Theatre review: The Whip by the Royal Shakespeare Company - Audio Described
Photo credit: RSC website
On Saturday 7th March 2020, I arrived at the RSC in Stratford-upon-Avon for a day of seeing, hearing and talking about accessible theatre.
The Whip, written by Juliet Gilkes Romero and directed by Kimberly Sykes, is set in 1830s England as some politicians push for the abolition of the slave trade throughout Britain’s colonial empire. As politicians, familiarly corrupt, seek to compromise and blackmail one another to reach their goals, the tension between morality, and how much that should cost removes all clear distinctions of “right” and “wrong”, making the audience question how far one can compromise without losing one’s own morality.
The matinee performance of The Whip was an audio described show. This involves a live narration of the visuals occurring onstage that may otherwise be inaccessible to blind or visually impaired audience members. The narration is heard through headphones handed out before the show, and there is therefore no difference to the performance itself. However, for those listening, its an invaluable addition to provide details of set, costume, facial expression and gesture - and more!
Before the audio described performance began, the RSC offered a Touch Tour. This involves going on stage, exploring the sets, getting a close up look and feel of costumes and props so that when the play is being described, you have a clearer sense of what is occurring.
The Touch Tour was led by Emily and Annette, who would later be the audio describers during the show. Emily and Annette gathered us in the cafe, giving us a welcoming and friendly introduction to the theatre, themselves, and what to expect from the touch tour. They described the set, and how it transforms, different effects to expect and some background details of the play.
From this introduction, we made our way into the RSC Swan Theatre and onto the stage. Here, we naturally divided into smaller groups, each with our own RSC staff member to show us around the set and describe what was there, and how it featured in the play. I was with Annette, who gave wonderful, concise descriptions of everything we encountered and was more than happy to answer further questions. She passed props round to both the visually impaired individuals and those they had come with, making everyone feel welcome and involved.
We also got the opportunity to meet a couple of the cast. This is always a wonderful way to begin to put the voice to the person, as well as hear what the actor themselves thinks and feels about their character. So when I took my seat, headphones on, I felt informed and prepared to enjoy the show.
What the audience cannot prepare for, is the power of a show that generates empathy, horror, laughter, sadness, and disgust. This historical, political drama revolves around the Slavery Abolition Act 1833, and the politicians battling over the price of compensation for the slave owners. Alongside this, the horrendous working conditions of Britain’s poorest workers, including for that of children, is foregrounded across sympathetic lines of comparison.
The play centres on Alexander Boyd, the Chief Whip of the Whig party who is given the job of getting the abolition bill through parliament despite many MPs being slave owners themselves. Wonderfully portrayed by Richard Clothier, Boyd embodies all the grey areas of morality, neither good, nor terrible, but certainly a man anguished by the constant push and pull of right and wrong, and the inability to escape the grey areas.
The jeers, slander, backstabbing and self-serving politics presented in The Whip is disturbingly familiar to today’s political scene. The press hound anyone and everyone, turning on politicians they’d previously hailed as great, again, all to familiar in today’s climate.
Boyd’s political life flows into his personal life. Boyd’s ward, a freed slave named Edmund, is Boyd’s attempt to highlight the influence of opportunity and education. However, Boyde is quick to dismiss or ignore Edmund when it suits him, operating in is own sphere of prejudice. Edmund, played by Corey Montague-Shaloy, is clever, respectful, and witty. We watch Mantague-Shaloy take Edmund on a education of his own, as his character becomes exposed to the ugly side of politics that claims to be progressive, when in reality, it is replacing one form of entrapment for another.
Boyd’s new housekeeper, Horatia Poskitt, played by Katherine Pearce, is similar to Edmund, as both are ambitious and determined in a world set on limiting their prospects. The two strike up a cantankerous yet warm relationship as their fiery spirits clash, but their empathy holds fast.
Horatia presents another level of injustice in British society, as she seeks to represent and help the working poor. She is tough and determined, despite having endured much - her only daughter having collapsed from exhaustion while working in a cotton mill, and falling into the machine to her death. Horatia is outspokenly feminist at a heavily patriarchal time. She strikes up a friendship with Mercy, an escaped slave who delivers talks around the country to galvanise abolitionist support. Mercy Pryce, played by Debbie Korley, captivated the audience with her first appearance and held the audience throughout. Korley’s voice inflects subtle emotions with every word and she was truly beautiful to listen to.
The two women recognise each other’s suffering, and though very different as people, their strong sense of solidarity becomes the most sincere connection in the play, the rest of which is fraught by corruption and double-crossing.
A simple set is nevertheless effective in transporting us from the House of Commons, complete with the Speaker’s chair and mace, to Boyd’s office, a kitchen parlour, a bar, and Hyde Park Corner. A slight pit in the centre of the stage’s thrust is subtle but effective symbol of the corruption that the characters fall into. Naturally, then, the floor of the House of Commons is a perfect fit for the pit, lined with green benches either side of a table, overlooked by the Speaker, played by Riad Richie, who’s John Bercow impression is spectacular.
The Whip gives us a long overdue history lesson of the reality of the British colonial slave trade. Unflinchingly powerful in its confrontation of this often ignored aspect of history, the audience are forced to draw the parallels between the different forms of servitude colonial slaves, poor British children, and working class women were subjected to. Creatively staged, and brilliantly acted, the cast draw us in and hold us. Emotive, yet at times funny, The Whip gives a deeply human spin on an inhumane political history. It holds an uncomfortable but necessary mirror up to its audience, asking us to look at what went wrong, and why so little has changed.
Emily and Annette's audio description during the performance was beyond helpful. They described humorous non-verbal actions so that no one was left out of the joke, provided details of set changes, and the deterioration of some characters' appearances as the play progressed. These visual changes all hold poignant significance for the play, and there is no way I would have been able to enjoy or understand the play as much without their descriptions.
You can find out more about the RSC's accessibility provisions here.
The Whip runs until 21st March 2020.
The RSC offer a captioned performance of The Whip on Friday 20th March, 7:30pm.
Written by: Beth O’Brien
Published: 9th March 2020
The Whip, written by Juliet Gilkes Romero and directed by Kimberly Sykes, is set in 1830s England as some politicians push for the abolition of the slave trade throughout Britain’s colonial empire. As politicians, familiarly corrupt, seek to compromise and blackmail one another to reach their goals, the tension between morality, and how much that should cost removes all clear distinctions of “right” and “wrong”, making the audience question how far one can compromise without losing one’s own morality.
The matinee performance of The Whip was an audio described show. This involves a live narration of the visuals occurring onstage that may otherwise be inaccessible to blind or visually impaired audience members. The narration is heard through headphones handed out before the show, and there is therefore no difference to the performance itself. However, for those listening, its an invaluable addition to provide details of set, costume, facial expression and gesture - and more!
Before the audio described performance began, the RSC offered a Touch Tour. This involves going on stage, exploring the sets, getting a close up look and feel of costumes and props so that when the play is being described, you have a clearer sense of what is occurring.
The Touch Tour was led by Emily and Annette, who would later be the audio describers during the show. Emily and Annette gathered us in the cafe, giving us a welcoming and friendly introduction to the theatre, themselves, and what to expect from the touch tour. They described the set, and how it transforms, different effects to expect and some background details of the play.
From this introduction, we made our way into the RSC Swan Theatre and onto the stage. Here, we naturally divided into smaller groups, each with our own RSC staff member to show us around the set and describe what was there, and how it featured in the play. I was with Annette, who gave wonderful, concise descriptions of everything we encountered and was more than happy to answer further questions. She passed props round to both the visually impaired individuals and those they had come with, making everyone feel welcome and involved.
We also got the opportunity to meet a couple of the cast. This is always a wonderful way to begin to put the voice to the person, as well as hear what the actor themselves thinks and feels about their character. So when I took my seat, headphones on, I felt informed and prepared to enjoy the show.
What the audience cannot prepare for, is the power of a show that generates empathy, horror, laughter, sadness, and disgust. This historical, political drama revolves around the Slavery Abolition Act 1833, and the politicians battling over the price of compensation for the slave owners. Alongside this, the horrendous working conditions of Britain’s poorest workers, including for that of children, is foregrounded across sympathetic lines of comparison.
The play centres on Alexander Boyd, the Chief Whip of the Whig party who is given the job of getting the abolition bill through parliament despite many MPs being slave owners themselves. Wonderfully portrayed by Richard Clothier, Boyd embodies all the grey areas of morality, neither good, nor terrible, but certainly a man anguished by the constant push and pull of right and wrong, and the inability to escape the grey areas.
The jeers, slander, backstabbing and self-serving politics presented in The Whip is disturbingly familiar to today’s political scene. The press hound anyone and everyone, turning on politicians they’d previously hailed as great, again, all to familiar in today’s climate.
Boyd’s political life flows into his personal life. Boyd’s ward, a freed slave named Edmund, is Boyd’s attempt to highlight the influence of opportunity and education. However, Boyde is quick to dismiss or ignore Edmund when it suits him, operating in is own sphere of prejudice. Edmund, played by Corey Montague-Shaloy, is clever, respectful, and witty. We watch Mantague-Shaloy take Edmund on a education of his own, as his character becomes exposed to the ugly side of politics that claims to be progressive, when in reality, it is replacing one form of entrapment for another.
Boyd’s new housekeeper, Horatia Poskitt, played by Katherine Pearce, is similar to Edmund, as both are ambitious and determined in a world set on limiting their prospects. The two strike up a cantankerous yet warm relationship as their fiery spirits clash, but their empathy holds fast.
Horatia presents another level of injustice in British society, as she seeks to represent and help the working poor. She is tough and determined, despite having endured much - her only daughter having collapsed from exhaustion while working in a cotton mill, and falling into the machine to her death. Horatia is outspokenly feminist at a heavily patriarchal time. She strikes up a friendship with Mercy, an escaped slave who delivers talks around the country to galvanise abolitionist support. Mercy Pryce, played by Debbie Korley, captivated the audience with her first appearance and held the audience throughout. Korley’s voice inflects subtle emotions with every word and she was truly beautiful to listen to.
The two women recognise each other’s suffering, and though very different as people, their strong sense of solidarity becomes the most sincere connection in the play, the rest of which is fraught by corruption and double-crossing.
A simple set is nevertheless effective in transporting us from the House of Commons, complete with the Speaker’s chair and mace, to Boyd’s office, a kitchen parlour, a bar, and Hyde Park Corner. A slight pit in the centre of the stage’s thrust is subtle but effective symbol of the corruption that the characters fall into. Naturally, then, the floor of the House of Commons is a perfect fit for the pit, lined with green benches either side of a table, overlooked by the Speaker, played by Riad Richie, who’s John Bercow impression is spectacular.
The Whip gives us a long overdue history lesson of the reality of the British colonial slave trade. Unflinchingly powerful in its confrontation of this often ignored aspect of history, the audience are forced to draw the parallels between the different forms of servitude colonial slaves, poor British children, and working class women were subjected to. Creatively staged, and brilliantly acted, the cast draw us in and hold us. Emotive, yet at times funny, The Whip gives a deeply human spin on an inhumane political history. It holds an uncomfortable but necessary mirror up to its audience, asking us to look at what went wrong, and why so little has changed.
Emily and Annette's audio description during the performance was beyond helpful. They described humorous non-verbal actions so that no one was left out of the joke, provided details of set changes, and the deterioration of some characters' appearances as the play progressed. These visual changes all hold poignant significance for the play, and there is no way I would have been able to enjoy or understand the play as much without their descriptions.
You can find out more about the RSC's accessibility provisions here.
The Whip runs until 21st March 2020.
The RSC offer a captioned performance of The Whip on Friday 20th March, 7:30pm.
Written by: Beth O’Brien
Published: 9th March 2020
THeatre REview: The Boy in the Dress by The Royal Shakespeare Company
On Monday 16th December 2019, I went to see the RSC musical, The Boy in the Dress, at the Royal Shakespeare Theatre in Stratford-upon-Avon. Sat in the front row of the second balcony, I had a decent birds-eye view of the production, though, being visually impaired, please forgive any lacking detail in actors, gesture and costume in the rest of this review. There is, however, much I have to say about this production.
Based on David Walliams’ children’s book, The Boy in the Dress (2008) the production tells the story of Dennis. Since his mother left, Dennis lives with his dad and his older brother. He is the star striker of the school football team, has an interest in fashion, and finds a love of wearing dresses with the encouragement of the school sweetheart, Lisa James.
The production itself was wonderful. A clever set turned town streets into a kitchen in moments, and multiple football games were superbly orchestrated and choreographed. There’s also some silly but funny dialogue that gets a good laugh from the audience.
Whilst the music and lyrics (written by Robbie Williams and Guy Chambers) were often a lot of fun, they were also quite forgettable. A few of them – the headmaster’s song, ‘I hate Kids’ in particular - took repetition a little too far to the point that it got slightly boring. But the singing was fantastic, as you might hope from an RSC production, and Dennis (played by Oliver Crouch, Jackson Laing, Tom Lomas, and Toby Mocrei) deserves a special mention. Child acting can be a bit hit and miss, but Dennis’ performance was so strong, it meant the rest of the child cast was held to a very high standard.
