As a poet, I regularly watch the You Tube postings of poets, famous, and not so famous, yet no poster has fascinated me more recently than Sally Collins, a singer. I don’t know much about Sally. She seems to come from Greater Manchester and describes herself as having survived a brain tumour. She posts from her kitchen, performing into a webcam to a backing track. It appears that she does, or has done, some live work, but never posts it. Instead it is just her, looking into the camera singing.
It helps that she is very beautiful, it further helps that she has an extraordinarily good singing voice. Her music of choice is Northern Soul, Soul, Tamla and Philly, but she occasionally has a crack at other genres. Her voice is exceptionally well suited to the aforementioned styles, and when I played some of the tracks to my partner Jane, she assumed that she was listening to a professional artist.
There is an astonishing intimacy about her performance. Although sometimes a little static and one dimensional because of the webcam, when she sings, there is a sense both that she is singing directly to you, and that somehow you are enjoying a hidden camera watching someone simply enjoying themselves and having fun, a home video.
I don’t know the status of her current health, but assume that the process has been a therapeutic and rejuvenative one. But I do know both that her singing is appreciated by the many who are visiting her website, and that her presence and talent shame the craven wannabees of Reality TV who claim that singing is all that they have ever wanted to do, without ever producing any evidence that they have done much about it.
France has produced some fine playwrights of weight and comedy – Molière, Racine, Yasmina Reza and Feydeau, to name but a few. But its most frequently performed playwright worldwide is Marc Camoletti, author of “ Boeing Boeing”, a farce in a form made popular by Brian Rix, but with a distinctive Gallic favour. Although now some forty five years old from when it first opened in 1960 , and ran for seven years in the West End, its mix of sexual comedy and national stereotypes still resonates long after the rumble of the engines of Super Caravelles have disappeared into the distance.
Set in Paris, and originally featuring two Frenchmen, the play was recently revived with two American men in the male roles. For this production, the men are British, whilst the women retain their national identities. The plot is simple, playboy Bernard has three fiances who are air hostesses with different airlines whose conflicting schedules means that he runs a menage a quatre, enabling him to always enjoy one at home, whilst the others are the other side of the world. This arrangement is normally assisted by his long suffering French housekeeper Bertha. However the arrival of old friend Robert complicates matters and provides vital auxilliary assistance when Bernard’s carefully organised diary begins to nosedive from 35,000 feet as new faster aircraft shred his meticulous diary arrangements
Director Christopher Waters’ task in producing this play was complicated by two very late cast changes. It is to the enormous credit of all involved that the identity of the late additions was not at all apparent. Jennifer Mears took on Bertha the housekeeper with a week to go – and is an absolute delight. Laconic, droll, world – weary, and acerbic, she shuffles whilst the other girls shimmy, and steals the show whenever she appears. Sarah Carter only had two weeks longer to get up to speed as TWA hostess Gloria. Flamboyant, brash, man-eating and sassy, her confident performance was a delight. Representing Lufthansa is Phebe Jackson as Gretchen. As well as being beautiful, she has presence , enabling her to play the Teutonic stereotype with ease. The physical jousting with Robert was particularly pleasing. Third fiancé aboard is Katrina Ann Foster, Ait Italia’s Gabriella, who revelled in her sex kitten role, coquettish, sexy and …Italian.
The show opens with theatre emergency exit procedure helpfully demonstrated by all three girls, who along with Bertha, retained their accents admirably and consistently. Martin Groves deserves particular credit for a sumptuous, lavish and convincing flat interior that inevitably boasted a lot of doors which opened and closed with increasing frequency as the farce hotted up. The costumes of the air hostesses including fitted jackets and pencil skirts were equally pleasing on the eye.
The action itself pivots around Dexter Whitehead as Bernard, whose smug swagger is soon pricked by the logistical chaos which envelops him with the unstoppable power of four Pratt & Whitney engines. I was a little confused by the programme notes which suggested that the setting was the 1980’s, some joyous period song classics from Sailor reinforce this, whilst the uniforms and some of the aircraft references seemed 1960’s, not that it affected proceedings or the audiences’ enjoyment of the show.
