Quadrophenia at Tamworth Assembly Rooms – The Pinch Interview

Posted on April 30, 2013 by garylongden

the pinch

In the past few weeks, Garyswordz has had the opportunity to speak to Simon Quinn, Director of the forthcoming production of Quadrophenia playing at Tamworth Assembly Rooms on Friday 24th and Sat 25th May, and Staffordshire Poet Laureate Mal Dewhirst, about his involvement with the production. This week I post an interview with bass guitarist Matt Starr about the task that his band The Pinch are undertaking in performing the music.

Q What is The Pinch?

The Pinch is a 5 piece Mod/Indie tribute band that are based around the Tamworth Staffs area, covering classics from artists such as The Who, The Small Faces, The Jam, Oasis and Blur to name but a few. The first incarnation of the band dates back as far as 1986 but in more recent years we have built on our popularity from the local venues that we have performed at.

Q. Who are The Pinch?

The Pinch consists of 5 members. Jon Starr is the lead vocalist with a microphone in one hand and a tambourine in the other, Daz Meads plays lead guitar and joins in on backing vocals, on bass guitar is Matt Starr also adding to the backing vocals, with occasionally taking over as lead vocalist. Tom Brookes puts his fingers to the keys to add to the already powerful sound and with Tim Butcher on drums; he keeps the whole thing ticking along. Tom and Tim also join in with the backing vocals.

Q. How did you come to be involved with Quadrophenia?

With playing many local venues over the years, we have made quite a name for ourselves, and with a little help from word of mouth our reputation as a good solid band has spread. Laura Hastilow, Arts and Development Officer for Tamworth Borough Council first approached the band with us being known to her. The kind of material that’s part of our set, including numbers by The Who made us likely candidates for the production.


Q. How well do you think Quadrophenia has travelled over the last forty years?

40 years of Quadrophenia and it sounds as fresh today as it did when it was first released. It’s an album that has certainly stood the test of time. Although the years have passed, Quadrophenia hasn’t aged and it won’t for many more. The topic of the album can still be relevant today for some, as each new generation will discover.

Q. How daunting has it been to perform one of the definitive Rock Operas in full? Have you ever performed it in full before?

When we were first approached to perform Quadrophenia, we were all excited by the challenge of it all. When the realization set in of us having to learn the whole album in preparation of having to perform the Opera, that’s when it became daunting. Growing up with the album and listening to it on your record player (I’m old-fashioned) is different to having to pick it to pieces just to learn the parts. Most of the tracks are 4 to 6 minutes long and so it’s just being able to remember the structure of them all and of course all of the lyrics. There’s certainly a lot to it! The vocal range proves to be very challenging. We don’t envy Jon for that for trying to emulate Roger Daltrey’s voice! This will be the first time that we’ve played the opera in full but we do intend to include some of the songs into our normal repertoire when the production is over.

Q. Does the score offer any particular challenges when performed live?

We will have to play some of the numbers to a click track because of the shear amount of overdubbing that’s involved. Like I said, there’s a lot to it, not only lyrically but musically. To reproduce something on stage as massive as Quadrophenia is a task in its self that would take more than 5 individuals to come up with. We’ve had no other choice but to put it in the hands of Tom to lay down certain tracks for the orchestral parts. Having to try to follow the genius bass lines of John Entwhistle and the brilliance of Keith Moon’s drumming is very challenging that any musician would be happy to achieve. I’m not sure if even Entwhistle and Moon would have played the same thing twice either. Pete Townshend has commented in the past of how The Who found it difficult to play to a track in their early years of performing Quadrophenia. That’s a challenge that we are striving to overcome also!

Q. Where does Quadrophenia sit for you in the pantheon of the Who’s recorded work?

With being a massive fan of The Who it’s hard to say when you think of all of their other material. From their first album ‘My Generation’ with that raw, raspy sound through to ‘Who’s Next’ arguably their greatest album and even later on in their recording career with ‘Face Dances’. All I can say is that it’s up there with the best, personally speaking.


Q. Do you have a Mod following at your gigs?

We seem to appeal to a lot of people whether they are Mods or not. I think most of them are just attracted to what we do and the Mods that do turn up to our gigs know what we’re all about. We get asked to play at their scooter do’s of which all go down very well.


Q. What other bands have influenced The Pinch?

Apart from The Who, it goes without saying that our other influences are The Beatles (of course), The Small Faces, The Kinks, The Jam and the Indie movement etc. etc. But that’s as a band ‘The Pinch’. Musically, we are influenced from people like George Formby (no kidding), to Buddy Holly, Eddie Cochran, right through Nick Drake to Led Zeppelin and up to Amy Winehouse if you like. We all just love music that our influences are never ending!


Q. What aspects of Quadropehenia are you particularly drawn to?

Pete Townshend is one of the greatest songsmiths and his catalogue of material draws you to other works by this genius writer. Therefore it goes without saying that the music is the biggest aspect that we are drawn to. The whole Mods and Rockers topic also captures you with the history behind these 2 rivals, with the news articles of clashes between them in Brighton. The film that preceded the album a few years later also became a great favourite of ours, with watching it many times while growing up. The film its self is a classic! Not only that, it’s the Mod scene, the scooters and the clothes that draw you in. It’s certainly a great fashion that makes constant returns to our high streets. The subject matter of Quadrophenia is very interesting as well when you look in to it.

Q What role do tribute bands have in keeping popular music of the past alive?