The issue I took with the production was more with the mixed or inconsistent messages. The central theme is, or should be, that anyone of any gender can wear whatever they like and it’s really no one else’s business. However, there are a few too many times when the audience are made to laugh at the very concept we should really be accepting. After embracing Dennis for wearing a dress, we’re presented with another male character who also wears a dress, but in such a way that the audience are encouraged to laugh at him, rather than with him. The production simultaneously calls for tolerance, for us to see anyone wearing what they like as normal, but also hails Dennis as extraordinary and different, and I don’t think I was alone in finding these moments uncomfortable and conflicting.
Anyone with any familiarity with David Walliams’ books – or the TV adaptations – will probably remember the character, Raj. In the production, Raj is played by Irvine Iqbal. From what I gather, Raj appears in many, if not all, of Walliams’ books. He is the owner of a corner shop, calls everyone his favourite customer, and tries to flog his customers ridiculous deals (15 packs of Quavers for the price of 14, sort of thing). Raj is Dennis’ friend, and we like him, but there are so many stereotypes at play here that, again, make things uncomfortable. Let alone when it comes to Raj’s last line of the show, when he’s wearing a sari and says: ‘I borrowed my wife’s sari. Luckily she’s a big woman’. What a note for his character to end on, hey?
One final message that felt dated was the whole song dedicated to ‘A House Without A Mum’. One with less nagging and more fun. One with less hugs. In many ways, The Boy in the Dress is the cousin of Billy Eliot the Musical, but just not to the same standard. The story of a boy without a mother, with an initially unaccepting father / community who has to overcome gender norms in the name of self-expression is not new, and this production was not done with as much sensitivity or power as other productions.
A production that shows boys and men that they are allowed to show emotion is something I really wanted to get behind. One that shows how the younger generation are accepting of all gender performances, and that the older generations can learn to be too, is just as important and a chance for this to be a part of mainstream culture just seems to have been wasted. The Boy in the Dress was conflicting and problematic in a few too many ways for overt enjoyment to be had. The music does not carry the production in the same way as in the RSC’s Matilda the Musical, and some songs added nothing to the production.
Overall, I was disappointed with this production, because I wanted it to be so much better than it was. As my review shows, not everything about it was bad, and there are some lovely moments of fun, acceptance and kindness. However, in the name of humour, insensitivity and/or ignorance marred the production.
Written by: Beth O'Brien
Published: 18th December 2019
Based on David Walliams’ children’s book, The Boy in the Dress (2008) the production tells the story of Dennis. Since his mother left, Dennis lives with his dad and his older brother. He is the star striker of the school football team, has an interest in fashion, and finds a love of wearing dresses with the encouragement of the school sweetheart, Lisa James.
The production itself was wonderful. A clever set turned town streets into a kitchen in moments, and multiple football games were superbly orchestrated and choreographed. There’s also some silly but funny dialogue that gets a good laugh from the audience.
Whilst the music and lyrics (written by Robbie Williams and Guy Chambers) were often a lot of fun, they were also quite forgettable. A few of them – the headmaster’s song, ‘I hate Kids’ in particular - took repetition a little too far to the point that it got slightly boring. But the singing was fantastic, as you might hope from an RSC production, and Dennis (played by Oliver Crouch, Jackson Laing, Tom Lomas, and Toby Mocrei) deserves a special mention. Child acting can be a bit hit and miss, but Dennis’ performance was so strong, it meant the rest of the child cast was held to a very high standard.
The issue I took with the production was more with the mixed or inconsistent messages. The central theme is, or should be, that anyone of any gender can wear whatever they like and it’s really no one else’s business. However, there are a few too many times when the audience are made to laugh at the very concept we should really be accepting. After embracing Dennis for wearing a dress, we’re presented with another male character who also wears a dress, but in such a way that the audience are encouraged to laugh at him, rather than with him. The production simultaneously calls for tolerance, for us to see anyone wearing what they like as normal, but also hails Dennis as extraordinary and different, and I don’t think I was alone in finding these moments uncomfortable and conflicting.
Anyone with any familiarity with David Walliams’ books – or the TV adaptations – will probably remember the character, Raj. In the production, Raj is played by Irvine Iqbal. From what I gather, Raj appears in many, if not all, of Walliams’ books. He is the owner of a corner shop, calls everyone his favourite customer, and tries to flog his customers ridiculous deals (15 packs of Quavers for the price of 14, sort of thing). Raj is Dennis’ friend, and we like him, but there are so many stereotypes at play here that, again, make things uncomfortable. Let alone when it comes to Raj’s last line of the show, when he’s wearing a sari and says: ‘I borrowed my wife’s sari. Luckily she’s a big woman’. What a note for his character to end on, hey?
One final message that felt dated was the whole song dedicated to ‘A House Without A Mum’. One with less nagging and more fun. One with less hugs. In many ways, The Boy in the Dress is the cousin of Billy Eliot the Musical, but just not to the same standard. The story of a boy without a mother, with an initially unaccepting father / community who has to overcome gender norms in the name of self-expression is not new, and this production was not done with as much sensitivity or power as other productions.
A production that shows boys and men that they are allowed to show emotion is something I really wanted to get behind. One that shows how the younger generation are accepting of all gender performances, and that the older generations can learn to be too, is just as important and a chance for this to be a part of mainstream culture just seems to have been wasted. The Boy in the Dress was conflicting and problematic in a few too many ways for overt enjoyment to be had. The music does not carry the production in the same way as in the RSC’s Matilda the Musical, and some songs added nothing to the production.
Overall, I was disappointed with this production, because I wanted it to be so much better than it was. As my review shows, not everything about it was bad, and there are some lovely moments of fun, acceptance and kindness. However, in the name of humour, insensitivity and/or ignorance marred the production.
Written by: Beth O'Brien
Published: 18th December 2019
Theatre Review: Skin in The Game by Paul Westwood
directed by. Clemmie Reynolds
The Old Red Lion Theatre, Islington [27th August 2019]
A dingy flat in Birmingham. Three siblings. Trying to sell it off because dad’s being put in a home. Jamie (Paul Westwood), the youngest is neither here nor there - the chiming of the fruit machines sounding in the forefront as he makes his way to the front of the stage. He chases the high, as is the way with any form of gambling. Michelle (Kathryn O’Reilly) is cursed with middle child syndrome, but alleviates the grim hardships with hilarious anecdotes of her misbehaving children. Danny (Charlie Allen) the oldest; charismatic, funny and mean, he appears to be the one who can sort this all out, until the sneaking suspicion that he’s the one who’s caused it all creeps up the back of your neck. Just peep under the sofa to find out.
Paul Westwood’s debut full length play is unrelenting from the get go. The play has no interval, the characters can’t seem to string a sentence together without swearing, and you’d be daft to think there is any reconciliation or satisfying cathartic ending. But Chekov’s rule - “One must never place a loaded rifle on the stage if it isn't going to go off” - is the play’s sickening promise. Just wait for the ‘how’ and the ‘why’ the gun in presented onto the stage.
We are invited to compare Westwood’s debut full length play with Irvine Welsh and Philip Ridley. I confess I know next to nothing about Ridley, but I can confirm that the strong language straight off the bat and simulated violence later in the play certainly attests to those who see Welsh as an influence. Fans of Martin McDonagh will adore the convoluted and round about naturalistic conversation.
Westwood not only has written the play, but stars in the lead role of Jamie. His creation and portrayal of a loser in every which way has such sympathy and kindness. Kathyrn O’Reilly brings a tenderness - the wildling we see on stage is not mouthing off, but screaming for help. Her portrayal of struggling single mother and secretive drug addict does feel incredibly real. But it’s Charlie Allen’s performance that is the breakout moment. The charisma that exudes from such a vile character will seduce and anger audience members in equal measures.
‘Skin in the Game’ is claustrophobic in both setting and direction. The stage of the Old Red Lion Theatre in Islington is about the size of one’s living room, which is fitting really, considering the location. When the actors reach the front of the stage, they are barely 4 foot in front of you. If you have the privilege of being sat in front of any one of the actors, they literally stare you in the eyes. Be sure to be terrified and moved.
Written by: Liv Beards
Published: 29th September 2019
Paul Westwood’s debut full length play is unrelenting from the get go. The play has no interval, the characters can’t seem to string a sentence together without swearing, and you’d be daft to think there is any reconciliation or satisfying cathartic ending. But Chekov’s rule - “One must never place a loaded rifle on the stage if it isn't going to go off” - is the play’s sickening promise. Just wait for the ‘how’ and the ‘why’ the gun in presented onto the stage.
We are invited to compare Westwood’s debut full length play with Irvine Welsh and Philip Ridley. I confess I know next to nothing about Ridley, but I can confirm that the strong language straight off the bat and simulated violence later in the play certainly attests to those who see Welsh as an influence. Fans of Martin McDonagh will adore the convoluted and round about naturalistic conversation.
Westwood not only has written the play, but stars in the lead role of Jamie. His creation and portrayal of a loser in every which way has such sympathy and kindness. Kathyrn O’Reilly brings a tenderness - the wildling we see on stage is not mouthing off, but screaming for help. Her portrayal of struggling single mother and secretive drug addict does feel incredibly real. But it’s Charlie Allen’s performance that is the breakout moment. The charisma that exudes from such a vile character will seduce and anger audience members in equal measures.
‘Skin in the Game’ is claustrophobic in both setting and direction. The stage of the Old Red Lion Theatre in Islington is about the size of one’s living room, which is fitting really, considering the location. When the actors reach the front of the stage, they are barely 4 foot in front of you. If you have the privilege of being sat in front of any one of the actors, they literally stare you in the eyes. Be sure to be terrified and moved.
Written by: Liv Beards
Published: 29th September 2019
Theatre Review: Macbeth by Tread the Boards Theatre Company
On Tuesday 30th July, I made my way to Stratford-upon-Avon for the first preview of Tread the Boards Theatre Company’s all-female Macbeth, before it heads up to the Edinburgh Fringe Festival in August. Climbing the stairs into the rafters of the aptly named Attic Theatre, I took my seat in the dim light, settling in for a production with darkness at its heart. With its six-woman cast, Tread the Board Theatre Company performed a clever take on the classic tragedy which explores a disrupted world, heightened by the revealing interrogation of gender throughout.
Pulsating lights and unsettling sound effects kick the production off with a supernatural feel, before Ruth Page, Georgia Fox Robinson, and Phoebe Cresswell begin the play’s dialogue in the role of the infamous three witches. On a minimalist set and against a black backdrop, these women evoked a powerful, wicked energy, drawing the audience into the narrative with a harmonised rendition of the witches’ opening prophecy. Music features several times throughout the production, from a fierce banquet dance, to the live, on-stage sound effects created using singing-bowls.
The superb acting from the whole cast captured and held the audience without fail, without the need for major staging effects. A standout example of this came from Chloe Knight in the role of Banquo. Fake blood is a given in many performances of Shakespearean tragedies, however, Knight’s acting alone sufficed for a wince-inducing and cringingly gruesome scene, making it haunting, disturbing and memorable.
The company makes use of few props, but the ones used are used to great effect. A cuboid metal frame acts as door, cauldron, banquet table (and more) at various points. Its simplistic effectiveness is in-keeping with the production as a whole, with a metallic theme continuous across everything from weapons, to trees, ensuring the props fit seamlessly into the play, nothing seeming out of place.
The small cast means you see five of the six actors in multiple roles. However, this does nothing to hinder the clarity of the production, as through wonderful characterisation and subtle costume differences, the audience remained captured by the unfolding narrative. Among other roles, Stephanie Austin and Ruth Page play brothers, the sons of King Duncan, and they capture each new character with ease - between them, taking on six of the production’s 13 characters. Only Catherine Pugh, in the role of Macbeth, plays one role. Plough’s performance was powerful and evocative, as the ambition and subsequent anguished guilt she portrays is so convincingly played, and it is fascinating to register our own responses to these traits in a female Macbeth.
The gender interrogation within the play is cleverly and subtly done. Although all mentions of ‘he’ and ‘him’ are swapped for ‘she’ and ‘her’, the titles and relationships such as ‘King’ and ‘husband’ remain unchanged. Not only does this add to the overall disruption of the Shakespearean narrative, but it provides a new order at the same time. It allows for women to take roles of power, and roles of male power. Society has given the title of Queen very different connotations to that of King, and what Tread the Board Theatre Company manages to do is allow for women to step into the role of male power; allowing us to examine how we, the audience, perceive this differently. For example, do we see remorse and guilt in a female Macbeth where we’d see weakness in her male counterpart?
Lady Macbeth, played by Phoebe Cresswell, rises to greater evil when you can’t just root for her as a fierce and ambitious female in a patriarchal world. It allows for parallels to be drawn between her own character and Macbeth, for the fact that both characters lose their ambition to a fraught mind is suddenly seen to be more comparable, seen side by side, rather than separately. Moreover, Georgia Fox Robinson, in the role of Macduff grieving her children and wife’s deaths, caught the audience with her deviation from the line, ‘I must also feel it as a man’, to ‘I must also feel it as a woman’. How this alters the original line and connotated meaning couldn’t fail to strike the audience, as we realise our own learned associations.
Overall, if you’re looking for a thought-provoking and wildly entertaining production of the Shakespearean tragedy, then this is the play for you. From beginning to end, the cast make their own mark on this famous play, making a play many are familiar with new, exciting, and powerful in a whole different way. Tread the Boards Theatre Company interrogates the audience with this production without us realising until its done, making us realise the privileges and restrictions of gender roles and performance. Shocking, disturbing, dark, and powerfully entertaining, this production of Macbeth is not one to miss.