Gloria sorting out her love interest
Rod Bisset as Robert is the perfect foil to Bernard. He enters the production like a lamb, but leaves like a lion, with a girl to boot! His erstwhile innocence falling away as he starts to savour city life. The first half of the show is longer than the manic second, but its two hour running time never drags. Waters understands the raw ingredients of farce, and this production offers pace, slamming doors and scantily clad girls aplenty. It is also worth noting that despite the late arrivals, not a prompt was heard, or entrance missed. Sexy without being sleazy, racy without being particularly bawdy, it is easy to see how this farce has endured, and this production does full justice to the original spirit and vision of the show, running until 17th January.
There are a number of festive productions popular at Christmas time. Charles Dickens’ “A Christmas Carol” is a favourite, and with good cause. Its message of festive cheer and hope at the expense of parsimony and gloom is evergreen, its allure demonstrated by an almost full Monday night house.
Although the theatre is located within the anonymous Intu shopping centre, the auditorium and facilities are fabulous. This show boasts an intricate and imposing set, dominated by a giant clock face, echoing Derby’s clock making heritage, ready to herald the ghosts and spirits of Christmas past, present and future. A revolving walkway keeps things moving on ground level, and above, an elevated walkway provides for split level balcony performance.
Ebeneezer Scrooge is the, at first cold, then warm, beating heart of what unfolds. Although written 170 years ago, the sentiments and debate resonate today, indeed an opening rant could easily have been mistaken for an Ian Duncan-Smith speech. Jim Barclay as Scrooge revels in moving from Victorian curmudgeon to philanthropist in a script well adapted by Neil Duffield. Director Sarah Brigham does not shy away from poverty, offering beggars and orphans, equally she knows how to put on a set piece which is pleasing to the eye and ear including song and dance, particularly in the feast scene.
Kate Robson-Stuart plays Mrs Cratchit
A talented ensemble cast sing and play musical accompaniment on stage. Musical Director Adam Howell has arranged several of the traditional, familiar carols which pepper the show with original, pleasing harmonies, the highlight of which is “In the Bleak Mid-Winter”. Local children, in three teams, ably support their adult, professional counterparts. This night’s performance was played by Team A, from whom` Freya Youngman stood out. Daniel Willis is an engaging Bob Cratchit, the fragrant Kate Robson-Stuart is a delight as his wife. The chain-laden ghost ( by Christopher Price) is the most striking of the spirits, straining against his shackles as he foretells doom.
At two hours, the show leaps along at a lively pace with something for everyone. The social commentary is faithful to Dickens’ vision in the novel, the script is humorous and witty, the Victorian sense of Christmas, both in spirit and stage presentation, will delight children in a family friendly production.
Charity and overseas aid have come under much media scrutiny recently in an era of financial austerity, Dicken’s reminder that it is our humanity which binds us together and can make us great is as pertinent now as it has ever been. “A Christmas Carol” runs until Sunday 4th January.
I recall when the film first came out, it was a huge success, in parts funny, poignant, sad and raucous, but always faithful to the time and place. Yet the alchemy of film and stage can be quite different, and its transfer thereto, comes with no guarantee of success.
The ingredients remain. Casualties littered the industrial landscape. Entire industries and communities collapsed with little support under the Thatcherite revolution, and one of those casualties, a Sheffield steelworks provides the setting for this story. The songs are not classics, but provide a soundtrack to an era. And although this is a political tale, it is told at a personal level, which is why it has endured, and asks what manhood is about. No job, no money, no self esteem. Original screenplay writer Simon Beaufoy reprises his role for this stage production ensuring both authenticity and continuity. The horror of the American musical version is no more.
Yet fused on to these worthy foundations is the story of male strippers, a device which has seen the show become a popular girls night/ hen night out, and it is undoubtedly this which has forged its current popularity. Inspired by the Chippendales, the motley crew of unemployed steelworkers, Andrew Dunn, Louis Emerick, Rupert Hill, Martin Miller , Bobby Schofield and Gary Lucy, aim to have a go themselves. That they are emphatically not all body perfect gives the show an Everyman appeal, although East Ender Gary Lucy is product placed to give the girls something to enjoy.
Occasionally the Sheffield accents waver, but tear jerking scenes, most notably involving Gary Lucy as Gazz ,and his efforts to maintain his relationship with his son Nathan, are rock solid. The double act of Horse – who is not hung like one (Louis Emerick) and affable Guy ( Rupert Hill) whose lunch box is packed, is a delight.