Tribute bands have a massive role in keeping music from the past alive. Although I don’t think it would ever die anyway. Music from yesteryear is always new to someone. We all have to listen to it for the first time at some point in our lives. I suppose we act as a role for young audiences to discover this great music, if parents haven’t already educated them into it! Even in modern music of today you can hear traces of music from the past. That says a lot!

Music is our life and we love to play great songs whether they are 50 years old or written last week. We hope to carry on performing for as long as we see fit and hopefully bring enjoyment into peoples lives as much as it brings happiness into ours. Long Live Rock!

For the interview with Mal Dewhirst
https://garylongden.wordpress.com/2013/04/23/quadrophenia-at-tamworth-assembly-rooms-is-previewed-by-poet-and-contributor-mal-dewhirst/

For the interview with Simon Quinn

https://garylongden.wordpress.com/2013/04/14/quadrophenia-at-tamworth-assembly-rooms-is-previewed-by-director-simon-quinn/

For more information on The Pinch
http://www.thepinch.net

For ticket information:
http://www.tamworthassemblyrooms.co.uk/

Quad tam

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Bilston Voices, Metro Cafe, Church St, Bilston

Posted on April 26, 2013 by garylongden

Bilston Voices has had a weather interrupted start to the year with two of the four events snowed off. Thus a full house turned up in expectation, and relief , the show is back on the road. The pulling power of Bilston Voices remains undiminished, an unashamedly local evening which has a reach far beyond, and a waiting list of invited readers which exceeds a year. Emma Purshouse hosts, her snow boots stowed for another year (hopefully).

The local aspect was underscored by the helpful promotion of a “conversation club” which meets at Bilston Craft Gallery, Bantock House Museum, and Wolverhampton Art Gallery monthly ( email art.gallery@wolverhampton.gov.uk http://www.wolverhamptonart.org.uk). I suspect that these events will themselves inspire and promote poetry.

The first half, in a female reader heavy evening, comprised contributions from Anne Hastings, Jacquie Evans and Maggie Goren. Anne introduced herself as “an artist who wrote” and offered a wistful, nostalgic, set. She spoke of her love for arts and crafts, her poems were as lovingly constructed as a woven basket. Jackie read a mix of prose and poems which were laced with some much appreciated humour, on an evening dominated by more serious work, not least in her “Flight to Lossiemouth”.

Closing the first half was Maggie, who had travelled from the Cotswolds to perform. When she gave Radio Four as an inspiration for her poetry, the omens were inauspicious, but her set unfolded to offer some finely crafted pieces culminating in a remembrance of a family member who died two decades ago, “Remembering Michael” ,in a climbing accident – “One tall tree fell too soon”. Highly personal poems are high risk, but this worked and resonated. She read from her book, which impressed, but failed to give us its name, or the price, which was a missed opportunity.

The headliners, and second half readers, were David Calcutt and Nadia Kinglsley reading from their new collection and collaboration “Road Kill”, which they did identify and promote. The title is somewhat macabre, the pieces individually , however, are elegiac and celebratory. A carcass of a fallen animal can be magnificent, and can be pathetic, both scenes are captured in this collection.

David Calcutt

David Calcutt

They did not read every poem, incentivising the listener both to return to future performances, and read the collection in full, providing a sense of spontaneity. Nonetheless the work lost none of its fluency and cohesiveness in so doing. David has always excelled in writing about birds, “Two Crows” stood out as a succinct , startling vignette. “Road Kill” itself is a shocking piece of magpie brutality, seemingly glorifying in Clockwork Orange style malevolent violence ,“ a heavy shouldered thug, putting the boot in, and keeping on doing it”. By contrast his excerpt from “Aten”, inspired by Egyptian mythology – “But for this quivering of wings/ At the blades tip/Poised at the zenith, before the long slide down/ the nirvana of a drop”, soars as magnificently as the bird swoops.

Nadia’s “Red Deer Stag” combined grandiloquent description worthy of her subject, stripped of sentimentality, but awash with emotion. For her, the “antlers hewn from ancient forests” transcend mere mortality, offering animal myth as dignified as any hunter’s noble quest. In sharp juxtaposition was her modern take on the magpie in “Pica Pica” ,in which she asks us to:

Nadia Kingsley

Nadia Kingsley

“watch it choose select pieces/ while judging car’s speed/then confidently hop aside”

Both writers pieces were stylistically, as well as thematically, complimentary. Sometimes they split up poems to offer contrasting voices in a performance, other times they simply read their own work. It was always rewarding and easy on the ear ,and a delight to hear a collaboration so fully realised, it was akin to musicians touring their album live. “Road Kill” is being performed throughout the summer at various venues culminating in a performance at Lichfield’s “Poetry Alight” on October the 2nd , 7,30pm at the Spark Cafe Bar, and is available from http://www.fairacrepress.co.uk

Bilston Voices returns to the Metro Cafe on Thursday 23rd May.

Gary Longden

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Quadrophenia at Tamworth Assembly Rooms is previewed by poet and contributor Mal Dewhirst

Posted on April 23, 2013 by garylongden

Quad tam

Last week, Garyswordz had an opportunity to speak to Simon Quinn, Director of the forthcoming production of Quadrophenia plying at Tamworth Assembly Rooms on Friday 24th and Sat 25th May. This week I interview Staffordshire Poet Laureate Mal Dewhirst, about his involvement with the production:

Mal Dewhirst

Mal Dewhirst

Q. Mal, how did you come to be involved in writing additional material for Quadrophenia?

As part of my remit as Staffordshire Poet Laureate, I have to complete at least four poetry commissions, two of which I have to find for myself. So having taken part in the Wall last year, I spoke with Simon Quinn about the opportunities to write for the Quadrophenia production. Simon welcomed the input and created space in the script specifically for scenes to be delivered through poetry. Quadrophenia became my third commission.