Written by: Beth O'Brien
Published: 2nd August 2019
Pulsating lights and unsettling sound effects kick the production off with a supernatural feel, before Ruth Page, Georgia Fox Robinson, and Phoebe Cresswell begin the play’s dialogue in the role of the infamous three witches. On a minimalist set and against a black backdrop, these women evoked a powerful, wicked energy, drawing the audience into the narrative with a harmonised rendition of the witches’ opening prophecy. Music features several times throughout the production, from a fierce banquet dance, to the live, on-stage sound effects created using singing-bowls.
The superb acting from the whole cast captured and held the audience without fail, without the need for major staging effects. A standout example of this came from Chloe Knight in the role of Banquo. Fake blood is a given in many performances of Shakespearean tragedies, however, Knight’s acting alone sufficed for a wince-inducing and cringingly gruesome scene, making it haunting, disturbing and memorable.
The company makes use of few props, but the ones used are used to great effect. A cuboid metal frame acts as door, cauldron, banquet table (and more) at various points. Its simplistic effectiveness is in-keeping with the production as a whole, with a metallic theme continuous across everything from weapons, to trees, ensuring the props fit seamlessly into the play, nothing seeming out of place.
The small cast means you see five of the six actors in multiple roles. However, this does nothing to hinder the clarity of the production, as through wonderful characterisation and subtle costume differences, the audience remained captured by the unfolding narrative. Among other roles, Stephanie Austin and Ruth Page play brothers, the sons of King Duncan, and they capture each new character with ease - between them, taking on six of the production’s 13 characters. Only Catherine Pugh, in the role of Macbeth, plays one role. Plough’s performance was powerful and evocative, as the ambition and subsequent anguished guilt she portrays is so convincingly played, and it is fascinating to register our own responses to these traits in a female Macbeth.
The gender interrogation within the play is cleverly and subtly done. Although all mentions of ‘he’ and ‘him’ are swapped for ‘she’ and ‘her’, the titles and relationships such as ‘King’ and ‘husband’ remain unchanged. Not only does this add to the overall disruption of the Shakespearean narrative, but it provides a new order at the same time. It allows for women to take roles of power, and roles of male power. Society has given the title of Queen very different connotations to that of King, and what Tread the Board Theatre Company manages to do is allow for women to step into the role of male power; allowing us to examine how we, the audience, perceive this differently. For example, do we see remorse and guilt in a female Macbeth where we’d see weakness in her male counterpart?
Lady Macbeth, played by Phoebe Cresswell, rises to greater evil when you can’t just root for her as a fierce and ambitious female in a patriarchal world. It allows for parallels to be drawn between her own character and Macbeth, for the fact that both characters lose their ambition to a fraught mind is suddenly seen to be more comparable, seen side by side, rather than separately. Moreover, Georgia Fox Robinson, in the role of Macduff grieving her children and wife’s deaths, caught the audience with her deviation from the line, ‘I must also feel it as a man’, to ‘I must also feel it as a woman’. How this alters the original line and connotated meaning couldn’t fail to strike the audience, as we realise our own learned associations.
Overall, if you’re looking for a thought-provoking and wildly entertaining production of the Shakespearean tragedy, then this is the play for you. From beginning to end, the cast make their own mark on this famous play, making a play many are familiar with new, exciting, and powerful in a whole different way. Tread the Boards Theatre Company interrogates the audience with this production without us realising until its done, making us realise the privileges and restrictions of gender roles and performance. Shocking, disturbing, dark, and powerfully entertaining, this production of Macbeth is not one to miss.
Written by: Beth O'Brien
Published: 2nd August 2019
Theatre Review: pride and (quite a lot of) prejudice by Worcester Repertory Company
(Photo taken by Beth Martin Smith)
For some time now it has been a celebrated event in the Mad Hatter Reviews calendar when Worcester Repertory Company (Worcester Rep) brings their talents to The Commandery for a summertime performance. Once Shakespeare at The Commandery, the company now dips in and out of famous classics to deliver their own spin on iconic tales. This year sees Jane Austen’s Pride and Prejudice given the Worcester Rep treatment, penned by Chris Jaeger himself to form a witty bastardisation of an iconic story, delivering laughs aplenty to a packed-out audience.
Charlie Ryan and Genevieve Lowe took the roles of Darcy and Lizzie Bennet respectively, delivering a strong performance and a charming proposal scene to close the play (helped along by Mrs Bennet who was played, naturally, by none other than Edward Manning). It was unfortunate to lose some of the bookish nature that Lizzie possessed in the original storyline; although, needs must when working with a limited timeframe (and when introducing quite so much comedy). That said, Manning’s own delivery of Mrs Bennet was wonderfully accurate, particularly the scene in which s/he reacts to the news of Lydia’s elopement, and I thoroughly enjoyed the (over)acting in these parts.
Other roles were adopted Worcester Rep favourites such as Jonathan Darby, who delivered a wonderful show as Mr Bennet, and John-Robert Partridge who delivered a brilliantly smarmy Mr Collins (although that unfortunate speech impediment started to become a touch uncomfortable after the fifth **** or so).
From start to finish, there are several familiar faces throughout and this familiarity among the cast is what allows the production to hang together so well in its entirety. The actors bounce off each other allowing for several moments where, far from laughing at them, it felt very much like we audience members were laughing along with them. The glorious paddling pool/rubber ring scene and the never-ending push-ups (poor Wickham/Tom Riddle) were two of the best moments for me last night, and I couldn’t tell you what was improvised there and what was in fact planned and prepared – such is the ease with which the cast interacts.
Ben Humphrey – another well-known name to Worcester Rep – took to the Director’s chair for this particular production and his work has paid off. Pride & (quite a lot of) Prejudice is amusing, self-referential to great effect, and it is also exceptionally well-polished. Worcester Rep have once again banded together for a strong stretch of rehearsals resulting in confidence and conviction on stage, and Humphrey as directed the team well to put together a contemporary version of events.
To that end, if you are looking for a traditional re-telling of an English classic, in truth I would look elsewhere. However, if you are looking for easy-viewing and amusing interactions, set over a back-drop of beautiful gardens, accompanied by summer sunshine and picnics (thank goodness the British weather was on our side this year), then look no further than this production because it is everything you’ll need for an evening of easy entertainment.
The performance for this year runs from July 2nd through to July 14th (excluding Monday, July 8th) and tickets are available online by accessing the Worcester Rep, or Worcester Live, websites.
Written by: Charlotte Barnes
Published: 5th July 2019
Charlie Ryan and Genevieve Lowe took the roles of Darcy and Lizzie Bennet respectively, delivering a strong performance and a charming proposal scene to close the play (helped along by Mrs Bennet who was played, naturally, by none other than Edward Manning). It was unfortunate to lose some of the bookish nature that Lizzie possessed in the original storyline; although, needs must when working with a limited timeframe (and when introducing quite so much comedy). That said, Manning’s own delivery of Mrs Bennet was wonderfully accurate, particularly the scene in which s/he reacts to the news of Lydia’s elopement, and I thoroughly enjoyed the (over)acting in these parts.
Other roles were adopted Worcester Rep favourites such as Jonathan Darby, who delivered a wonderful show as Mr Bennet, and John-Robert Partridge who delivered a brilliantly smarmy Mr Collins (although that unfortunate speech impediment started to become a touch uncomfortable after the fifth **** or so).
From start to finish, there are several familiar faces throughout and this familiarity among the cast is what allows the production to hang together so well in its entirety. The actors bounce off each other allowing for several moments where, far from laughing at them, it felt very much like we audience members were laughing along with them. The glorious paddling pool/rubber ring scene and the never-ending push-ups (poor Wickham/Tom Riddle) were two of the best moments for me last night, and I couldn’t tell you what was improvised there and what was in fact planned and prepared – such is the ease with which the cast interacts.
Ben Humphrey – another well-known name to Worcester Rep – took to the Director’s chair for this particular production and his work has paid off. Pride & (quite a lot of) Prejudice is amusing, self-referential to great effect, and it is also exceptionally well-polished. Worcester Rep have once again banded together for a strong stretch of rehearsals resulting in confidence and conviction on stage, and Humphrey as directed the team well to put together a contemporary version of events.
To that end, if you are looking for a traditional re-telling of an English classic, in truth I would look elsewhere. However, if you are looking for easy-viewing and amusing interactions, set over a back-drop of beautiful gardens, accompanied by summer sunshine and picnics (thank goodness the British weather was on our side this year), then look no further than this production because it is everything you’ll need for an evening of easy entertainment.
The performance for this year runs from July 2nd through to July 14th (excluding Monday, July 8th) and tickets are available online by accessing the Worcester Rep, or Worcester Live, websites.
Written by: Charlotte Barnes
Published: 5th July 2019
Theatre review: Pygmalion by tread the boards theatre company
On Wednesday 19th June, I ventured to the beautiful Stratford-upon-Avon for my first show at The Attic Theatre. With the direction of Jonas Cemm, Tread the Boards theatre company performed a witty, laugh-out-loud production of Pygmalion, written by George Bernard Shaw and first performed in 1913.
As it’s name suggests, the theatre is in the attic of a gorgeous building, with a canal front bar right next door for those interval drinks, and the theatre itself accessible by lift for those who require it. From beginning to end, the front of house staff were helpful and friendly making the little theatre feel intimate and personal.
Director, Jonas Cemm, describes Pygmalion as, ‘a twisted Cinderella story’ and the twist is wholly feminist. The plot centres around the expert linguist, Professor Henry Higgins, who bets he can take common flower girl, Eliza Doolittle, and pass her off as a Duchess by training her to speak and act “properly”. However, Eliza is no silent experiment subject, and the other women in Higgins’ life - his mother and his housekeeper - are also women to watch.
What caught and held the audience in this production was the wonderful witty chemistry between the characters. John-Robert Partridge takes on the role of Professor Henry Higgins and prompted many a laugh from the audience with his unashamed frankness. However, the times Higgins’ character crosses the line in his treatment of Eliza, the audience was left in stunned silence, proving how well Partridge strikes a balance between the comedy and complexity of his character.
Of course, Eliza, played wonderfully by Alexandra Whitworth, is a focal point throughout the play. Whitworth takes Eliza’s character from a howling flower girl to a poised and precise Duchess. Her dramatic wailing of the early scenes is comical, but serves to make her later, silent tears all the more heartbreaking. The relationship captured by Whitworth and Partridge is layered but ultimately unequal and while we might laugh at Higgins’ character, we can’t help but route for Eliza as she continually fights to hold her own in the difficult scenario she finds herself in.
Martin Timms, in the role of Colonel Pickering, injects a much needed level of empathy towards Eliza, and between Whitworth and Timms, their characters friendship grows in warmth and respect in a manner that is touching and powerful.
A moment must be taken to appreciate the acting of Den Woods and Dawn Bush for their respective roles of Mrs Higgins (Henry’s mother) and Mrs Pearce (Henry’s housekeeper). These women radiate strength, clarity and kindness throughout the play, getting the audience on their side every time they out-wit or out-smart the arrogant Henry, or Eliza’s hilarious but uncaring father, played by William Hayes. Although both women present their characters to have a direct manner of speaking, they contrast to Partridge’s character by the simple fact that they acknowledge Eliza as a human being, with thoughts, ideas and feelings of her own. These women brought as empowering a feeling to the play as the brilliant Whitworth, together making it a thing of female strength.
Ultimately, this 8 person play is fiercely funny. Against a single, simple, but intriguing backdrop, the audience is taken from location to location with the aid of some swift furniture rearranging. Effortlessly, we are carried along from place to place and through lapses of time, remaining constantly invested in these actors and their characters. Tread the Board theatre company takes these strong female characters in a male dominated world to demonstrate the nuances of strength. The quick-witted dialogue was performed with ease and the audience united behind any character who could put Henry Higgins in his place for a moment or two. I (and I am sure I am not the only one) left the theatre feeling emboldened, and thoroughly entertained!
Written by: Beth O’Brien
Published: 22nd June 2019
As it’s name suggests, the theatre is in the attic of a gorgeous building, with a canal front bar right next door for those interval drinks, and the theatre itself accessible by lift for those who require it. From beginning to end, the front of house staff were helpful and friendly making the little theatre feel intimate and personal.
Director, Jonas Cemm, describes Pygmalion as, ‘a twisted Cinderella story’ and the twist is wholly feminist. The plot centres around the expert linguist, Professor Henry Higgins, who bets he can take common flower girl, Eliza Doolittle, and pass her off as a Duchess by training her to speak and act “properly”. However, Eliza is no silent experiment subject, and the other women in Higgins’ life - his mother and his housekeeper - are also women to watch.
What caught and held the audience in this production was the wonderful witty chemistry between the characters. John-Robert Partridge takes on the role of Professor Henry Higgins and prompted many a laugh from the audience with his unashamed frankness. However, the times Higgins’ character crosses the line in his treatment of Eliza, the audience was left in stunned silence, proving how well Partridge strikes a balance between the comedy and complexity of his character.
Of course, Eliza, played wonderfully by Alexandra Whitworth, is a focal point throughout the play. Whitworth takes Eliza’s character from a howling flower girl to a poised and precise Duchess. Her dramatic wailing of the early scenes is comical, but serves to make her later, silent tears all the more heartbreaking. The relationship captured by Whitworth and Partridge is layered but ultimately unequal and while we might laugh at Higgins’ character, we can’t help but route for Eliza as she continually fights to hold her own in the difficult scenario she finds herself in.
