work” he would be playing the ethereal guitar solo on “Moonage Daydream“. As for Marc Almond, he is one of the finest singers this country has ever produced, with a stage presence to match. he made the dark melancholia of  “After All” his own, refreshed “Freecloud/ Dudes/Pretty things”  and quite clearly revelled in a storming “Watch that man” duet with Gregory.

Marc Almond having fun

Marc Almond having fun

The band now disappear on a world tour which can only replicate the success they have enjoyed on home soil. What struck me was how much all on stage were enjoying themselves, enjoying performing, and enjoying the music. No sullen rock egos stalked the stage here. Gregory’s, Almond’s ( and Ronson’s) ability to reinterpret Bowie’s catalogue impressed. That catalogue is packed full of wonderful songs and in some respects hearing the interpretaations was better than hearing Bowie himself sing them. Their status as Bowie songs is already assured, their status as standards only just emerging.

The man without whom the evening would not have been possible

The man without whom the evening would not have been possible

Birmingham Academy, the place of communion for Holy, Holy.

Birmingham Academy, the place of communion for Holy, Holy.

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Buddy- The Buddy Holly Story, Sutton Coldfield Musical Theatre, Garrick Theatre, Lichfield

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“Buddy – The Buddy Holly Story ” has now been touring for twenty five years , celebrating the songs of an artist whose recording career lasted barely two years, but whose music endures some fifty six years after his untimely and tragic death. A jukebox musical, the two halves mainly comprise his rise to fame and studio work in the first half, and an extended concert sequence in the second.

Dan Ankatell takes the eponymous, demanding, lead role , which requires a performer who can sing, act, play competent electric lead guitar, as well as have a passing resemblance to Buddy Holly himself. Angular and enthusiastic, Ankatell is credible and lively in the part, ably supported by a large chorus for the big numbers. His confidence grew as the night unfolded, dealing with a faulty guitar connection at one point with an ease that Buddy himself would have smiled at.

The real Buddy Holly in action at Birmingham Town Hall in 1958

The real Buddy Holly in action at Birmingham Town Hall in 1958

The plot fairly thinly joins the dots between the music, but it is the songs which star. They have transcended their late fifties origins to become standards which by a process of cultural osmosis are as fresh now as they were when written. Rock n roll aficionados will feel the tradition has been well represented, new generations continue to sign up to the cause.

Amongst numerous satisfying cameos, Helen Simon delights as Maria Elena, hotter than a desert at midday, and with a convincing Latin accent. Pete Beck marvellously milked the part of the Big Bopper for all it was worth ,and Tony Orbell injected some vital energy and pace into the Clearlake concert sequence. Dave Hill also made the most of scheming producer Norman Petty .Of the dancers, Sally-Jane Adams consistently caught the eye with her dynamism, brio, and crisp movement.

The Garrick’s stage was packed to capacity by the cast which at its peak numbered over fifty . A Spartan, but versatile, set which incorporates recording studios, concert halls, radio stations, and living space, provided a fitting sense of occasion, culminating in the theatre stage becoming a concert stage.

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There is no secret to this show’s success and longevity, the songs are very strong. Contemporary hits “Shout”, “ La Bamba” and “Johnny B Goode” flesh out the Holly numbers, offering variety, shade and musical context. Musical Director Sheila Pearson does a good job utilising her considerable chorus providing a new dimension to songs whose original arrangements were quite sparse. Choreographer Maggie Jackson has no shortage of willing dancers whom she manages both to squeeze on stage, and squeeze the best out of.

Veteran Director Lynne Hill is a safe pair of hands for a show like this with an impressive roll call of successful past productions to her name. Her strengths lie in her technical proficiency and vision for the big set pieces, skills which were pleasingly on display for this accomplished production. A full opening night house was thrilled by the show during which the “magic programme” winner hailed, improbably , not from Sutton Coldfield, Lichfield or Clearlake, but Guatemala! “Buddy” runs until Saturday 6th June .

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Neville’s Island – Sutton Arts Theatre

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Neville’s Island was the first play penned by author Tim Firth in 1992 and was originally   commissioned by Alan Ayckbourn . Firth later found fame with Calendar Girls, and was a contemporary of Nick Hancock and David Badiel, and the script has a 90’s tint to it. The four handed, all male, cast, finds itself stranded, in somewhat contrived circumstances on a Lake District island after a corporate team bonding expedition goes wrong, working its way through comedy , horror, satire and psychological thriller.