The director, Roger Haines, threads his way skilfully between the dark despair, and black comedy, of suicide to the belly laughs of male insecurity. This is a play with a story, with the dialogue, rather than the music, pushing the narrative. Just as a crime drama is driven by the reveal of the perpetrator, so The Full Monty is driven by… The Full Monty, the throaty cheers for which are a fitting climax to an outstanding show.
Until 29th November at Wolverhampton Grand Theatre then continues on tour.
An adaptation of Ernest Hemingway’s novel by innovative theatre group Imitating the Dog. The play is a multi-media, multi lingual, experience with cameras on stage and prose projected everywhere; It tells the story of American Frederic Henry, serving as a Lieutenant in the ambulance corps of the Italian Army and his love affair with British nurse Catherine Barkley against the backdrop of the First World War. Written some eighty five years ago, its staging coincides with the interest surrounding the centenary of the First World War,extensive use is made of surtitles when the dialogue is in Italian.
The opening is attention grabbing and compelling as a group of readers break into the set and convert into the players. A cast of six are kept busy. Laura Atherton (Catherine) and Jude Monk McGowan (Frederic) as principles remain in character, but the supporting cast of Joshua Johnson, Morven Macbeth, Matt Prendergas and Marco Rossi play multiple roles including narration. Andrew Quick and Peter Brooks have adapted and direct proceedings which are multi-dimensional, and at times technologically frenetic. The set, designed by Laura Hopkins, is sparse , invoking the sense of both a television studio and hospital ward . Simon Wainwright dominates proceedings with his video work. Steven Jackson’s impressive background music is augmented by original contributions from Jeremy Peyton-Jones with occasional piano contributions, the latter of which I found somewhat intrusive. Andrew Crofts as lighting designer will have had a few afternoons off, choosing a simple white light set from two stage side gantries.
Catherine’s labour is unnecessarily laboured, but the use of a chorus to articulate her thoughts as she gets on with the business end of proceedings is clever , moving, and effective. Full use of technology portrays the moment when Frederic is injured in battle in gruelling, painful and visceral style, and in the first act, a memorable scene unfolds as Catherine and Frederic speak to camera away from the audience with their images projected onto hospital modesty screens. Yet too often the camera work seems to slow things down and detach the characters from the audience. Would the play have been better without them? Jude Monk McGowan is well cast as Frederic, but the script offers Laura Atherton little room for manoeuvre as his love interest damaging her credibility both as a nurse and seductress.
As a love story it convinces, particularly in the second half, with the dehumanizing cynical backcloth of war omnipresent. The technology will divide opinion, at times it is very effective, on other occasions it feels as if it was used simply because it was there, rather than to enhance the dramatic experience.
A Farewell to Arms continues until 22nd November at the Rep as part of an ongoing tour.
I was fortunate to be invited to perform at a Staffordshire acoustic music event in Alrewas on Wednesday. The host was Barry Hunt, an Elford based professional musician with a formidable reputation as a guitar teacher, songwriter and performer. Like poetry open mic nights, these occasions can be hit and miss, wholly dependent upon who turns up to play, what they play, and how many turn up to watch. However Barry’s credentials are such that all the performing slots over three hours were taken and the car park, and pub, was full by start time.
Poetry can be quite insular, the converted addressing the converted, so I always relish the opportunity to perform to a non-poetry crowd. Music events pose fertile cross-over opportunities, but without music, the words and performance are all. If you don’t grab people’s attention in the first ten seconds, and keep it, the sound of chatter and clinking glasses can overwhelm. As a professional poet I take my craft seriously, and enjoy form. Before a crowd not expecting poetry, content and presentation become key, so I selected one short and one long poem, both about music, both humorous. Keep them interested, keep them entertained, don’t outstay your welcome and leave them wanting more. Fortunately this tactic worked, the poems were well received. I was reminded when someone added “I particularly liked the line about Cheryl Cole battering toilet attendants” that tailoring your set to the situation matters!
The rest of the night was a delight, the standard very high. Unsurprisingly, Barry himself was at the heart of what was best. A stunning duet with Victoria Pensom Taylor performing “Jolene” was the nights vocal highlight, Barry’s closing acoustic version of the usually electric, feedback drenched “Voodoo Child” the instrumental highlight.