Martin Timms, in the role of Colonel Pickering, injects a much needed level of empathy towards Eliza, and between Whitworth and Timms, their characters friendship grows in warmth and respect in a manner that is touching and powerful.
A moment must be taken to appreciate the acting of Den Woods and Dawn Bush for their respective roles of Mrs Higgins (Henry’s mother) and Mrs Pearce (Henry’s housekeeper). These women radiate strength, clarity and kindness throughout the play, getting the audience on their side every time they out-wit or out-smart the arrogant Henry, or Eliza’s hilarious but uncaring father, played by William Hayes. Although both women present their characters to have a direct manner of speaking, they contrast to Partridge’s character by the simple fact that they acknowledge Eliza as a human being, with thoughts, ideas and feelings of her own. These women brought as empowering a feeling to the play as the brilliant Whitworth, together making it a thing of female strength.
Ultimately, this 8 person play is fiercely funny. Against a single, simple, but intriguing backdrop, the audience is taken from location to location with the aid of some swift furniture rearranging. Effortlessly, we are carried along from place to place and through lapses of time, remaining constantly invested in these actors and their characters. Tread the Board theatre company takes these strong female characters in a male dominated world to demonstrate the nuances of strength. The quick-witted dialogue was performed with ease and the audience united behind any character who could put Henry Higgins in his place for a moment or two. I (and I am sure I am not the only one) left the theatre feeling emboldened, and thoroughly entertained!
Written by: Beth O’Brien
Published: 22nd June 2019
Poetry review: 30-40-60 at St Andrew's Church, Droitwich (17 July 2018), under Droitwich ArtsFest
It's a Tuesday evening, the sun is dipping, and it already feels like a long week, only two days in; enter Nina Lewis, Claire Walker, and Kathy Gee to save the day and turn Tuesday upside down and back again with their three-woman poetry-show complete with multi-media elements galore.
The three women - nay, the three poets - are aligned by their womanhood and their publisher, as all three writers have previously published works under indie poetry publisher V. Press, and it is from their previous works - Fragile House (Nina Lewis), The Girl Who Grew Into A Crocodile (Claire Walker), and Book of Bones (Kathy Gee) - that these three shape their show.
Moving through the complexities of womanhood and a female life at varying stages, Lewis, Walker and Gee combine their works seamlessly, borrowing from each other's works wonderfully to breathe a new life into many of their respective poems. The vocal delivery throughout was clear and concise while the poems were shared out across the three separate voices too, allowing the collaborative feel of the show to really come through. All three performed with care and control over their work and indeed each other's, showing just how much time, effort, and synchronisation has gone into the planning of this.
Having read the three collections that the show is made up from, what struck me as particularly wonderful is how these poems are made new by this new-style delivery, complete with musical and visual accompaniments - thanks to Lewis' film addition to the show. Overall, 30-40-60 is empowered, well-put together, and downright inspiring, thanks to the strong feminist themes and defiant tones that come through from the off - and the authors themselves don't ease off that pedal until the final music plays.
A well-polished and thought-provoking collaboration that shows these three poets as a marvelous team, while reminding listeners what stunning writers they all are in their own rights as well. Stay tuned for a repeats of the performance - at one festival or another, no doubt - in the coming months because this is certainly a show worth seeing for the poetry-lovers out there.
Written by: Charlotte Barnes
Published: 20 July 2018
The three women - nay, the three poets - are aligned by their womanhood and their publisher, as all three writers have previously published works under indie poetry publisher V. Press, and it is from their previous works - Fragile House (Nina Lewis), The Girl Who Grew Into A Crocodile (Claire Walker), and Book of Bones (Kathy Gee) - that these three shape their show.
Moving through the complexities of womanhood and a female life at varying stages, Lewis, Walker and Gee combine their works seamlessly, borrowing from each other's works wonderfully to breathe a new life into many of their respective poems. The vocal delivery throughout was clear and concise while the poems were shared out across the three separate voices too, allowing the collaborative feel of the show to really come through. All three performed with care and control over their work and indeed each other's, showing just how much time, effort, and synchronisation has gone into the planning of this.
Having read the three collections that the show is made up from, what struck me as particularly wonderful is how these poems are made new by this new-style delivery, complete with musical and visual accompaniments - thanks to Lewis' film addition to the show. Overall, 30-40-60 is empowered, well-put together, and downright inspiring, thanks to the strong feminist themes and defiant tones that come through from the off - and the authors themselves don't ease off that pedal until the final music plays.
A well-polished and thought-provoking collaboration that shows these three poets as a marvelous team, while reminding listeners what stunning writers they all are in their own rights as well. Stay tuned for a repeats of the performance - at one festival or another, no doubt - in the coming months because this is certainly a show worth seeing for the poetry-lovers out there.
Written by: Charlotte Barnes
Published: 20 July 2018
Theatre Review: The Hound of the Baskervilles by Worcester repertory Company (13 July 2018)
On an annual basis the Worcester Repertory Company bring their hilarious antics to The Commandery in Worcester City Centre to wow audiences with an outdoor performance (weather-permitting, that is) of something classic. Last year they were forced to bring the show indoors due to a last-minute downpour and I’m afraid that this year followed suit. Through no fault of the Rep’s own, of course, the first fifteen minutes in the venue itself was given over to a medley of moving chairs and ‘Can you move up, please?’ which, little did I know at the time, was probably an appropriate prelude to the organised chaos of the comedy that followed.
A loose interpretation of the genre of the text, Chris Jaeger has re-written Conan Doyle’s classic The Hound of Baskervilles in a slapstick format allowing for an influx of comedic moments that had attendees howling with laughter – so needless to say, Jaeger certainly knows his audience.
The show itself was put together from familiar faces such as the likes of Ben Humphrey, who played the iconic Sherlock Holmes as you’ve probably never seen him before, alongside John-Robert Partridge as an unexpectedly dippy Dr Watson. The likes of Liz Grand made her return as Mrs Hudson/Mrs Barrymore, Nick Wilkes made for a strong and confident Mortimer, alongside Victoria Lucie (Miss Stapleton), Murray Andrews (Sir Henry Baskerville), Jonathan Darby (Laura Lyons/Stapleton) and Edward Manning (Barrymore).
While some of the comedy caused more of a groan than it did a laugh, it can’t be overlooked that this company as a whole just works. The on-stage chemistry between the actors made the entire production for me and, despite the show needing a ‘comedy of errors’ caveat, the (apparent) errors made the whole thing all the more enjoyable.
The off-script moments showed the real talent and initiative of this company as they batted back and forth with rowdy audience members, had an amusing walk around the moors (which was limited on account of the last-minute staging change), and they even appeared to actively trip each other up by prompting Sherlock for scenes that had apparently been removed during rehearsal. Whether this was deliberate and accounted for, or whether it was the actors messing about, I can’t say for certain; what I can say is that these actors know each other and they know their abilities, and that is the real strength of the performance this year.
Humphrey’s booming vocals and Partridge’s obvious flair for improvisational comedy made for stand-out moments, of course, and the pair work wonderfully together to re-master the iconic Sherlock and Watson duo, making for show unlike anything else I’ve seen in other adaptations. But even in their moments of stardom, the two actors were supported by their fellow cast members who heightened the comedy further by always being on-hand for an impromptu outburst, which again left the audience roaring.
The Hound of Baskervilles – dad jokes aside – is a strong and confident show from a company that knows its craft. The Worcester Repertory Company has a collective of skilled actors paving the way for future shows and, while Charley's Aunt is a hard show to beat, The Hound of the Baskervilles is certainly bringing its share of laughs to The Commandary this summer.
Written by: Charlotte Barnes
Published: 14 July 2018
A loose interpretation of the genre of the text, Chris Jaeger has re-written Conan Doyle’s classic The Hound of Baskervilles in a slapstick format allowing for an influx of comedic moments that had attendees howling with laughter – so needless to say, Jaeger certainly knows his audience.
The show itself was put together from familiar faces such as the likes of Ben Humphrey, who played the iconic Sherlock Holmes as you’ve probably never seen him before, alongside John-Robert Partridge as an unexpectedly dippy Dr Watson. The likes of Liz Grand made her return as Mrs Hudson/Mrs Barrymore, Nick Wilkes made for a strong and confident Mortimer, alongside Victoria Lucie (Miss Stapleton), Murray Andrews (Sir Henry Baskerville), Jonathan Darby (Laura Lyons/Stapleton) and Edward Manning (Barrymore).
While some of the comedy caused more of a groan than it did a laugh, it can’t be overlooked that this company as a whole just works. The on-stage chemistry between the actors made the entire production for me and, despite the show needing a ‘comedy of errors’ caveat, the (apparent) errors made the whole thing all the more enjoyable.
The off-script moments showed the real talent and initiative of this company as they batted back and forth with rowdy audience members, had an amusing walk around the moors (which was limited on account of the last-minute staging change), and they even appeared to actively trip each other up by prompting Sherlock for scenes that had apparently been removed during rehearsal. Whether this was deliberate and accounted for, or whether it was the actors messing about, I can’t say for certain; what I can say is that these actors know each other and they know their abilities, and that is the real strength of the performance this year.
Humphrey’s booming vocals and Partridge’s obvious flair for improvisational comedy made for stand-out moments, of course, and the pair work wonderfully together to re-master the iconic Sherlock and Watson duo, making for show unlike anything else I’ve seen in other adaptations. But even in their moments of stardom, the two actors were supported by their fellow cast members who heightened the comedy further by always being on-hand for an impromptu outburst, which again left the audience roaring.
The Hound of Baskervilles – dad jokes aside – is a strong and confident show from a company that knows its craft. The Worcester Repertory Company has a collective of skilled actors paving the way for future shows and, while Charley's Aunt is a hard show to beat, The Hound of the Baskervilles is certainly bringing its share of laughs to The Commandary this summer.
Written by: Charlotte Barnes
Published: 14 July 2018
Review: A Conversation with Margaret Atwood (Royal Theatre, drury Lane, 3 June 2018)
On Sunday evening in early June, the Royal Theatre, Drury Lane hosted ‘An evening with Margaret Atwood’. You know, in case headlining the ‘Under His Eye: Women and Climate Change’ conference at the British Library earlier that week wasn't keeping the 78-year-old Canadian novelist and poet busy enough. Atwood entered the stage wearing clothes of vivid red and she did not wait long to tell the excited audience that it was completely intentional...
The Guardian’s Lisa Allardice conducted the interview with a mixture of humour and affection, but with the hint of trepidation that all interviewers seem to have around Atwood.
The first forty-five minutes consisted of Allardice asking Atwood much more about the TV adaptations of her works than the novels themselves. She called 2017 ‘The year of Atwood’ with both The Handmaid’s Tale and Alias Grace having been adapted into television series. It was fitting, given that every audience member was missing the airing of episode three of the second season of the Handmaid’s Tale to be at the theatre, that the opening question probed at how Atwood felt about letting her novel be taken into new hands, and beyond the original text. Atwood’s immediate reply was: 'I did not “let”'. She explained a series of complications with contracts that ultimately meant the rights for the TV show had been sold as part of the contract for the original film made in 1990. Atwood admitted she is allowed to read the scripts and often adds her own comments, but conceded that this does not mean they are listened to. However, she assured us that the director was very keen for Atwood to like the programme, it being bad for business if she didn’t. Atwood spoke warmly about those who have worked on the adaptations of her novels, particularly Ane Crabtree, the costume designer behind the now iconic red dresses worn by the handmaids.
The evening progressed through a range of topics from Atwood’s seemingly prophetic abilities, to the necessity to save our oceans, and the current political scene. Allardice, in a self-proclaimed bid to let the audience leave for the interval on an uplifting note, asked Atwood to repeat an answer she had given at a previous interview when asked if these are the worst times we have seen. Atwood partly complied to Allardice’s request saying, ‘These are not the worst times the world has seen...’ before adding an ominous but comical, ‘yet.’
The second half of the evening began with a performance of two unpublished poems by Atwood herself, on the wonderfully Atwood-esque topics of slug sex, and female werewolves. Allardice restarted the conversation using questions submitted by audience members, slipping in some of her own because, as she rightly said, ‘I can’.
Atwood’s answers about her writing process were entertainingly witty, her renowned feistiness over Twitter clearly extending into the publishing house too. However, she seemed wholly reluctant to directly answer Allardice’s question about the “F-word”. When asked how she felt about The Handmaid’s Tale being appropriated as a feminist text, Atwood went off on along ramble about different types of feminism that had existed in the 50s, 60s, 70s, 80s... stopping before she began to describe feminism today. Allardice joked that she had known Atwood would avoid this question, and it became a form of comical evasion. However, humour aside, it was perhaps the only disappointing moment of the evening.
On the other hand, Atwood was eager to alert the audience to the #AfterMeToo movement in Canada. Atwood stated that the #AfterMeToo movement was a shift away from the initial anger sparked by #MeToo, pledging a safe place to report incidents of abuse and an independent inquiry into every accusation. Atwood’s criticism of the #MeToo movement had caused much controversy on Twitter and in the media, however, she reiterated her previous defence that once you start ignoring human rights, such as the right to a fair trial, women’s rights go too.