Simon and I had also worked on my second Laureate commission which was the poetry play Colin Grazier Enigma, which was performed on the streets of Tamworth last October.

Q. How well do you think Quadrophenia has travelled over the last forty years?

I think it has travelled reasonably well, kept alive by the ardent fans of the Who and scooter enthusiasts. The album and the film both feature in my collections and therefore was very familiar to me. It has been really interesting to see the younger members of the cast picking it up and bringing it into their musical consciousness. They see it with fresh eyes and can relate to its themes as having relevance today as in the 1960’s when the piece is set and the 1970’s when it was written and first performed. I would say that is a testament to how well it has travelled.

Q. How daunting has it been to compliment the work of Pete Townshend?

Pete Townshend has given us permission to put together this production and was fully aware that we would be writing a new script and new poetry for our performance, that for me removed some of the fears that I might have had in creating new material.

I think when these opportunities arise you need to study the work and understand its themes and then use your skills as poet and writer to ensure that you do justice to the piece.

Pete is a great writer, musician and composer it is an honour to be able to work with Quadrophenia to explore its passions, torments and the reality of the rites of passage.

Q. What specific additional material have you written, is there anything that we should particularly look out for?

The poetry will be delivered as a mix of visual images and spoken words. Two scenes are delivered entirely through poems, these being the “Is it in my head?” scene and the scene under the pier.

My poems take the form of a mix of sequences in four parts such as Poem in Four Personalities – (The Geometry of Fear, Affilato Abito, Making Trifles and Building a Big Society) and When a mind fails (Blind Panic, Bloodrush Mania , Stable Mood, I am Fine.) to single poems such as The rise of the Ism, Local Boy, Substitute and the Epilogue.

I have drawn imagery from other art forms from the period, using the art of Bill Turnbull and the Geometry of Fear, Photographs of Philip Jones Griffiths. Films of the French Noir, Jean-Luc Goddard and Marcel Carne both are referenced (Breathless and Hotel Du Nord) .

References to drugs get mixed in with the ingredients of a trifle as well as mixing the recreational with the medical. I also explored themes relating to mental illness which provided me thoughts and terms to weave into the poems.

The poems under the pier are another sequence in several personalities, reflective pieces trying to reconcile Jimmy’s beliefs and motives, as if he is trying to convince him(self /selves), as well as informing the audience what is behind the Mod sub-culture.

I am pleased with all of them as pieces and wouldn’t want to pick out anything in particular to watch out for, watch out for it all.

Q. How do you see the roles of prose, poetry and lyrics in a theatrical production, and how has that influenced what you have written for Quadrophenia?

To avoid the risk of laying down something definitive, which people might hold me to later. I like to explore with writing and to experiment with ideas that I had previously rejected in favour of something else.

I think the roles of prose, poetry and lyrics in any production can be one or many roles. I think you have to consider the piece, its themes and how best to use the writing to make for the best delivery.

In our production Quadrophenia, I see the prose driving the story, creating the banter and making the reality of the situations as the character’s true motivations are teased or punched out their mouths to be heard, this is underpinned by the lyrics.

The poetry is more reflective and in some ways searching for the answers, as the characters think out their circumstances.
So I see the prose as what is said, the dialogue, the lyrics telling the story and the poetry as to what is thought, the consciousness.

But for another production it could be completely different.

Q. Does Mod poetry exist?

Firstly I would have to ask, what is mod poetry? How would you define it?

I wouldn’t say that what I have written is not Mod Poetry as such. I say this because if I were I to try and define the works of Mod Poets then I would look towards the song writers, such as Pete Townshend, Ray Davies, Steve Marriott, Ronnie Lane.

Even early Mark Bolan, with Desdemona written when he was in the mod band John’s Children, a track later covered by The Jam.
Beyond Quadrophenia, Pete Townshend classics such as My Generation are wrapped in the Mod Culture, Ray Davies with Dedicated Follower of Fashion and Marriott and Lane’s Lazy Sunday.

Mods were once described by The Who’s manager Peter Meadon as “clean living under difficult circumstances.”
So to me, Mod Poetry would have the themes of urban teenage rites of passage, fashion, scooters, falling in love, drinking, drugs. It would be about adopting a hip, smart persona, rejecting the drab lives of their parents, Mod ethos seeking to understand the metropolis. It wasn’t necessarily about changing the world but finding your place within the existing one.

Q. Are any contemporary writers writing today reflecting a Mod ethos?

Again I would turn to the songwriters – Paul Weller comes to mind, but I also like some of the lyrics of some of the current Mod bands such as The Wicked Whispers.

Some of the Brit Pop bands were influenced by the Mods and the Mod Revival and I recently listened to Ocean Colour Scenes new album Painting, there are some great tracks with some great lyrics I particularly like We don’t look in the Mirror.