Host Barry Hunt and Victoria
Rob Stevens from Buxton also performed songs and poetry, his highlight being a poem about the miners strike.
Rob Stevens
It was a hugely enjoyable evening, thanks to the King William 4th pub for hosting.
****
‘This is a brand new children’s stage show from the producers of Peppa Pig Live, Fiery Light! In Octonauts and the Deep Sea Volcano Adventure the entire crew of the Octonauts, led by intrepid explorer Captain Barnacles ( “aye,aye captain!”) , Lieutenant Kwazii and Medic Peso, embark on a new underwater quest ,and visit amazing underwater worlds full of adventure, with surprises around every corner. Brim full with songs , audience participation and action, the show features new music (from BAFTA-award winning composer Mani Svavarsson) .
The license to produce the stage show was keenly contested and Company Manager Stephen Brook bravely decided to offer more than the lowest common denominator to his audience. There is a strong narrative, jeopardy , science, laughs and success. Although aimed at pre-school children, the science will appeal to primary school and is far more ambitious in intent than Peppa Pig ensuring that the interest of parents and older siblings is held.
“Protect, explore, rescue” is the motto of the Octonauts as they explore from their Octopod combining ecology with science and adventure. The audience, young and old, lapped it up, and the two thirty minute halves were just right to hold the attention of the youngsters.
Octonauts and the Deep Sea Volcano continues on nationwide tour
Derby Demo returns for its fifth consecutive year, and its third consecutive year at The Hairy Dog PH in Derby, moving to new, larger space at the venue playing on Friday 5th and Saturday 6th December 2014 with different bills on each night.
The bill is an impressive one, seasoned acts playing classics with a smattering of original material, three of whom recently rocked Legends of Rock in Great Yarmouth. There are some five acts on the bill split between Friday and Saturday night augmented by Garry DJ RokJok Lewis
Friday kicks off at 7pm with DJ Rokjok playing only the best of classic rock to set the mood, opening the live acts are:
Ali Clinton and his band 8pm until 9.15pm. Ali Clinton is a lead guitarist, singer and songwriter. Picking up the guitar at age 7, Ali quickly drew influence from his early heroes: Stevie Ray Vaughan, Jimi Hendrix and Rory Gallagher. By the age of 12, Ali had played with the Irish legend Pat Mcmanus (of the Mamas Boys and Celtus), Bernie Marsden of Whitesnake and Andy Powell of Wishbone Ash.
At the age of 13, Ali made his first album appearance on Pat Mcmanus’ “2PM”, playing rhythm and lead guitar on a cover of Bob Dylans “Blowin’ in the wind”. At the age of 16, Ali auditioned for the role of rhythm/duel guitar for the legendary Uli Jon Roth. With only days to learn a full set, Ali got the gig, pulling off solos from early Scorpions classics such as “We’ll Burn The Sky”, “In Trance” and many other virtuoso pieces. Within months of touring with UJR in the UK, Ali got offered to tour with Uli across Northern America and Canada for 6 weeks for the recording of UJR’s 40th anniversary Scorpions live album, where he played with guests such as Michael Angelo-Batio, Wayne Findley, and Cofi Baker (son of Ginger Baker). Ali is currently recording and writing his debut solo album in Belfast under the veteran production skills of Mudd Wallace. http://aliclinton.com/
Alix Anthony and his band 9.30 until 10.45pm. Like a lot of great artists, Alix’s band is influenced by different genres and keep their music fresh and exciting by blending rock, soul and funk in a wide ranging repertoire. This includes James Brown, Jimi Hendrix, Stevie Wonder, Ray Charles, The Doors, Funkadelic, Muddy Waters, John Lee Hooker, The Troggs, Lenny Kravitz, Otis Redding, Little Richard, Prince, Marvin Gay, Wilson Pickett, Bill Withers, Doobie Brothers, Stereophonics, Sam and Dave and other major rock/soul artists.
Overseas tours have included clubs and stadiums in Canada, Hong Kong, Belgium, Holland, France and Dubai where his band Unkle Jam, played at major function venues including the Hard Rock Cafe. Alix has backed Dennis Edwards and The Temptations on the same billing as the James Brown Band and has played with George Clintons P Funk Allstars to name a few major bands. George liked to get funky with Alix in Toronto’s 606 club.