The final topic of conversation was centred around Atwood’s writing process, smattered with tantalising hints about a new novel on the horizon, with no further information than that she is writing one. Atwood entertained the audience with an explanation of how she teases her publishers with a colour coded graph showing how many chapters of her current project she has written, is writing, or is still planning, without giving any indication of content or length. She gleefully stated that,’It’s mean, isn’t it?’ explaining it is just to give them some encouragement, so that they know she is writing. Regarding the new novel, she said that she was not yet at the stage to send a colour coded graph to the publishers, suggesting she is still very much in the early stages of writing.
In a final bid to get a hint about what Atwood’s new novel will be about, Allardice asked whether we should be scared. Atwood appeared to consider this, pausing for a moment before replying, ‘You see, the thing about books, is that they’re books. If you’re scared, you just go like this...’ she said, miming the closing of a book. The audience left the theatre on this lighthearted, humorous note, but we were all quietly reminded that Atwood’s novels do still have that power to scare us...
Written by: Beth O'Brien
Published: 16 June 2018
The Guardian’s Lisa Allardice conducted the interview with a mixture of humour and affection, but with the hint of trepidation that all interviewers seem to have around Atwood.
The first forty-five minutes consisted of Allardice asking Atwood much more about the TV adaptations of her works than the novels themselves. She called 2017 ‘The year of Atwood’ with both The Handmaid’s Tale and Alias Grace having been adapted into television series. It was fitting, given that every audience member was missing the airing of episode three of the second season of the Handmaid’s Tale to be at the theatre, that the opening question probed at how Atwood felt about letting her novel be taken into new hands, and beyond the original text. Atwood’s immediate reply was: 'I did not “let”'. She explained a series of complications with contracts that ultimately meant the rights for the TV show had been sold as part of the contract for the original film made in 1990. Atwood admitted she is allowed to read the scripts and often adds her own comments, but conceded that this does not mean they are listened to. However, she assured us that the director was very keen for Atwood to like the programme, it being bad for business if she didn’t. Atwood spoke warmly about those who have worked on the adaptations of her novels, particularly Ane Crabtree, the costume designer behind the now iconic red dresses worn by the handmaids.
The evening progressed through a range of topics from Atwood’s seemingly prophetic abilities, to the necessity to save our oceans, and the current political scene. Allardice, in a self-proclaimed bid to let the audience leave for the interval on an uplifting note, asked Atwood to repeat an answer she had given at a previous interview when asked if these are the worst times we have seen. Atwood partly complied to Allardice’s request saying, ‘These are not the worst times the world has seen...’ before adding an ominous but comical, ‘yet.’
The second half of the evening began with a performance of two unpublished poems by Atwood herself, on the wonderfully Atwood-esque topics of slug sex, and female werewolves. Allardice restarted the conversation using questions submitted by audience members, slipping in some of her own because, as she rightly said, ‘I can’.
Atwood’s answers about her writing process were entertainingly witty, her renowned feistiness over Twitter clearly extending into the publishing house too. However, she seemed wholly reluctant to directly answer Allardice’s question about the “F-word”. When asked how she felt about The Handmaid’s Tale being appropriated as a feminist text, Atwood went off on along ramble about different types of feminism that had existed in the 50s, 60s, 70s, 80s... stopping before she began to describe feminism today. Allardice joked that she had known Atwood would avoid this question, and it became a form of comical evasion. However, humour aside, it was perhaps the only disappointing moment of the evening.
On the other hand, Atwood was eager to alert the audience to the #AfterMeToo movement in Canada. Atwood stated that the #AfterMeToo movement was a shift away from the initial anger sparked by #MeToo, pledging a safe place to report incidents of abuse and an independent inquiry into every accusation. Atwood’s criticism of the #MeToo movement had caused much controversy on Twitter and in the media, however, she reiterated her previous defence that once you start ignoring human rights, such as the right to a fair trial, women’s rights go too.
The final topic of conversation was centred around Atwood’s writing process, smattered with tantalising hints about a new novel on the horizon, with no further information than that she is writing one. Atwood entertained the audience with an explanation of how she teases her publishers with a colour coded graph showing how many chapters of her current project she has written, is writing, or is still planning, without giving any indication of content or length. She gleefully stated that,’It’s mean, isn’t it?’ explaining it is just to give them some encouragement, so that they know she is writing. Regarding the new novel, she said that she was not yet at the stage to send a colour coded graph to the publishers, suggesting she is still very much in the early stages of writing.
In a final bid to get a hint about what Atwood’s new novel will be about, Allardice asked whether we should be scared. Atwood appeared to consider this, pausing for a moment before replying, ‘You see, the thing about books, is that they’re books. If you’re scared, you just go like this...’ she said, miming the closing of a book. The audience left the theatre on this lighthearted, humorous note, but we were all quietly reminded that Atwood’s novels do still have that power to scare us...
Written by: Beth O'Brien
Published: 16 June 2018
Theatre Review: Lord of the Flies by BOA Actors (Birmingham Old Rep Theatre 27 April 2018)
Yesterday evening, alongside a collective of excited audience members, I piled into Birmingham’s Old Rep Theatre to see the BOA Actors’ rendition of an all-female Lord of the Flies, rewritten for the stage by Nigel Williams and directed by Jade Allen. The play ran across two nights – April 26th and April 27th – with a different cast taking to the stage for each separate occasion. I can’t comment on the actors involved in Thursday evening’s production, but the young women who took to the stage on Friday evening absolutely blew me – and, I’m sure, everyone else – away with their delivery of a classic novel, complete with a contemporary gender twist.
The play opens with a beautifully choreographed plane crash, introducing the tragic incidents that bring this female group to the island to begin with. We are quickly introduced to Raffy (Natalie Evans) and Piggy (Imogen Clarke) who strike up an endearing and authentic friendship from the off. Both characters – indeed, both actors – balance each other well making for entertaining viewing to begin with, and troubling viewing in the scenes that follow. Shortly after this introduction we meet Jack (Charlotte Mason) and her gang of choir girl cronies including Sam (Leah Nicholls), Erin (Anna Freer), Marie (Lara Jobling), Henrietta (Kaitlyn Elward), Persephone (Charlie Toney) and, despite being on the outskirts of the group, there is also Simone (Amelia Howard). The girls are later joined by Rowena (Charlie Sadler), also stranded on the island following the plane crash, she joins the girls already on-stage and becomes a tremendously important character as the story continues.
It is important to note that these girls are wonderfully vicious from the off! There is no warm-up period in which to acclimatise to the cruelty of teenage girls; far from it, in fact, with Charlotte Mason at the helm leading the cast into a lifestyle of savagery that they only too comfortably fall in line with. Mason’s performance throughout was of top quality and her slow deterioration from human-child to wilderness-killer is beautifully handled as the play progresses. Mason – or perhaps that should read Jack – also does a fine job of dragging her fellow cast members down with her, resulting in the eventual, somewhat inevitable even, murder of Simone – a convincingly troubled character, commendably delivered by Howard. Simone’s death scene was a standout moment for me, and Raffy’s (Evans) part in this made for a horrendous moment of realisation and reflection in this scene, too.
The two chiefs – Raffy (Evans) and Jack (Mason) – face off at various points throughout the play, allowing both actors their fair share of centre stage time. The psychology of both characters is convincing throughout, and their slow downward spiral genuinely moved me, despite their immoral actions that happened intermittently as well. Evans and Mason made for marvellous leaders in this play and, with a cast that is star-studded to accompany them (with a particular commendation to Piggy (Clarke) who I adored from the off), the play is a moving, troubling look into the human state and the ways in which we can lose our control of it.
The staging was well-handled throughout despite being confined to a relatively small space, and the effective use of lighting made sure that the different groups were segregated from each other quite clearly, despite occupying top and bottom layers of the same stage space. Alongside this the audio and music choices throughout were exceptional, too! They added tension throughout to great effect and they brought a new dynamic into the on-stage atmosphere that I really appreciated.
Overall, this Lord of the Flies was truly enjoyable to me. My one gripe – for want of a less severe word, perhaps – is that I would have liked more gendered comments. There was a beautiful moment when, post-killing her first pig, Jack grabbed Piggy’s crotch with a bloodied hand and asked whether she was used to the sight of blood. There were gasps from one or two audience members but personally, I absolutely loved this moment! In using an all-female cast there was room, for viewers such as myself at least, to play more to the female-ness of the characters and I do believe this could have been done without damaging the overall integrity of the work. However, as criticisms go, this is a relatively minor one and it certainly didn’t detract from my overall viewing enjoyment.
It is clear from their updated rendition of William Golding’s classic that BOA Actors is a collective on the rise, packed with various names that are certainly worth looking out for. A thoroughly enjoyable evening, I look forward to whatever this group plans on serving up next!
Written by: Charlotte Barnes
Published: 28 April 2018
The play opens with a beautifully choreographed plane crash, introducing the tragic incidents that bring this female group to the island to begin with. We are quickly introduced to Raffy (Natalie Evans) and Piggy (Imogen Clarke) who strike up an endearing and authentic friendship from the off. Both characters – indeed, both actors – balance each other well making for entertaining viewing to begin with, and troubling viewing in the scenes that follow. Shortly after this introduction we meet Jack (Charlotte Mason) and her gang of choir girl cronies including Sam (Leah Nicholls), Erin (Anna Freer), Marie (Lara Jobling), Henrietta (Kaitlyn Elward), Persephone (Charlie Toney) and, despite being on the outskirts of the group, there is also Simone (Amelia Howard). The girls are later joined by Rowena (Charlie Sadler), also stranded on the island following the plane crash, she joins the girls already on-stage and becomes a tremendously important character as the story continues.
It is important to note that these girls are wonderfully vicious from the off! There is no warm-up period in which to acclimatise to the cruelty of teenage girls; far from it, in fact, with Charlotte Mason at the helm leading the cast into a lifestyle of savagery that they only too comfortably fall in line with. Mason’s performance throughout was of top quality and her slow deterioration from human-child to wilderness-killer is beautifully handled as the play progresses. Mason – or perhaps that should read Jack – also does a fine job of dragging her fellow cast members down with her, resulting in the eventual, somewhat inevitable even, murder of Simone – a convincingly troubled character, commendably delivered by Howard. Simone’s death scene was a standout moment for me, and Raffy’s (Evans) part in this made for a horrendous moment of realisation and reflection in this scene, too.
The two chiefs – Raffy (Evans) and Jack (Mason) – face off at various points throughout the play, allowing both actors their fair share of centre stage time. The psychology of both characters is convincing throughout, and their slow downward spiral genuinely moved me, despite their immoral actions that happened intermittently as well. Evans and Mason made for marvellous leaders in this play and, with a cast that is star-studded to accompany them (with a particular commendation to Piggy (Clarke) who I adored from the off), the play is a moving, troubling look into the human state and the ways in which we can lose our control of it.
The staging was well-handled throughout despite being confined to a relatively small space, and the effective use of lighting made sure that the different groups were segregated from each other quite clearly, despite occupying top and bottom layers of the same stage space. Alongside this the audio and music choices throughout were exceptional, too! They added tension throughout to great effect and they brought a new dynamic into the on-stage atmosphere that I really appreciated.
Overall, this Lord of the Flies was truly enjoyable to me. My one gripe – for want of a less severe word, perhaps – is that I would have liked more gendered comments. There was a beautiful moment when, post-killing her first pig, Jack grabbed Piggy’s crotch with a bloodied hand and asked whether she was used to the sight of blood. There were gasps from one or two audience members but personally, I absolutely loved this moment! In using an all-female cast there was room, for viewers such as myself at least, to play more to the female-ness of the characters and I do believe this could have been done without damaging the overall integrity of the work. However, as criticisms go, this is a relatively minor one and it certainly didn’t detract from my overall viewing enjoyment.
It is clear from their updated rendition of William Golding’s classic that BOA Actors is a collective on the rise, packed with various names that are certainly worth looking out for. A thoroughly enjoyable evening, I look forward to whatever this group plans on serving up next!
Written by: Charlotte Barnes
Published: 28 April 2018
Theatre Review: The Young Rep Bring Macbeth to The Swan Theatre, Worcester!
Yesterday evening, for the final show in a week-long run of performances, I went along to The Swan Theatre in Worcester City Centre to observe the stars of The Young Rep, a branch off from Worcester Rep, bring Shakespeare's Macbeth to the stage. Audience members were ushered into the main hall under a gathering mist that emanated from the stage, and given five minutes or so before the performance proper to admire an appropriately bare setting, cleverly made up of scaffolding structures. The lights dropped, the drums started, and something truly special happened at The Swan Theatre last night.
The Young Rep's Macbeth was opened by the three witches, played by Charlotte Mason, Hannah Whitehouse, and Steffi Mountain and they were nothing short of glorious! Eerie, villainous, and beautifully delivered throughout the entire performance, these three characters and indeed actors were stand-out for me, and they set the scene brilliantly for the drama that followed.
For a collective that prides itself on consisting of young actors, there was certainly nothing immature about their polished performances and sincere deliveries last night. Alex Buckley made for a fine Duncan but he really came into his own when he took to the role of Macduff; passionate, proud, and authentic, Buckley brought the character to the stage with a bang and he maintained his forceful delivery throughout, making for a memorable performance. Meanwhile Alex Scoby moved between the roles of Banquo, Seyton, and Young Siward with considerable ease, delivering a Banquo that I was genuinely sad to bid farewell to; again, Scoby's delivery was convincing and his later appearance as Banquo's ghost made for some deliciously chilling moments.