Q. What aspects of Quadropehenia are you particularly drawn to?

The music and the story are a given to draw me in so take them for granted and then looking beyond.
It would have to be………..Scooters. I never had one and I could never ride one but I always loved the look

For more information on The Pinch who are performing live for the show visit their website on:

http://www.thepinch.net/

For ticket information:

http://www.tamworthassemblyrooms.co.uk/

For more information on Mal Dewhirst check out his blog on:
http://pollysworda.wordpress.com/

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Poetry Alight 6 at Lichfield Preview

Posted on April 23, 2013 by garylongden

“Poetry Alight” at the Spark Cafe Bar, 19 Tamworth St, Lichfield WS13 6JP

Tuesday 14th May 2013, Arrive early , 7.30pm prompt start -10pm Free Entry ,

“A terrific evening of poetry” – Mal Dewhirst,Staffs Poet Laureate

I am hugely priveleged to be involved in organising Poetry Alight and choosing the guest poets. The task is not as easy as you might think. Firstly, I travel quite extensively and selecting sixteen poets for the year, four per event held quarterly, is no easy task. As the event has grown in prestige, so the number of distinguished poets who approach me for slots has also increased, telling an excellent poet that you are “full” on several dates is a bit daunting. Then there is the question of mix. Where possible, I like to feature two men, and two women, I also like to offer an ethnic diversity too, and aim for an alchemy which will work, purely a personal subjective, gut instinct, assessment. Making sure that you can achieve that each time takes some doing. It’s a bit like holding a party and endeavouring to ensure that all the guests will get along!

Poetry Alight aims to promote both page poetry performed, and performance poetry. The only criteria is, “Is it any good?”. Sometimes the guest poets may favour one form to the other, but if that happens I ensure that balance is redressed at the next event. I do not want Poetry Alight to have a reputation for being either ranty, shouty, performancey ( which can be good) or fine, worthy, wordy and technnically dazzling ( which can also be good). What I do want is for the audience to have enough which is familiar to them to give them pleasure, and enough which is unfamiliar to them to excite and challenge them.

I am delighted, excited and humbled by the bill for Poetry Alight 6. I saw River Wolton and Matt Black perform at Spire Writes in Chesterfield last year, this is what I wrote:

River Wolton

River Wolton


Matt Black

Matt Black

Current Derbyshire Poet Laureate Matt Black took inspiration from a taxi rank in an everyman piece that could have been anywhere, yet whose sense of place was a delight. Past Derbyshire Poet Laureate, River Wolton, read of her unexpected meeting with Gok Wan when she was “looking daggy” and “her shame at being ashamed”,which was both poignant, and entertained. However it was Psalm of Those who go Forth on the Day of Redundancy which packed the visceral punch. Both were consummately crafted.

Helen Mort is a star, name-checked in all the national newspapers this year, as well as the literary publications, the esteem in which she is regarded by fellow poets and audiences alike is richly deserved. I read her “A Pint for the Ghost” , a collection about the ghosts and tall tales of pubs in Chesterfield,in one sitting, and then read it again the next day.

Helen Mort

Helen Mort

Elizabeth Charis

Elizabeth Charis

Elisabeth Charis is fortunate. Not only is she an accomplished poet, but she also had the good fortune to be teaching in Syria as the country started to unravel offering her a treasure trove of material and inspiration.She remained safe, but her care for, and affection for, Syria is both a joy and tinged with sadness.

————————————————————————————
The Promotional information for the evening follows

Lichfield Poets proudly present the second Poetry Alight of 2013 in this quarterly series of poetry evenings, hosted by Gary Longden . Guest Headline poets are:

Helen Mort
River Wolton
Matt Black
Elisabeth Charis

It comprises visiting guest poets and an open mic section. Great pride is taken in introducing new poets to the audience, and new audiences to poets. Open mic spots, at 3mins each, may be booked in advance, a very few may be made available on the night, e-mail: Lichfield.Poets@hotmail.co.uk

Please note that our advance slots are always over-subscribed, all requests may not be successful.

The Cafe, as well as offering coffee, teas and light refreshments is also licensed to sell alcohol and offers a range of hot food, I can personally vouch for their Cumberland sausage sandwich! The audience is encouraged to arrive early, and the Spark is ideal to enjoy a supper with friends before proceedings. The Cafe is open all day.

This month’s distinguished guest poets include:

Helen Mort– Was born in Sheffield in 1985, is a graduate of Cambridge University, a rock climber, and has a national reputation for her poetry. Her collection ‘Division Street’ is forthcoming from Chatto & Windus. She has published two pamphlets with Tall-Lighthouse press, ‘the shape of every box’ and ‘a pint for the ghost’, a Poetry Book Society Choice for Spring 2010. Five-times winner of the Foyle Young Poets award, she received an Eric Gregory Award from The Society of Authors in 2007 and won the Manchester Young Writer Prize in 2008. In 2010, she became the youngest ever poet in residence at The Wordsworth Trust, Grasmere. She is a founder organiser of the monthly poetry event Spire Writes in Chesterfield. Her blog may be followed here: http://www.poetryonthebrain.blogspot.co.uk/
Her interview with the Oxonian may be read here: http://www.oxonianreview.org/wp/in-conversation-helen-mort/

River Wolton– Writes poetry, fiction and non-fiction. She grew up in London and lived in Sheffield for twenty years before moving to North Derbyshire. She is a recent Derbyshire Poet Laureate and works as a writing facilitator, specialising in tailor-made projects for people of all ages and backgrounds. She is currently a Writer-in-Residence with Writing East Midlands and had a Hawthornden Fellowship for 2011. She is a co-author of the Route anthology of stories about mothers and daughters, Some Girls’ Mothers.

River’s first full-length poetry collection, Leap was launched at Sheffield’s ‘Off The Shelf’ Festival of Writing & Reading in 2010.