John Islip and his stage team will be delighted to have won the first round of applause of the night as the lights went up on a carefully crafted, dendritic heavy, single set. A forest of conifers were denied their Christmas date with destiny , and silver birches swayed, lending a physical verisimilitude, augmented by some particularly effective camouflage nets. The play’s title alludes to Devils Island, but in truth there is little threatening about their surroundings nor is there the menace which laced the film Deliverance, which explored similar themes, some twenty years earlier.

The advantage of the small single island set is an innate sense of claustrophobia, the down side is the action is inevitably confined and static. Currently Bear Grylls is leading a survival series entitled The Island in which two teams of women and men are stranded on separate islands and have to fend for themselves, the team dynamics between the play and television programmes are not dissimilar. The play opens with the protagonists dripping from a wrecked boat, but the show is no damp squib. The mists roll in, contact with land is lost, blood appears, and tempers fray.

Three of the actors are on stage for the whole of the production, only one disappearing briefly, making this quite a demanding show for the players. Rod Bissett does well with the awkward part of Neville whose job it is to try to keep everybody calm as team leader. Ben Field has the most interesting part as Roy , a Christian and ornithologist, dealing with the after effects of a nervous breakdown after losing his mother, combining pathos with comedy in hugely demanding circumstances.

The irritant in the team is Dan Goodreid who is first-rate as Gordon: he presents us with the archetypal party-pooper who, having neither a domestic life nor identity of his own, achieves fulfilment by destroying other people’s. Office geek Angus, played by Phillip Beadsmoore, writhes likably as the uxorious Angus , plagued by fears of an errant wife whilst carrying equipment consistent with an assault on Everest rather than a Lake District weekend away. But this is an ensemble piece and every actor works hard to produce a team production rather than grandstanding their own comic cameos.

Act One is a fairly light –hearted and frothy affair, as the men become accustomed to their new surroundings, but the second Act veers into darker territory as adversity fails to bring the best out of them. The plot can be a little clunky. It is difficult to be cut off from the rest of the world in the Lake District, and the one dead mobile phone, and waters around their island supposedly infested with deadly pike, require a certain amount of suspension of disbelief.

Director Joanne Ellis squeezes the most out of the comedy with the fate of their only sausage at prayer the comic highlight of the evening. Generically, the laughs are of the Men Behaving Badly variety, but Joanne has left the original script intact save for a few minor tweaks and the laughs hold out well. A particular mention should go to Ben Field who had to assume the part of Roy at a few hours notice, following the original actor’s indisposition. He acquitted himself with considerable distinction, ably supported by director and cast.

An appreciative audience enjoyed an entertaining show which runs till Saturday 9th May.

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Live at the Brixton Academy- Simon Parkes

A riotous life in the music business

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As a teenager I learned the gig going ropes in London. The Hammersmith Odeon, Rainbow Theatre Finsbury and Wembley Empire Pool (as was) became regular haunts, as well as occasional visits elsewhere. It was the 70’s, the halcyon days of gig going. Prices were affordable, tours frequent, tickets fairly easy to get. I never went to the Brixton Academy for several reasons, but was well aware of its reputation. When I heard about the book I thought it might be worth a read as it cross- referenced bands, and an era, with which I was well familiar. However it was only as I read it, that I realised what a little gem it is.

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The author, and proprietor of the Academy is Simon Parkes. A posh kid, a rich kid, a privileged kid, but not a pretentious kid. He rubbed shoulders with Prince Andrew, but the family fortune was in catching, gutting and packaging fish, the middle of which he undertook as a family rite of passage. He was also born with a malformed arm as a consequence of the Thalidomide tragedy, a handicap which seems to have driven him rather than held him back. Wisely, his time growing up is dealt with briefly and concisely, it’s the music we are really interested in, nonetheless it is a fascinating sequence , but it the music that this book will be read for and little time is lost in reaching the meat of the story.

As soon as he arrives in Brixton, the narrative shifts up a gear and never relents, with drama, anecdote and a rich social history commentary of time, place and participants. If he had not been a music impresario Parkes could have been a diplomat, so consummate is his skill in negotiating the bear-traps of the detail of his story. On the one hand he declares that he had no truck with drug dealing, on the other, he was arranging for others to supply key players, from road managers, through band members to foreign music executives. He bemoans the reputation of Brixton for gangs and violence, but spends much of the book telling the stories of the drug, gang, violence heavy world that is its milieu. He pulls every trick in the book, yet is generous to his key rivals Harvey Goldsmith and Vince Power, and never name checks his opposite numbers at the Hammersmith Odeon whose business he took south of the river.