And now, we come to Malcolm, here played by Emily Jones who brought the role to life with some conviction. Jones' delivery was good at the start but great by the finish and her command of her fellow cast members in the final moments of the drama made for wonderful viewing! A stand-out member of this company, Jones did herself proud in last night's performance, delivering a Malcolm that was believable and passionate in equal measures.
From the female actors to the female characters, I have to here turn my attention to Lady Macbeth. Charlotte Mason - of previous witch fame, see two paragraphs above - was also playing the role of Lady Macbeth and her delivery was simply stunning. A star on the rise, Mason delivered a Lady Macbeth who was fierce, surprisingly sassy, and undeniably determined; the role was presented with conviction and authenticity, and her mental fragility in the second half of the work made for some beautifully sad moments. Mason was a worthy Lady Macbeth and I sincerely hope to see more of this young actor at The Swan Theatre in future productions.
But let us not forget, there would be no Lady Macbeth without the Macbeth tyrant himself, here brought to life by George Ormerod - and my, didn't he bring Macbeth to life! Omerod was energetic, tortured, enthusiastic and, towards the end, downright disturbing, and this young actor made every second of his stage time count. Macbeth was wonderfully cast here as Ormerod has the ability to move between emotions - from rage to inner torment - taking his entire audience along with him. Ormerod and Mason, as the on-stage lovers, also need a collaborative commendation here as their chemistry was brilliant, which of course only added to the authenticity of the work in its entirety.
A cleverly dressed stage and a wonderful soundtrack of appropriately eerie noises, and Macbeth was complete. Each actor in this piece contributed to the polished final end, and The Young Rep has certainly made its mark with this performance. Directed by Ben Humphrey and delivered by rising stars galore, there are names worth looking out for on Macbeth's casting bill, and I cannot wait to see what The Young Rep does next.
Written by: Charlotte Barnes
Published: 11 March 2018
The Young Rep's Macbeth was opened by the three witches, played by Charlotte Mason, Hannah Whitehouse, and Steffi Mountain and they were nothing short of glorious! Eerie, villainous, and beautifully delivered throughout the entire performance, these three characters and indeed actors were stand-out for me, and they set the scene brilliantly for the drama that followed.
For a collective that prides itself on consisting of young actors, there was certainly nothing immature about their polished performances and sincere deliveries last night. Alex Buckley made for a fine Duncan but he really came into his own when he took to the role of Macduff; passionate, proud, and authentic, Buckley brought the character to the stage with a bang and he maintained his forceful delivery throughout, making for a memorable performance. Meanwhile Alex Scoby moved between the roles of Banquo, Seyton, and Young Siward with considerable ease, delivering a Banquo that I was genuinely sad to bid farewell to; again, Scoby's delivery was convincing and his later appearance as Banquo's ghost made for some deliciously chilling moments.
And now, we come to Malcolm, here played by Emily Jones who brought the role to life with some conviction. Jones' delivery was good at the start but great by the finish and her command of her fellow cast members in the final moments of the drama made for wonderful viewing! A stand-out member of this company, Jones did herself proud in last night's performance, delivering a Malcolm that was believable and passionate in equal measures.
From the female actors to the female characters, I have to here turn my attention to Lady Macbeth. Charlotte Mason - of previous witch fame, see two paragraphs above - was also playing the role of Lady Macbeth and her delivery was simply stunning. A star on the rise, Mason delivered a Lady Macbeth who was fierce, surprisingly sassy, and undeniably determined; the role was presented with conviction and authenticity, and her mental fragility in the second half of the work made for some beautifully sad moments. Mason was a worthy Lady Macbeth and I sincerely hope to see more of this young actor at The Swan Theatre in future productions.
But let us not forget, there would be no Lady Macbeth without the Macbeth tyrant himself, here brought to life by George Ormerod - and my, didn't he bring Macbeth to life! Omerod was energetic, tortured, enthusiastic and, towards the end, downright disturbing, and this young actor made every second of his stage time count. Macbeth was wonderfully cast here as Ormerod has the ability to move between emotions - from rage to inner torment - taking his entire audience along with him. Ormerod and Mason, as the on-stage lovers, also need a collaborative commendation here as their chemistry was brilliant, which of course only added to the authenticity of the work in its entirety.
A cleverly dressed stage and a wonderful soundtrack of appropriately eerie noises, and Macbeth was complete. Each actor in this piece contributed to the polished final end, and The Young Rep has certainly made its mark with this performance. Directed by Ben Humphrey and delivered by rising stars galore, there are names worth looking out for on Macbeth's casting bill, and I cannot wait to see what The Young Rep does next.
Written by: Charlotte Barnes
Published: 11 March 2018
Pantomime Review: Worcester Rep deliver their Annual Panto, Sleeping Beauty, in Style!
Last night Mad Hatter Reviews were invited along to see Worcester Rep's Christmas panto production, Sleeping Beauty. The air was packed with excitement, particularly from the younger members of the audience, setting a wonderful tone from the off - and when the comedy kicked in, things only got better. The story remains intact from the familiar plot that we all know and love, so it wasn't so much the tale itself as the enthusiastic delivery that really made the show, particularly from Ben Humphrey and Oliver Brooks, both of whom had me howling with laughter on more than one occasion.
Our on-stage romance, of course, came from Princess Aurora here played by Victoria Lucie and Prince Valient, played by Tom Riddell. The pair were charming together, delivering a touching musical number and really giving the audience a love at first sight moment. Lucie in particular, though, was every bit the fairytale princess and it was not only heartwarming to see her on-stage, but heartwarming too to see young audience members swooning over her in the lobby after the show. She won over the little princesses in house last night, that's for sure!
Familiar faces Rob Leetham and Liz Grand return to the Rep, too, as The King and Carrabosse (the evil fairy) respectively. Leetham delivers a likable King who is bumbly in an endearing way, while Grand plays the villain part with a great confidence; to be shouted at by so many, and to thrive how she does, is surely an art in itself. Genevieve Lowe, as the good fairy of this piece, is a wonderful counter-balance for Grand's evil fairy and, it has to be noted, Lowe's vocal delivery was simply beautiful - and so bravo to her for that!
Sleeping Beauty also sees the return of Ben Humphrey's Dame Ginny and here, the over-baked and brash nursemaid is delivered to absolute perfection! Ginny is often accompanied by Silly Billy, played by Oliver Brooks, and these two were stand-out for me last night. A Dame Ginny and Silly Billy spin-off show is something I would whole-heartedly endorse! Their finest moments were when they abandoned the script entirely and it became a pure delight to watch two actors - two funny actors, no less - riff off each other to the point that they couldn't control their own laughter, but the audience certainly didn't mind. They were enthusiastic, confident, and a joy to watch in this pairing; an absolute highlight of the evening, for me.
The cast as a whole were perfectly formed and their accompanying dancers were beautiful; the tense cottage scene being another personal highlight from the latter. Sleeping Beauty, on the whole, is good fun, delivered by an enthusiastic cast who pull you in from the off. It's a wonderful experience, for the entire family, and one that I would certainly recommend this Christmastime. Bravo to those involved; Worcester Rep, you've done it again!
Ticket information can be found online by clicking here.
Written by: Charlotte Barnes
Published: 21 December 2017
Our on-stage romance, of course, came from Princess Aurora here played by Victoria Lucie and Prince Valient, played by Tom Riddell. The pair were charming together, delivering a touching musical number and really giving the audience a love at first sight moment. Lucie in particular, though, was every bit the fairytale princess and it was not only heartwarming to see her on-stage, but heartwarming too to see young audience members swooning over her in the lobby after the show. She won over the little princesses in house last night, that's for sure!
Familiar faces Rob Leetham and Liz Grand return to the Rep, too, as The King and Carrabosse (the evil fairy) respectively. Leetham delivers a likable King who is bumbly in an endearing way, while Grand plays the villain part with a great confidence; to be shouted at by so many, and to thrive how she does, is surely an art in itself. Genevieve Lowe, as the good fairy of this piece, is a wonderful counter-balance for Grand's evil fairy and, it has to be noted, Lowe's vocal delivery was simply beautiful - and so bravo to her for that!
Sleeping Beauty also sees the return of Ben Humphrey's Dame Ginny and here, the over-baked and brash nursemaid is delivered to absolute perfection! Ginny is often accompanied by Silly Billy, played by Oliver Brooks, and these two were stand-out for me last night. A Dame Ginny and Silly Billy spin-off show is something I would whole-heartedly endorse! Their finest moments were when they abandoned the script entirely and it became a pure delight to watch two actors - two funny actors, no less - riff off each other to the point that they couldn't control their own laughter, but the audience certainly didn't mind. They were enthusiastic, confident, and a joy to watch in this pairing; an absolute highlight of the evening, for me.
The cast as a whole were perfectly formed and their accompanying dancers were beautiful; the tense cottage scene being another personal highlight from the latter. Sleeping Beauty, on the whole, is good fun, delivered by an enthusiastic cast who pull you in from the off. It's a wonderful experience, for the entire family, and one that I would certainly recommend this Christmastime. Bravo to those involved; Worcester Rep, you've done it again!
Ticket information can be found online by clicking here.
Written by: Charlotte Barnes
Published: 21 December 2017
Theatre Review: William Shakespeare's othello, by Worcester Rep at the Cathedral
Worcester Rep at the Cathedral is an annual event that I usually start counting down towards from late August. It is at that time that I’m on the look-out for an official announcement, and the accompanying publicity, that will reveal the company’s play for the year. This year, it is William Shakespeare’s Othello. One of the few Shakespeare plays that I haven’t studied, or even read, Othello is a highly praised piece of drama that Worcester Rep have successfully transported into a wonderfully atmospheric setting, and their opening night (October 17th) made for a beautiful display of theatre.
For those, like myself, less familiar with the play than other works, let me summarise. Othello loves and marries Desdemona – despite her father’s protests against it. The powerful Othello elects Cassio to be his second in command, to the dismay of Othello’s close friend, Iago. Iago then initiates a path of death and destruction that sees our protagonist corrupted by jealousy, our lovers torn apart, and many of the surrounding characters murdered (or nearly murdered, at least).
Through an enjoyable mixture of familiar and entirely new faces, the Rep has put together a talent-packed cast that works well to deliver the play with force and authenticity. Wesley Charles’ Othello was delivered with passion and conviction and his on-stage interactions with Genevieve Lowe – or rather, Desdemona – were really quite breath-taking at times. The collective gasp from the audience when Charles delivered that mighty slap to his on-stage lover being one such example of these breath-stealing moments.
George Ormerod delivered such an unexpectedly endearing Roderigo that I felt genuinely sad to see his murderous exit from the play, despite seeing it coming. Similarly, Wilf Williams made for an endearing Cassio, with appropriate amounts of charm and authenticity. Williams was not only believable in this role but he also offered some truly stand-out moments in the play as a whole, with his fight scenes in particular providing a high point. In addition to these leading men, I have to pause here to appreciate the commendable portrayal of Emilia by Heidi Gowthorpe. The outright passion and conviction that Gowthorpe incorporated into her final scenes were not only well-acted, but also genuinely moving, too, and brave to her for such displays.
In terms of our main characters then, this leaves us with Iago, here played by Jamie Kwasnik. For the purpose of this review I must suspend my personal feelings on the character – who is undeniably vile and immoral – and simply praise the actor for such a stellar delivery. Kwasnik was inappropriately amusing, sly, cunning, and all other bad things – but in a truly marvellous way. Iago here was ruthless, delivered convincingly with a horrible persona that was maintained well throughout. Commendation for Kwasnik for such a convincing and polished bad guy!
The likes of Ben Humphrey – a marvellous clown, if ever there was one – and Jonathan Darby (as Brabantio/Lodovico) make a welcome return to the Rep in this performance also, with their reliable acting carrying their roles well. Lily Portman and Phil Leach also donned the stage with bite-size but enjoyable performances, adopting a whole host of different roles to carry the play forward. I commend them both for taking on the task of so many personas in such a short time.
And so with another year comes another success for Worcester Rep. Despite one or two dialogue slips during the performance – that were recovered instantly and without prompt – the opening night of Othello was smooth-running and thoroughly enjoyable. The company have again done themselves proud, providing a polished rendition of Shakespeare’s work with a touch of contemporary flare. This is certainly a performance worth seeing.
Ticket information can be found online now by clicking here.
Written by: Charlotte Barnes
Published: 18 October 2017
For those, like myself, less familiar with the play than other works, let me summarise. Othello loves and marries Desdemona – despite her father’s protests against it. The powerful Othello elects Cassio to be his second in command, to the dismay of Othello’s close friend, Iago. Iago then initiates a path of death and destruction that sees our protagonist corrupted by jealousy, our lovers torn apart, and many of the surrounding characters murdered (or nearly murdered, at least).
Through an enjoyable mixture of familiar and entirely new faces, the Rep has put together a talent-packed cast that works well to deliver the play with force and authenticity. Wesley Charles’ Othello was delivered with passion and conviction and his on-stage interactions with Genevieve Lowe – or rather, Desdemona – were really quite breath-taking at times. The collective gasp from the audience when Charles delivered that mighty slap to his on-stage lover being one such example of these breath-stealing moments.