You Are Here: Travels of a Derbyshire Poet Laureate (Derbyshire County Council 2009) is available from any Derbyshire library, or directly from River. Aimed at demystifying poetry for a general audience, You Are Here contains poems commissioned during River’s laureateship as well as her responses to frequently asked questions such as ‘Why don’t poems rhyme any more?’ and ‘Is there anything a poet shouldn’t write about?’
“Her poems are accessible, create wonderful images and are a pleasure to hear. The stories bring the poems alive and make them personal.”
– Hayfield Poetry Group

The Purpose of Your Visit (Smith/Doorstop 2008) was highly commended in the Poetry Business Book & Pamphlet Competition.
“(Her) gift to us throughout this pamphlet is to allow us to better understand the personal challenges of sadness, conflict and even fear, by considering the global urgencies of war, poverty and violence.”
– Rosie Shepperd, Magma 44

Matt Black – is a writer and performer based in Sheffield. He writes poems (and occasionally fiction) for adults and children, and is a Derbyshire Poet Laureate. He enjoys commissions and collaborations with other artists, and works in all sorts of places and situations, specialising in tailor-made projects that range from the serious and educational to the crazy and sublime. His books include Swimmer (2009) and Goblin In the Fridge (2008).

Matt Black

Matt Black

“Matt Black is a poet who wears his heart on his sleeve and his skill in his pen; his poems in Swimmer show that poetry can be a healing art, a celebratory art and an art that can best illuminate the times we live in. More power to his shining work – this collection is splendid.”
Ian McMillan

Elisabeth Charis– is a thinker, writer and teacher currently living in England. She has travelled extensively and lived in China, Thailand, Australia, New Zealand and, most recently, Syria where political unrest forced her to return to the UK, her blog was an irresistible first- hand account of the disintegration of a country, her poetry about that experience moving and profound.
She has a first class honours degree in English Language and Literature and is a qualified teacher and currently teaches English and Creative Writing alongside writing a novel and a collection of poetry.

Elisabeth Charis

Elisabeth Charis

‘My writing explores our relationship with time and place; nature; freedom and responsibility; that good old fashioned notion, ‘love’; the journey we are all on within ourselves and what it means to be a woman, in our world, now. This last is also called feminism but, like the other themes, it is really just a questioning of the world from the only perspective I know. Most importantly, I try to be honest, though that can be the hardest thing.’

Reviews of past Poetry Alights are available here:

THE SPARK THAT BECOMES A FLAME.

IT TAKES JUST A SPARK TO SET POETRY ALIGHT!

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Limehouse Lizzy Come to Tamworth Assembly Rooms

Posted on April 19, 2013 by garylongden

It is some thirty four years now since I caught Thin Lizzy live, at the Hammersmith Odeon in London ,on the Black Rose tour. Arguably they were at their creative zenith, with Live and Dangerous already established as one of rock’s great live albums and from which most of the set was culled. In those days rock bands were adopted with the fervour of football teams, there was not much subjectivity, they were one of “your” bands, and that was it.

Time can play tricks on you. Equally it can offer perspective. Not only was it one of the great rock shows I attended, but as time has passed, why, becomes more apparent. They were no Johnny-come- lately, they had earned their live spurs on the Irish show band circuit and had gigged for a decade, their milieu was live, rather than recorded, performance.

Why so few black men have become rock stars is a bit of a mystery. Phil Lynnot was integral to the band’s image, and an incredible asset. At a time when racism was still commonplace, it was no obvious impediment to rock stardom, Jimi Hendrix had ensured that. Lynnot was a showman, the leader of the gang, MC for the evening, comic , and cheerleader. His down to earth bonhomie was an Irish parallel to Bruce Springsteen’s American grass roots appeal. Both ensured that when you came to one of their shows, they would personally guarantee that you would have a good time.

The twin lead guitar attack was favoured by several successful American Deep South bands, the Doobie Bros, Allman Bros and Lynyrd Skynyrd, although check out the intro to Sweet Jane on Lou Reed Live with Dick Wagner and Steve Hunter trading licks in ’75 and you will hear a template which was ideal for rock performance. Although Lizzy went through a dizzying array of guitarists in their time, it was that formula which served them well.

Lynnot died aged 37 in 1986. It seemed as that would close the book on the band. But as time has gone on, so the music has grown in stature. Lizzy without Lynnot was never going to be the same, but various reincarnations of the band have re-emerged in response to popular demand, Gary Moore when he was alive continued to play Lizzy hits, and tribute bands have also flourished to feed that increased, and increasing interest.

Foremost among these is Limehouse Lizzy. They comprise Wayne Ellis, Andy Fox, Greg Alcock and local boy Tim Read from Burton upon Trent. Tribute acts have come of age recently with several, Limehouse Lizzy amongst them, having been gigging in their own right for well over a decade. The obstacle that “it isn’t the original band” is over. Does anyone ever go to a Mozart concert and exclaim “It was rubbish, Mozart wasn’t playing?”. Either the music stands up, and the spirit of the band, is captured, or it isn’t, and Limehouse Lizzy do both.

Limehouse Lizzy play Tamworth Assembly Rooms on Friday May 31st, 8pm

https://www.tamworthassemblyrooms.co.uk/whats-on/icalrepeat.detail/2013/05/31/15060/-/limehouse-lizzy

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Cosi Fan Tutte, English Touring Opera,Grand Theatre Wolverhampton

Posted on April 15, 2013 by garylongden

!8th century Naples

English Touring Opera made a return to Wolverhampton Grand Theatre with two ambitious titles for Spring 2013; Cosi Fan Tutte, and Simon Boccanegra performed on successive nights, Monday night’s performance was of the former opera.