Most of his close contacts are referred to by first names and nicknames only, there are no contemporary photos, family detail and where he lives are discussed in the broadest possible terms, all suggesting that his rise to the top did not come without a cost.

What makes this book work is his obvious enthusiasm for the music. As a contemporary of his I empathised with his excitement at attending those early seventies gigs, and was jealous that he lived the dream, whilst I and many others simply dreamed the dream. Of course his family background helped him to raise £130,000 to take on the dream in a way that most other people could not. But his work ethic and enthusiasm for the business is what delivered and converted the dream into reality.
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The murky underworld of a cash rich, gangland predator, environment is compelling. He spells out what the scams were, distances himself from them, but is a little coy on how much legitimate cash he was making. How he chances upon what amounts to the toughest security outfit in London is a little bit blurred, as is his ability to retain them, for a job description which makes minding Columbian Cocaine Barons seem relatively easy. But with sawn off shot gun toting heavies by his side, and guard dogs on a short leash, he triumphs, and we share his triumphs with him.

There are anecdotes aplenty, suspicious reggae bands make eleventh hour show stopping demands, police outriders in numbers normally associated with the Queen race to recover Keith Richards in return for free tickets, and a mean and moody rapper demands for his rider nothing more than KFC.

J S Rafaeli has done a tremendous job co-writing this, as have publishers serpentstail in editing it. Suggs Macpherson has a biography out about a similar period in London. In it he boasts eschewing the services of professional writers in favour of his own hand, with unsatisfactory results. Here the writing his witty, brisk and unpretentious, a fabulous, exciting and rewarding read.

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Bedroom Farce, Sutton Arts Theatre

bedroom farce 1When you ask Barrie Atchison to direct an Ayckbourn play it’s like recruiting Jose Mourinho to manage your football team, you are guaranteed a safe pair of hands, and success. And so it proved on this, the opening night.

Although the word farce is in the title, this is a comedy. There are no banging doors, or falling trousers. Atchison eschews a Seventies set and fashion for the contemporary, and the script survives being wrenched from the period to the present surprisingly well.

The single set comprises three bedrooms on two levels for four couples. John Islip and his stage team have done a tremendous job cramming the bedroom paraphernalia of three very different couples into a relatively small space.

First performed in 1977, the comedy explores the fissures in four marriages. The only bedroom-less couple, the roving and highly neurotic Susannah and Trevor (Louise Farmer and Jimmy-Joe Corbett) drag and impose their problems around the other three bedrooms, creating chaos in their wake, not least on the best set-piece of the night, when their fight ruins a house party.
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The older couple, Ernest and Delia (Allan Lane and Hazel Evans),go wild by sharing tinned fish in bed, and anchor the night with a warm, characterful performance. Lane’s grumpy old man becomes grumpier and grumpier, Evans’ dutiful wife becomes wilier and wilier in dealing with her long standing marriage partner.

Nick and Jan (Jon Hall and Emma Woodcock) bitter , irritable, and resigned, have both settled for second best, know it, and accept their lot. Hall has to play the physical comedy for all its worth as he is incapacitated by a bad back for proceedings, Woodcock is sassy and lively opposite him, barely suppressing her frustration with her supine husband

Malcolm and Kate (Dave Douglas and Hellie England), provide the froth and pace, but they have their secrets too amidst silly bedroom games . Crucially, England injects vital enthusiasm and dynamism to the production after the scene setting opening.

Aykbourn’s take on marriage is a little bleak, but the play is always funny. The appallingly selfish, Trevor and Susannah expose the fault lines in other people’s marriages, all of which survive the examination. Any man who has ever had to assemble flat pack furniture will laugh out loud, as will any woman who has found herself having to get dressed in a tight situation.

Director Barrie Atchison grasps the mechanical demands of an Ayckbourn play admirably, juxtaposing rueful, disquieting home truths with knock-about comedy. A witty and rewarding evening’s entertainment. “You can learn a lot from people’s bedrooms”

Bedroom Farce runs until Saturday 28th March.

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