George Ormerod delivered such an unexpectedly endearing Roderigo that I felt genuinely sad to see his murderous exit from the play, despite seeing it coming. Similarly, Wilf Williams made for an endearing Cassio, with appropriate amounts of charm and authenticity. Williams was not only believable in this role but he also offered some truly stand-out moments in the play as a whole, with his fight scenes in particular providing a high point. In addition to these leading men, I have to pause here to appreciate the commendable portrayal of Emilia by Heidi Gowthorpe. The outright passion and conviction that Gowthorpe incorporated into her final scenes were not only well-acted, but also genuinely moving, too, and brave to her for such displays.
In terms of our main characters then, this leaves us with Iago, here played by Jamie Kwasnik. For the purpose of this review I must suspend my personal feelings on the character – who is undeniably vile and immoral – and simply praise the actor for such a stellar delivery. Kwasnik was inappropriately amusing, sly, cunning, and all other bad things – but in a truly marvellous way. Iago here was ruthless, delivered convincingly with a horrible persona that was maintained well throughout. Commendation for Kwasnik for such a convincing and polished bad guy!
The likes of Ben Humphrey – a marvellous clown, if ever there was one – and Jonathan Darby (as Brabantio/Lodovico) make a welcome return to the Rep in this performance also, with their reliable acting carrying their roles well. Lily Portman and Phil Leach also donned the stage with bite-size but enjoyable performances, adopting a whole host of different roles to carry the play forward. I commend them both for taking on the task of so many personas in such a short time.
And so with another year comes another success for Worcester Rep. Despite one or two dialogue slips during the performance – that were recovered instantly and without prompt – the opening night of Othello was smooth-running and thoroughly enjoyable. The company have again done themselves proud, providing a polished rendition of Shakespeare’s work with a touch of contemporary flare. This is certainly a performance worth seeing.
Ticket information can be found online now by clicking here.
Written by: Charlotte Barnes
Published: 18 October 2017
Theatre Review: William Shakespeare's As You Like It, performed by Madcap Theatre Productions
On a surprisingly wet and Winter-like July evening, I went along to the Artrix Arts Centre, Bromsgrove, to see a theatre company that never let me down. Madcap Theatre Productions have been friends of Mad Hatter Reviews for a few years now. Their work is polished, considered, and never fails to raise a smile -- and their current tour of William Shakespeare's As You Like It remains true to the above. The cast took to a charming stage setting yesterday evening to deliver one of Shakespeare's much-loved comedies, and they packed it with classic speeches and personal touches that made for a brilliant display overall.
It was a small but perfectly formed cast, many of whom took on multiple roles with the greatest of ease; so much so, in fact, that when the full cast arrived on stage for their final hurrah, I remember thinking: 'Weren't there more of them?'
Claire Seller made for a wonderful Rosalind; her grilling of Orlando, here played by Robert Moore, made for amusing and cringe-worthy viewing in equal measure, but their on-stage connection raised a swoon or two from audience members. As leading love interests the pair clicked together with the greatest of ease, portraying a charming awkwardness initially and a great confidence with each other by the end -- it was a well-delivered romance throughout. Rosalind's partner in crime, Celia, was here delivered by Beth Johnston who was enthusiastic, authentic, and a joy to watch; Johnston made Celia centre stage on more than one occasion last night and I was certainly glad to see it! Celia's eventual love interest, Oliver (also Orlando's brother -- are you keeping up?), played by Oisin Porter, was delivered convincingly; Porter, particularly in his opening scenes, makes quite the likeable bad guy -- although, his simultaneous delivery of Touchstone, the Fool of this piece, is really the performance that won me over. I have seen Porter play the Fool before; his energy, enthusiasm, and what seems to be natural cheekiness make him a natural for the role.
Matilda Bott, I have to say, stole the show on more than one occasion last night, too! She was Phoebe, she was Le Beau; she was fabulous. Whatever role Bott was delivering, she delivered it with a passion and a conviction that made her an absolute joy to watch, and her scenes were a definite high point. Nick Baldock -- another cast member to take to the stage wearing more than one persona last night -- delivered a polished Duke Frederick and Duke Senior, and his performance as the endearingly dopey William was just lovely! I sat somewhere between feeling sympathy and feeling unashamed amusement, which is certainly not a bad place to be. Patricia Hobday raised similar feelings with her convincing delivery of a whole host of beautifully off-beat characters, all of whom she brought to the stage with enthusiasm; I smiled as soon as she stepped out, before her accent kicked in and gloriously bushy eyebrows (styled for the performance, that is) came out. She was a marvellous addition! As was Emma Leigh, who warrants a special commendation, I feel, for stepping into her roles at the last minute. A family emergency saw the original actor (for Silvius, Jacques, and Charles) step down for the evening, while Leigh stepped up in his place and she was marvellous! Her wrestling, her confidence, and, in fact, the ease with which she fit all parts given to her, were wonderful, and I was truly impressed to see her take to the stage with such ease.
As far as I can see, Madcap Theatre Productions do not have a weak link. They are a strong collective and that comes through, consistently, no matter what they are performing. Talented actors and genuinely lovely people, it is certainly worth going along, having a giggle, and saying a quick hello to them afterwards during their As You Like It Tour.
The remaining tour dates, and information on how to book tickets, can be found online now by clicking here.
Written by: Charlotte Barnes
Published: 29 July 2017
It was a small but perfectly formed cast, many of whom took on multiple roles with the greatest of ease; so much so, in fact, that when the full cast arrived on stage for their final hurrah, I remember thinking: 'Weren't there more of them?'
Claire Seller made for a wonderful Rosalind; her grilling of Orlando, here played by Robert Moore, made for amusing and cringe-worthy viewing in equal measure, but their on-stage connection raised a swoon or two from audience members. As leading love interests the pair clicked together with the greatest of ease, portraying a charming awkwardness initially and a great confidence with each other by the end -- it was a well-delivered romance throughout. Rosalind's partner in crime, Celia, was here delivered by Beth Johnston who was enthusiastic, authentic, and a joy to watch; Johnston made Celia centre stage on more than one occasion last night and I was certainly glad to see it! Celia's eventual love interest, Oliver (also Orlando's brother -- are you keeping up?), played by Oisin Porter, was delivered convincingly; Porter, particularly in his opening scenes, makes quite the likeable bad guy -- although, his simultaneous delivery of Touchstone, the Fool of this piece, is really the performance that won me over. I have seen Porter play the Fool before; his energy, enthusiasm, and what seems to be natural cheekiness make him a natural for the role.
Matilda Bott, I have to say, stole the show on more than one occasion last night, too! She was Phoebe, she was Le Beau; she was fabulous. Whatever role Bott was delivering, she delivered it with a passion and a conviction that made her an absolute joy to watch, and her scenes were a definite high point. Nick Baldock -- another cast member to take to the stage wearing more than one persona last night -- delivered a polished Duke Frederick and Duke Senior, and his performance as the endearingly dopey William was just lovely! I sat somewhere between feeling sympathy and feeling unashamed amusement, which is certainly not a bad place to be. Patricia Hobday raised similar feelings with her convincing delivery of a whole host of beautifully off-beat characters, all of whom she brought to the stage with enthusiasm; I smiled as soon as she stepped out, before her accent kicked in and gloriously bushy eyebrows (styled for the performance, that is) came out. She was a marvellous addition! As was Emma Leigh, who warrants a special commendation, I feel, for stepping into her roles at the last minute. A family emergency saw the original actor (for Silvius, Jacques, and Charles) step down for the evening, while Leigh stepped up in his place and she was marvellous! Her wrestling, her confidence, and, in fact, the ease with which she fit all parts given to her, were wonderful, and I was truly impressed to see her take to the stage with such ease.
As far as I can see, Madcap Theatre Productions do not have a weak link. They are a strong collective and that comes through, consistently, no matter what they are performing. Talented actors and genuinely lovely people, it is certainly worth going along, having a giggle, and saying a quick hello to them afterwards during their As You Like It Tour.
The remaining tour dates, and information on how to book tickets, can be found online now by clicking here.
Written by: Charlotte Barnes
Published: 29 July 2017
Theatre Review: Charley's Aunt, Performed by Worcester Repertory Company
Every summer Worcester Rep take to the great outdoors for their open-air theatre production. Once a Shakespeare-led affair, for the past two years the company have tried other works on for size, with their most recent endeavour being Charley's Aunt. I must confess, I knew nothing of the play itself prior to the performance last night - although many people had told me that it seemed like something I would enjoy. And so, on opening night (July 11th), I wandered along to The Commandery in Worcester to see who/what Charley's Aunt actually was...
In short: Quite hilarious.
The premise of the play - for heathens like myself - is this: Jack Chesney (Ben Humphrey) and Charles Wykeham (Jamie Kwasnik) are in love with Kitty Verdun (Victoria Lucie) and Amy Spettigue (Alison Hellings) respectively. These chaps decide that they must confess their love for these ladies with some urgency, and they believe that a visit from Charley's aunt, Donna Lucia (Liz Grand), is the perfect opportunity for this outpouring of feelings. Unfortunately, Donna Lucia has to delay her journey - but the love interests have already arrived! So naturally, the most obvious remedy for this problem is for Jack and Charles' friend, Lord Fancourt Babberly (John-Robert Patridge) to impersonate Charley's aunt - with hilarious results. In the meantime, however, Jack's dad, Colonel Sir Francis Chesney (Nick Wilkes) arrives, as does Stephen Spettigue (Jonathan Darby); the former brings bad news for Jack while the latter brings complications as Stephen quickly falls in love with Charley's aunt (but not really, because it's actually Babberly - are you keeping up?). But of course, things only get worse when the real Donna Lucia arrives...
There are no weak members of this cast, at all. Humphrey, Kwasnik, and Partridge were absolutely stand-out from start to finish for me, though! Their delivery, their enthusiasm, their bond - and let us not overlook their obvious talent for improvisation - made for one thigh-slap scene after another, and they really did make this play for me. Lucie and Hellings were charming leading ladies throughout, delivering their roles with conviction, while Grand made for an unexpectedly stern Donna Lucia - although it was wonderful to see another familiar face. Wilkes had some truly amusing moments of his own here, and alongside Darby they made for quite the unexpected comedic pair in their romantic pursuits in the play. The unsung hero of this piece too is, of course, Brassett the butler, delivered with patience and wonderful exasperation by Edward Manning -- for running after Jack and Charley, Brassett is an absolute star, delivered convincingly by Manning.
Now, the British weather is an unreliable system at the best of times. The company had prepared and rehearsed, repeatedly, for an out-door performance, but because of this British weather, they were shipped indoors at the last minute. They hadn't rehearsed inside, they hadn't tailored the script to an inside setting, and they lost the convenience of the outdoor stage setting. And it didn't make a jot of difference! They were professional and slick from start to finish and, had the director not informed us of the alleged unpreparedness of the cast, then I don't think a single person in the audience would have thought anything on their sudden settings change. It is a mark of the talent and control in this company as a whole that they handled such a change, at such notice, and they delivered a stellar performance, regardless of these factors. Bravo!
Charley's Aunt is amusing, it is polished, and I honestly believe it may be one of the best - if not the best - Worcester Rep performances that I have seen to date. I urge you to grab tickets while you can - the relevant information for that can be accessed here - and ready yourselves for a night of marvellous entertainment.
Written by: Charlotte Barnes
Published: 12 July 2017
In short: Quite hilarious.
The premise of the play - for heathens like myself - is this: Jack Chesney (Ben Humphrey) and Charles Wykeham (Jamie Kwasnik) are in love with Kitty Verdun (Victoria Lucie) and Amy Spettigue (Alison Hellings) respectively. These chaps decide that they must confess their love for these ladies with some urgency, and they believe that a visit from Charley's aunt, Donna Lucia (Liz Grand), is the perfect opportunity for this outpouring of feelings. Unfortunately, Donna Lucia has to delay her journey - but the love interests have already arrived! So naturally, the most obvious remedy for this problem is for Jack and Charles' friend, Lord Fancourt Babberly (John-Robert Patridge) to impersonate Charley's aunt - with hilarious results. In the meantime, however, Jack's dad, Colonel Sir Francis Chesney (Nick Wilkes) arrives, as does Stephen Spettigue (Jonathan Darby); the former brings bad news for Jack while the latter brings complications as Stephen quickly falls in love with Charley's aunt (but not really, because it's actually Babberly - are you keeping up?). But of course, things only get worse when the real Donna Lucia arrives...
There are no weak members of this cast, at all. Humphrey, Kwasnik, and Partridge were absolutely stand-out from start to finish for me, though! Their delivery, their enthusiasm, their bond - and let us not overlook their obvious talent for improvisation - made for one thigh-slap scene after another, and they really did make this play for me. Lucie and Hellings were charming leading ladies throughout, delivering their roles with conviction, while Grand made for an unexpectedly stern Donna Lucia - although it was wonderful to see another familiar face. Wilkes had some truly amusing moments of his own here, and alongside Darby they made for quite the unexpected comedic pair in their romantic pursuits in the play. The unsung hero of this piece too is, of course, Brassett the butler, delivered with patience and wonderful exasperation by Edward Manning -- for running after Jack and Charley, Brassett is an absolute star, delivered convincingly by Manning.