The music for Cosi Fan Tutte was written by Mozart and is the star of the show, with the original libretto by Lorenzo Da Ponte, who also collaborated on Le Nozze di Figaro and Don Giovanni ,and was first performed in 1790, two hundred and thirteen years ago. Currently it is amongst the top twenty most performed operas on the world stage. The phrase “Cosi Fan Tutte” first appeared in Le Nozze Di Figaro , literally “ Thus do all [women]” but is popularly offered as “Women are like that”. This production by Paul Higgins is sung in English using Martin Fitzpatrick’s translation and is performed with brio and panache.

CFT swing

Designer Samal Blak juxtaposes a simple, sometimes Spartan set, with pleasing costuming, and colour dominated by pastels and creams. The intimate setting of the Grand Theatre is ideally suited to this opera with the entire set focused on a garden swing for the first act, the inspiration for which came both from artistic depictions of the Garden of Eden – with characters under a willow tree – and eighteenth-century paintings such as Fragonard’s The Swing. However the physical absence of even a potted plant in the second act meant that the stage and props manager were able to take the evening off. Its traditional 18th century setting in Naples is most welcome.

The narrative explores suspicion, infidelity and jealousy in light comic mood but with a dark subtext in which close friends are manoeuvred into seducing each other’s girl-friend, testing the dynamics and limits of relationships.Although the infidelity of women is exposed through the ladies falling to temptation, Despina brazenly encourages them to play the field and wise Don Alfonso, rather than making a moral judgement, simply reflects that “Cosi fan Tutte”.
CFT the girls

Soprano Laura Mitchell plays Fiordilgi, one of Mozart’s Grande Donne, a demanding role with a range from the top of the stave plunging down to cellar deep low notes. The best known aria of the work “Come Scoglio”, in Act One, tested her early on with its taxing high tessitura ,but she was equal to it, she was even better in Act 2 with “Per Pieta”. Dorabella (Kitty Whatley) and Fiordilgi are convincing friends who fall in love with suitors, and are then duped by them. Whatley’s powerful mezzo-soprano occasionally dominated their duets, but it is soprano Paula Sides as housemaid Despina, who dominates the production and whose comic turns with the impressive Don Alfonso ( Richard Mosley Evans) are a highlight of the evening. Sides is the perfect buffa soubrette during “In uomini’ and excels in “Una donna a quindici anni”. Sassy and streetwise she makes the most of a wonderfully written part and revels in cameos as a physician and notary.

Paula Sides steals the show as Despina

The suitors playing opposite the young women are Guglielmo (Toby Girling) and Ferrando (Anthony Gregory). Director Higgins offers a nod to Commedia dell’arte traditions in the semi-white face of Ferrando and Guglielmo before they assume their Albanian disguises of which Sacha Baron Cohen as Borat would have been proud. Anthony Gregory contrasts beauty in “un’ aura amorosa” with the anguish of “tradito, schernito” in accomplished style, but the on- stage rapport with co-conspirator Girling lacks conviction.Their lascivious desires are bawdily explored, not least with the opening scene in which both enthusiastically polish their pommels.

Duets, parallel thirds, imitation and reprise are all prominent features of Mozart’s score, Higgins does well to mix and match to get the best out of all concerned, the closing sextet with its subtle physical movement reinforces the sense of fluidity and change in an opera which is essentially a dramatic examination of love. The complexity and beauty of the musical score is a delight, although occasionally you sense that some of the vocal combinations are written simply so that Mozart can show off his talent rather than to advance the plot.

The orchestra was directed by James Burton who brought the best out of the sections with the woodwind for which Cosi is renowned, the clarinets were sonorous and soared. Cosi has been described as a a heartless farce with heavenly music, but its accessibility and popularity are beyond doubt and was enthusiastically received by an appreciative audience for an enjoyable production.

The ETO are touring Cosi Fan Tutte, Simon Boccanaegra and The Siege of Calais to Aldeburgh,Durham, Buxton, Cheltenham, Warwick, Perth, Cambridge, Guilford and Truro till the end of May.

Gary Longden

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Quadrophenia at Tamworth Assembly Rooms is previewed by Director Simon Quinn

Posted on April 14, 2013 by garylongden

Quad tam

With Quadrophenia only just over a month away now, playing at Tamworth Assembly Rooms on Friday 24th and Sat 25th May, I spoke to Director Simon Quinn about his preparations.

Q. What attracted you to Quadrophenia in the first place?

1. I remember as a kid listening to The Who playing the whole album on John Peel’s late night show in ’73, then some weeks later in Wolverhampton I bought the album for less than a quid from a ‘record’ store that was closing down, so they must have been in a position where everything had to go. It was always a visual thing with me, the gatefold sleeve, the thick book insert and the fact the imagery was in black and white, it was all very theatrical and threatening; as of course the themes of subculture, mental illness and drugs etc were/are.

Q. Quadrophenia was released as an album in 1973. Four decades later how well do you think it has worn?

2. I’ve always believed that rock music concepts circa 1960’s and 1970’s have that capacity to hold the retention of their original audiences as well as the ability to attract new ones. The quality of the music aside, the themes within resonate with groups and individuals and somehow creates a personal significance that allows the mind to create and reminisce. With Quadrophenia the visual and ideological narrative surrounding the mod subculture is obviously appealing for young people today because of the never ending contemporary issues surrounding the movement itself; yet equally it holds memories for the 2013 older generation that of course was the pro-active generation of the times that Quadrophenia represents.