Metal Fatigue headline from 11pm until 12.45am. Formed in 2011 from the ashes of another band that folded they played their first gig at a private party in July of that year. Steve Fletcher (Vocals, tamborine and all sorts of props), Kevin Roberts (Rhythm Guitar & backing vocals), Rhys Hickman (Lead guitar) and Christian Doran (Drums) decided that Phil Shardlow (Bass & backing vocals) would be an excellent addition to the family and Metal Fatigue was born.In 2013 Rhys decided to leave the band and a replacement in the shape of Sid Thindall was added to the line up. An experienced guitar player and teacher Sid quickly took his place in the band and started to add his mark.
Rokjok will kick in between bands and play out until the lights go up.
On Saturday
Rokjok opens the evening at 7pm
Stargazer open the evening at 8.15 until 10pm Stargazer are a five piece featuring Rob Hulford on keyboards and Tamas on vocals playing classic Purple , Rainbow ,Dio, Whitesnake material. The band wowed Legends of Rock at Yarmouth and Rhodes Rock previously.
Stargazer are renowned for their stunning celebration of the very best of Rainbow and Deep Purple in particular. Widely considered London’s premier tribute to Rainbow and Deep Purple, the 5 piece band features the soaring vocals of Tamás Csemez, the sublime guitar playing of Mark Gus together with Rob Hulford’s keyboard wizardry. Mark Parkin and Pablo Videla on bass guitar and drums provide the powerhouse rhythm section, covering tracks such as Child in Time, Stargazer, Burn, Highway Star, Gates of Babylon, Stormbringer, Catch the Rainbow when a blind man cries. A seasoned touring band well known in the UK as well as across Europe.
Buster James tops the bill at 10.30pm and are the real deal, born to perform their own brand of Rock and Blues to any audience, their line-up contains players who have performed to audiences worldwide and recorded with artists as diverse as Steve Marriott, Dire Straits, Dave Stewart, Bill Wyman, Mungo Jerry, FM and Iron Maiden.The band has four albums currently available, containing mainly self-penned material and their unique versions of classics such as Fleetwood Mac’s “Oh Well” and Neil Young’s “Rocking in the free world”.In Roger James, they have one of the finest crowd motivators in the country. His big voice is driven by the powerhouse rhythm section of Paul Hale (Percussion) and Chris Warnes (Bass). The blistering guitar work of Mark Holmes and Rob Seales, complete one of the most inventive and exciting rock line-ups in the business.
DJ Rokjok once again plays the best rock tracks to send everyone “Living After Midnight”
Last year’s Derby Demo 4 was a huge success, once again the flamboyant , irrepressible Georgy, AKA Goldie Rox promotes. Georgy combines a lifelong appreciation of live rock with unrivalled experience of the local rock scene, musicians, promoters, venues and fans.
Georgy commented: “For me this is a labour of love, I take pride in putting on shows that bands and fans can rely upon. Now in our fifth year, we have moved to new and upgraded space at the Hairy Dog which has a deserved reputation as the best live music pub venue in the County. Tickets sold out last year and are best secured in advance with details on the following facebook page.” https://www.facebook.com/events/1384978911757442/
Lichfield Library had to add more chairs as Alrewas poet Bert Flitcroft packed out the venue for the launch of his second collection, Thought Apples. Offa’s Press, the publisher, will have been heartened by the response as they take their first tentative steps beyond their heartland.
Dapper Bert, basking in a burgeoning female fan base that One Direction might envy, beamed as he ran through a selection from the twenty five poem strong offering. The appeal of his work is easy to understand, accessible poems on everyday subjects written with a wit and intelligence which delights.
Although an Arts fan, he is also interested in science, incorporating it in a fun, wry way, not least in Forget Gravity. But his most affecting poem of the evening was the intimate, touching, Little Things, dedicated to his wife, about the minutiae of domestic life. Bert has an Everyman eye, sharing my view that New York is one of the least remarkable world cities whilst picking out a little human observational gem in Central Park on Sunday. He never tells or preaches, just watches, and favours leaving his poems open –ended.
Thought Apples flew off the sales table with ravenous fervour and is highly commended, find yourself a copy and check our Bert for yourself as he tours his work. More information may be found on his website. Offa’s Press however need to sharpen up their commercial support to match the sharpness of their authors’ work as Bert, and his collection, was inexplicably absent from their website.
Spiritualism and Mediumship tends to polarise opinion. Some dismiss it as invention, yet the numbers who attend Spiritualist Churches, and Psychic events are such that those in support have significant numbers too. Many of the beliefs are reflected in mainstream religions across the world, and in this country there is a strong tradition of Spiritualism alongside the major religions.
Barbara Bridgford is a Spiritualist and Medium who has practised around the world, as well as locally in the Midlands. Cedar Across the World is not written as a starter book for those wishing to explore this community, instead it is a bold and candid statement which will intrigue, and shock in parts.
Humanity has always enjoyed an ambivalent relationship with those who claim psychic powers. There has always been scepticism, balanced with a preparedness to consider what is being said “just in case”. In Roman times several Emperors would barely move without consulting augurists and soothsayers, the medicine man is part of many tribal cultures in Africa and the Americas ,as are High Priests with divine insights. Historically it has been a high risk calling, get it right and you are a hero, get it wrong and you tend not to be alive for the next time.
In England it is easy to forget that the Witchcraft Act of 1775 was on the statute book until 1951, to be replaced by the Fraudulent Mediums Act which itself was only repealed in 2008.
Fortunately we now live in accepting times. As well as giving readings, and addressing gatherings, Mediums may also hold small meetings in social groups called circles whose objectives may be to both learn more about the Spirit World and seek to make contact with the dead. This provides the basis for Barbara’s book. It relates her experiences with a circle and the presence of a Spirit Guide called Daniel who provides insights into the Spirit World. By doing so she seeks to offer; “ comfort to those of you who have reached, or who are reaching, their mature years and are wondering what lies beyond this existence. And to those who have lost someone, perhaps it will bring reassurance and peace of mind.”
Initially her relationship with Daniel is one to one, but she then introduces him to her circle meetings affording a greater opportunity for discourse and debate. This in turn provides a platform for familiar and less familiar monologues on life and law, not dissimilar to Kahil Gibran’s The Prophet. Reincarnation and karma are dealt with in familiar fashion, but the explanation of why incest and birth disabilities occur is controversial and will polarise opinions further. Dozens of topics are covered from the conventional such as Free Will and survival, to the less obvious like sex in the spirit world and the murder of a Leeds United supporter in Istanbul.
Although quite a long book at around 420 pages, it is well divided by topic and chapter, making it easy to follow and digest. I suspect that doubters will not be won over, but that believers will have their appetites whetted. What Cedar Around the World does offer is a fascinating raw, honest, first person account of a 21st Century Medium which will engage and enthral all, as it may divide some. Available from Amazon.
My Little Book of Inspirational Poems – Barbara Bridgford
Barbara Bridgford is a spiritual medium with a considerable following in the Midlands, she has produced a number of books on her spiritual work, but this is her first collection of poetry. I was curious as to whether her spirit work would significantly slant her poetry. It doesn’t, instead, leaving a confident and impressive first collection which stands on its own two feet.
It is arranged by alphabetical title, rather than theme. The poems themselves are a mix of free verse, regular, and irregular rhymes. Consequentially, the collection demands to be considered as a whole. The opening and closing poems are an accident of letter, rather than a qualitative decision, or statement of intent or closure. Nature love and loss predominate. Barbara is at her best telling simple tales well. Pillow Talk, a love conversation between an elderly couple is affecting, I Wish, sensual.
She lives on the border of Staffordshire and Derbyshire, and the beauty of her natural surroundings is well illustrated in her nature poems.
The Gravel Pit (extract)
Eerie cold, crisp, crunchy gravel pit,
tall trees shivering and towering high over my winter
walk of beauty, ice and snow nipping toes, fingers,
ducks and all who stop. Slippery, sliding icy patches,
there to catch, amongst the natural scene of nature’s
Wealth
What is interesting about this collection is how diverse it is. Some poems are in rhyming couplets, others, like the above, offer internal rhyme, irregular line breaks and irregular capitalization, requiring more thought, and reflection.
Some forty six poems in total this is a satisfying and vibrant collection which reaches out beyond the niche poetry readership to a broader constituency and is available from Amazon.
Garyswordz 