Q. Is there any new material in the production? How rigid were the demands of the Rights Holders?

3. The script is original-as was the script with last year’s project, The Wall. We have a greater emphasis on drama and poetry this time around, so it really is a rock music concept in every sense. As with The Wall we have devised a script that looks at the life and accompanying pressures of a central character who in many ways represents each and everyone of us. The Wall has Pink and Quadrophenia has ‘Jimmy’ and his problems with drugs, parental discourse, anti-social behaviour, mental ill health etc are exposed throughout through a variety of theatrical conventions. We had a tougher examination this time around in terms of acquiring permission to perform Quadrophenia-we had to send a proposal of how we intend to deliver this project as well as the evidence of what we achieved from The Wall before we were granted the rights to deliver. Paul Curran and Eel Pie publishing then ran the proposal past Pete Townshend for final approval.

Q. What influence did the film version of 1979 have on this production?

4. It would be true to say that the film was a crucial factor in stimulating interest from those who auditioned for the project because that medium was more widely known than the album. But we made it known from the start that we were working from the studio album and offering original conceptions and perceptions rather than just a total reproduction of the film-that is a work in its own right.

Q. Who is performing the music and what challenges did recreating The Who’s sound create?

5. The Pinch are performing the music-arguably one of the finest mod/rock bands in the West Midlands. We are also exploring the use of a solo guitarist to underscore some of the acting when The Pinch are not playing. I think you would need to ask The Pinch themselves regarding the difficulty in creating the sound.

Q. The Who have a fan base dating back to the 1960’s, how have the younger members of the cast responded to the material?

6. It is not a question of whether the younger people like or dislike The Who-it is more important that they like the concept of the project-although once hearing the album I think their appreciation of the music and the ideas has grown-also we have encouraged old and young alike to contribute their ideas throughout the rehearsal process.

Q. Quadrophenia is one of the great concept albums, what were the challenges of producing it for theatre rather than rock arena?

7. As with The Wall, a project of this magnitude presents a mixture of problems. We have a bigger cast this year so proximity and spatial awareness is problematic, when and where the music should slot in with the projection and the music, authentic costume is problematic. Yet these are integral components in qualifying the production as a piece of rock music theatre, rather than a rock concert.

Q. What audience are you aiming for, is this a nostalgia show?

8. It is a show that explores issues of the counter culture, subculture, attitudes to mental health, intergenerational behaviour, anti-social behaviour, drug misuse in a contemporary manner as well as trying to pay respect to the era it was original written for and about; so nostalgia or elements of nostalgia will rear up in someone’s psyche.

Q. The album is the most substantial and enduring testament to the Mod era. Paul Weller and latterly Bradley Wiggins have all championed the Mod cause. What resonance does Mod have in the 21st century?

9. It is a movement that still holds strong in today’s society , not because of the negativity in terms of its associated violence in the 1960’s, but more because of its intrinsic artistic and creative value through music, drama and literacy. The movement –similarly to that of punk and the new romantics-are creative forces that still impact upon today’s cultural landscape.

Q. Many contemporary musicians have aspired to write a rock opera, few have succeeded. The album only has one hit single, “5:15”, what is the secret of the albums’ success?

10. The longevity of The Who is obviously a key factor, the mod movement, the music and lyrics are both generic and personal, the theatricality, the texture of the 1960’s coming through the sound that paradoxically is anthemic for any era.

Watch out for another interview with poet and writer Mal Dewhirst about his role in contributing original material to this production. For more information on The Pinch who are performing live for the show visit their website on:
http://www.thepinch.net/

For ticket information:

http://www.tamworthassemblyrooms.co.uk/

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Driving Miss Daisy, Wolverhampton Grand Theatre

Posted on April 10, 2013 by garylongden

Driving

This play is held in high regard by actors because of the challenge it offers in two regards. Firstly, the two lead characters age 25 years in 90 minutes, secondly, the play is performed as a three hander, further intensifying the performing demands ( whilst reducing touring costs!). Fortunately the cast are well up to the task. Daisy is played by Gwen Taylor, her driver Hoke by Don Warrington.

Don Warrington

Gwen Taylor has most recently been in the public eye as Anne Foster in Coronation St, but her career defining role was in the fabulous television comedy Duty Free as Amy Pearce. Don Warrington found recognition for his role as Phil Smith in Rising Damp. Driving Miss Daisy is a Pullitzer prize winner , yet its strength lies in the opportunities it offers for the actors to act, rather than its profound script.

Gwen Taylor

Pre Black Civil Rights America is the back cloth to most of the story. Rather than make this an “issue” play, author Arthur Uhry neatly sidesteps the big questions to instead make it a play about personality and relationships, how they juxtapose, jostle and settle. So the play is not quite as it seems, this is no polemic on racial equality, instead a slight affectionate exploration of two contrasting characters into old age, and it is as this that the play works.

The history of race relations in the American deep south is quite different in England creating potential for the political dimension to travel poorly in a multi-racial community like Wolverhampton. But the focus on character, rather than action, sometimes to a fault, steers it clear of local bear –traps.I saw only two black audience members.

Taylor touchingly plays out the gradual decline of old age. Her head sinks turtle-like into her shoulders, her movement becomes fragile- uncertainly precise, and her voice develops a reedy thinness. Yet, although her physical powers are in retreat her spirit is not.

The set is initially disconcertingly simple, comprising a staircase and bookcase on one side, a desk moving in and out of centre stage, and a bench on a small revolve which, when matched with a couple of chairs and a steering wheel, becomes whatever car Hoke is driving Miss Daisy in. It is a back projection screen which creates the sense of time and place using archive news footage to good effect.

Ian Porter has the tricky task of playing Boolie, Miss Daisy’s son a ruthless businessman and slightly unsympathetic son. The role is awkward because it is an integral part of the journey that unfolds, but dramatically, can unbalance the chemistry created between the two leads. In this production, director David Esbjornson allows Boolie a more strident presence in a bold move.

Ian Porter as Boolie

A core message that skin and background may divide, but the power of the human spirit unites, is the feel-good engine of the play, American schmaltz which teeters just the right side of good taste, garnished with humour that Gwen Taylor clearly revels in. As an essay on growing old, it takes some beating, but its single set, and lack of action narrows the profile of those to whom this will appeal. Touring plays have a tough time finding theatres prepared to take a chance against the mass appeal of musicals. It is to the credit of the Grand that they brought this production to Wolverhampton and to Julian Stoneman associates that they brought the production to the Black Country.

Driving Miss Daisy plays at the Wolverhampton Grand Theatre from Tues 9th through to Sat 13th April

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Boxed Set- Paul Francis

Posted on April 9, 2013 by garylongden

Paul Francis
Paul is a retired teacher from Much Wenlock with a growing list of published credits. An accomplished and regular performer on the Midlands and Borders poetry circuit, his writing, and subject matter, is eclectic and diverse. Cross- fertilisation between cinema, television, novels and music is routine and well established. Surprisingly, poetry has been slow to reflect the artistic impact of film, and film has only just started to notice poetry for artistic inspiration (Beowulf). Thus, Paul has chosen shrewdly to explore poetic territory with a rich seam of potential which has hitherto been barely explored.

Any such enterprise poses two immediate problems. Firstly, which films to choose? Secondly, how to present work about films which the reader may not have seen, or been aware. Wisely, the choices are mainstream and accessible – Eastwood, Polanski and Jodie Foster, Cockleshell heroes, African Queen and Sopranos. The poems themselves are drawn not only from the original works, but also from commentaries, biographies and gossip contained in the eponymous “Boxed Sets”.

Half of the collection is devoted to Sopranos Snapshots in sonnet and sestina. That discipline of form is a clever device as it forces the author quite consciously to move from one discipline to another. Sestinas are fiendishly difficult to execute well, in Tony Soprano, the author pulls off that feat in some style. The word repetition is perfect for an extended series as is the sense of inevitability and fate that befalls the characters.

Brief Encounter was the poem which struck me as being the most fully realised. A poem with a title which has transcended its original place, and a platform image which is embedded in cinematic history as a classic, risks falling flat in such august surroundings, but it soars. It is seen through the eyes of a female cinema goer:

“She smells the smoky laughs of men
Who scorn romance, but she believes
She is allowed to dream..”

Not only does it speak of the emotions of the protagonist, it also sums up the authors’ desire to dream which he shares so demonstrably in all the poems.

Boxed Set , the poem, appears as a poetic epilogue after the Sopranos Snapshots sequence and is both backwards and forward looking in its position, which is neat. On the one hand it rails elegiacally:

“Those were the days. A huge, obedient crowd
Feasts on that screen. They just can’t get enough
Sighing as one,..”

On the other, in the present day:

“So I stay home alone. It’s not a crime
To settle down and lock the door.
I scroll the menu. I shall take my time,
Consider all the options, keep control
Break off ,maybe, for context, background stuff;
Choose what I want to watch, then watch some more.”

And in turn, so the reader will want to read some more, scroll the menu, and take their time. This collection is immensely satisfying and I suspect demands a sequel, so substantial is the material upon which to draw.

Boxed Set is available from Liberty Books, Much Wenlock TF13 6JQ priced £3.

Gary Longden

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Lawn Lore- Nadia Kingsley

Posted on April 9, 2013 by garylongden

Nadia Kingsley

Lawn Lore is a wonderful poetry pamphlet borne out of a brilliant idea. Nadia lives in the countryside in a rural idyll in Shropshire, but with imperfect grass on her lawn. One day she was moved to ask a friend who specialises in grasses to examine a two metre square quadrat. This involved them both considering in close detail that which previously would have gone unnoticed,and unremarked upon. This work was created from that fresh perspective.

The eleven poems themselves are written in deliberately small print, so small, that unless the reader possesses the eyesight of a teenage sniper ,magnification is required. Nadia helpfully supplies a magnifier with the pamphlet so the reader may study more closely her words, as she considered more closely her lawn. A delightful detail is that each beautifully presented copy is handstitched with a green thread.

As well as being a poet, Nadia is also a scientist and her poems reflect the style of a scientific report, yet the writing is of joyous celebratory discovery. They also consider place, Here considers how Perennial Rye is selected for Rugby pitches for its hard wearing qualities, yet her garden offers sanctuary from mankinds’ need to control and manipulate.
Each grass is introduced by its Latin name encouraging the reader once more to explore further, exploration being the key theme of Lawn Lore. Ranunculus Repens is the last poem, and amongst the most satisfying, juxtaposing the childs’ tradition of using its flower to determine a liking for butter from its reflection and its poisonous qualities- it all depends how you look at it, doesn’t it?

The premise for Lawn Lore is startlingly imagined and lovingly executed in a manner that will delight poets and botanists alike, as it did me, published by Fairacre Press.
http://www.fairacrepress.co.uk/books/to-buy/
Gary Longden

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