Now, the British weather is an unreliable system at the best of times. The company had prepared and rehearsed, repeatedly, for an out-door performance, but because of this British weather, they were shipped indoors at the last minute. They hadn't rehearsed inside, they hadn't tailored the script to an inside setting, and they lost the convenience of the outdoor stage setting. And it didn't make a jot of difference! They were professional and slick from start to finish and, had the director not informed us of the alleged unpreparedness of the cast, then I don't think a single person in the audience would have thought anything on their sudden settings change. It is a mark of the talent and control in this company as a whole that they handled such a change, at such notice, and they delivered a stellar performance, regardless of these factors. Bravo!
Charley's Aunt is amusing, it is polished, and I honestly believe it may be one of the best - if not the best - Worcester Rep performances that I have seen to date. I urge you to grab tickets while you can - the relevant information for that can be accessed here - and ready yourselves for a night of marvellous entertainment.
Written by: Charlotte Barnes
Published: 12 July 2017
Theatre Review: Cider With Rosie, performed by Worcester Repertory Company & The University of Worcester
It has been a little while since life - busy, busy life - has allowed for a theatre trip. As such I was delighted to be invited along, and to be able to accept, a recent invitation to see The Swan Theatre's latest display: Cider with Rosie, performed by Worcester Rep and the University of Worcester. A promising collaboration - I have heard wonderful things about the acting talent at the university - I was genuinely intriguing to see how this piece would work on the stage. I am pleased to report that in short in worked very well, making for an enjoyable overview of Laurie Lee's younger years - and a promising introduction to future performances, should the company decide to complete Lee's trilogy on the stage.
First and foremost, I have to give commendation to Jonathan Darby. I thoroughly enjoyed his delivery of an adult Laurie Lee, narrating much of the action and delivering wonderful vocal performances throughout. Darby delivered the role with conviction and sincerity making for a believable display that audience members clearly found themselves pulled into entirely.
Darby was joined by another familiar face - to fans of Worcester Rep, at least - when Liz Grand took to the stage to play Lee's mother. Again, this role was delivered with conviction. Grand makes a fine display of portraying a discombobulated character and her story-telling made for some atmospheric moments within the play as a whole.
Marilyn Birks and Gabrielle Bullock must have a mention here, in their roles as Granny Wallon and Granny Trill respectively. The two women were simply marvellous! They delivered both genuinely amusing and genuinely touching moments and, to be quite frank, another scene or two of these women thrashing it out would have made for wonderful entertainment in itself. Bravo to both women for such convincing and amusing displays in what was, generally, a serious and sometimes quite solemn work. Their work in the ensemble was also appreciated, as were the appearances here made by Victoria Lucie whose vocal abilities continue to amaze me.
Young Laurie Lee, or Loll in this instance, was brought to us by George Ormerod. A relative newcomer to Worcester Rep, by comparison to other actors listed, Ormerod delivered an enthusiastic performance throughout. The second half, for me, was infinitely stronger than the first, though. Ormerod's deliberate childishness in the opening stretch of the work could have been pulled back slightly to make for an easier transition into his teenage years, although the delivery was consistently passionate and professional - which in itself deserves commendation.
Samantha Brown, Harry Cowper, Harry Gill, Eleanor Hipkiss, Beth Morrissey, Lily Portman, Ben Taylor, and Chloe Wassell were introduced in this performance also. I have to assume that this band of actors hails from the university and so a special note to them: Keep on with it! Their small but perfectly formed parts made for some touching and amusing moments in the performance, and this is surely just an exciting beginning for these newcomers, so well done for this achievement.
With music provided by John Kirkpatrick and the screen adaptation beautifully penned by James Roose-Evans, Cider with Rosie here becomes a touching and informative display of a (relatively) local author's life. Poignant and amusing, if you are open to a theatrical spin on an old classic, then it is surely worth attending and you can find the relevant ticket information for the event here.
Written by: Charlotte Barnes
Published: 8 June 2017
First and foremost, I have to give commendation to Jonathan Darby. I thoroughly enjoyed his delivery of an adult Laurie Lee, narrating much of the action and delivering wonderful vocal performances throughout. Darby delivered the role with conviction and sincerity making for a believable display that audience members clearly found themselves pulled into entirely.
Darby was joined by another familiar face - to fans of Worcester Rep, at least - when Liz Grand took to the stage to play Lee's mother. Again, this role was delivered with conviction. Grand makes a fine display of portraying a discombobulated character and her story-telling made for some atmospheric moments within the play as a whole.
Marilyn Birks and Gabrielle Bullock must have a mention here, in their roles as Granny Wallon and Granny Trill respectively. The two women were simply marvellous! They delivered both genuinely amusing and genuinely touching moments and, to be quite frank, another scene or two of these women thrashing it out would have made for wonderful entertainment in itself. Bravo to both women for such convincing and amusing displays in what was, generally, a serious and sometimes quite solemn work. Their work in the ensemble was also appreciated, as were the appearances here made by Victoria Lucie whose vocal abilities continue to amaze me.
Young Laurie Lee, or Loll in this instance, was brought to us by George Ormerod. A relative newcomer to Worcester Rep, by comparison to other actors listed, Ormerod delivered an enthusiastic performance throughout. The second half, for me, was infinitely stronger than the first, though. Ormerod's deliberate childishness in the opening stretch of the work could have been pulled back slightly to make for an easier transition into his teenage years, although the delivery was consistently passionate and professional - which in itself deserves commendation.
Samantha Brown, Harry Cowper, Harry Gill, Eleanor Hipkiss, Beth Morrissey, Lily Portman, Ben Taylor, and Chloe Wassell were introduced in this performance also. I have to assume that this band of actors hails from the university and so a special note to them: Keep on with it! Their small but perfectly formed parts made for some touching and amusing moments in the performance, and this is surely just an exciting beginning for these newcomers, so well done for this achievement.
With music provided by John Kirkpatrick and the screen adaptation beautifully penned by James Roose-Evans, Cider with Rosie here becomes a touching and informative display of a (relatively) local author's life. Poignant and amusing, if you are open to a theatrical spin on an old classic, then it is surely worth attending and you can find the relevant ticket information for the event here.
Written by: Charlotte Barnes
Published: 8 June 2017
Gig Review: Kate Tempest - Let Them Eat Chaos
Last Sunday (4/12) I travelled up to Birmingham to see Kate Tempest on her Let Them Eat Chaos tour. The room was packed, the atomsphere was electric, and every single person in that room was braced for something special - but I don't think any of us realised how special that night was going to get. Blurring the lines between rap and spoken word, Tempest took to the stage at 9pm that night and the room fell silent as she promptly pulled every audience member in for what was going to be a mind-blowing, heart-warming stretch of music meets poetry, with the crowd only waking their own vocals intermittently to voice a chorus of whoops and shouts of support for the artist. Having admired Tempest from afar in recent years, I knew that I was in good evening, but I left that venue having had a bloody marvellous one - and it's easy to see now just why Tempest garners the attention that she does.
Taking to the stage with confidence from the off, Tempest informed audience members that she would be delivering the full Let Them Eat Chaos album over the hour that followed - and what a delivery! The music itself was relentless, bringing with it a family of basslines that reverberated through even those of us positioned at the back of the venue, and Tempest blitzed through each track with a professionalism and skill that is commendable. Pausing only for audience applause, the part-poet, part-rapper was fierce in her delivery, churning out lines that stick with you long after one listen.
A stellar evening, Let Them Eat Chaos is a champion release, both as a book and as an album, and I'm sure I'll have the CD - eagerly bought when the gig was finished - on repeat for months to come yet. If you can see this tour, do; if you can't, then invest in a copy of the album. It is everything that spoken word needs, pulling in the attention that it deserves, and it is easy to see from this show alone how Tempest has bagged herself a spot at the centre of this genre.
Written by: Charlotte Barnes
Published: 8 December 2016
Taking to the stage with confidence from the off, Tempest informed audience members that she would be delivering the full Let Them Eat Chaos album over the hour that followed - and what a delivery! The music itself was relentless, bringing with it a family of basslines that reverberated through even those of us positioned at the back of the venue, and Tempest blitzed through each track with a professionalism and skill that is commendable. Pausing only for audience applause, the part-poet, part-rapper was fierce in her delivery, churning out lines that stick with you long after one listen.
A stellar evening, Let Them Eat Chaos is a champion release, both as a book and as an album, and I'm sure I'll have the CD - eagerly bought when the gig was finished - on repeat for months to come yet. If you can see this tour, do; if you can't, then invest in a copy of the album. It is everything that spoken word needs, pulling in the attention that it deserves, and it is easy to see from this show alone how Tempest has bagged herself a spot at the centre of this genre.
Written by: Charlotte Barnes
Published: 8 December 2016
Theatre Review: King John At Worcester Cathedral, as Performed by Worcester Repertory Company
If you are a fan of the theatre and you are based in or around Worcester, you are probably already aware of Worcester Repertory Company's annual Shakespeare performance that takes place in Worcester Cathedral. Year after year the company take to the stage in order to deliver some of Shakespeare's finest, and year after year they deliver something special indeed. This year, though, the company have truly outdone themselves as yesterday (October 18th), the company launched their performance of William Shakespeare's King John, exactly 800 years after the King's death and, if that was not unique enough, the performance itself was delivered around King John's tomb at Worcester Cathedral. This performance - running until October 22nd - is a special event, whether you love theatre, Worcester, history, seeing this play in this setting is an opportunity worth taking.
Alongside the commendable staging of this piece, the casting is also superb. Philip Leach makes for a convincing and authoritative King John, delivering the role with passion and determination from start to finish; those compliments can in fact be echoed, though, across the cast as a whole. Marilyn Birks was simply glorious as Queen Elinor and her face-off with Liz Grand - or rather, Constance - was a high point in the performance for me; these women packed an almighty punch, and Grand's hard-hitting delivery in the second stretch of the play made for an emotional watch.
Nick Wilkes took to the stage as The Bastard here and delivered his role admirably, alongside his on-stage brother Kieran Boon, who delivered the roles of Robert and Prince Henry with an impressive ease. Jonathan Darby's King Philip was masterful, and his vocal performance that opened the evening was absolutely stunning! Further familiar faces to Worcester Rep, Sam Patrick and Wilf Williams returned to the stage again here in the roles of Chatillon/Pembroke and Hubert respectively and they were confident and controlled in their deliveries from start to finish, and, for Patrick in particular, it was pleasant to see a more serious style here.
There is talent galore packed into this performance - the two youngest actors, I believe, Sam Witherall and Benjamin Sears who appear to be sharing the role of Arthur, are absolute gems - and the delivery of it makes for stellar viewing. A true achievement for Worcester Rep, this is a show worth attending and you can find further details about the performance, and tickets, online by clicking here.
A hearty well done to all who are involved in this. The company should be immensely proud!
Written by: Charlotte Barnes
Published: 16 October 2016
Alongside the commendable staging of this piece, the casting is also superb. Philip Leach makes for a convincing and authoritative King John, delivering the role with passion and determination from start to finish; those compliments can in fact be echoed, though, across the cast as a whole. Marilyn Birks was simply glorious as Queen Elinor and her face-off with Liz Grand - or rather, Constance - was a high point in the performance for me; these women packed an almighty punch, and Grand's hard-hitting delivery in the second stretch of the play made for an emotional watch.
Nick Wilkes took to the stage as The Bastard here and delivered his role admirably, alongside his on-stage brother Kieran Boon, who delivered the roles of Robert and Prince Henry with an impressive ease. Jonathan Darby's King Philip was masterful, and his vocal performance that opened the evening was absolutely stunning! Further familiar faces to Worcester Rep, Sam Patrick and Wilf Williams returned to the stage again here in the roles of Chatillon/Pembroke and Hubert respectively and they were confident and controlled in their deliveries from start to finish, and, for Patrick in particular, it was pleasant to see a more serious style here.
There is talent galore packed into this performance - the two youngest actors, I believe, Sam Witherall and Benjamin Sears who appear to be sharing the role of Arthur, are absolute gems - and the delivery of it makes for stellar viewing. A true achievement for Worcester Rep, this is a show worth attending and you can find further details about the performance, and tickets, online by clicking here.
A hearty well done to all who are involved in this. The company should be immensely proud!
Written by: Charlotte Barnes
Published: 16 October 2016
Author Interview: Kieran Davis talks Poetry, Publishing, and Plans for the Future!
Worcester based poet Kieran Davis is gearing up to launch his debut collection of poetry, Lacuna - which we're reviewing in Books & E-books this week - and my, what an exciting gear up it's turning out to be. Davis is an award winning poet who is well-established and highly thought of amongst his contemporaries on the Worcestershire poetry scene, and if you're yet to hear from the man himself during one of his many live performances, then you really have missed a treat. A marvellous blend of humour and emotion - although Lacuna primarily delivers the latter - Davis is a master at keeping the audience on their toes and, after reading what Lacuna had to offer, we just had to grab him for a quick chat about what's happening now, and what could be happening next...
Lacuna is your first published collection – congratulations, again – how does it feel?
Still a little surreal, to be honest. Words like ‘wonderful’ and ‘amazing’ come to mind but don’t seem enough. I have been fortunate enough to have been published in a great many magazines and anthologies over the years. Every time I see my name in print feels great. To finally have my own book, a published book (‘published’ is still a word that makes me feel like I am being tickled and simultaneously fed jelly babies)… Nothing can compare to seeing one’s name on a front cover.
‘Proud’. I think proud is the best way to describe it. I am proud to have written something publishable. Proud to be able to say, I did not give up, kept writing, honed (and continue to hone) my craft. Proud of the company I keep, the talented, supportive and encouraging writers in my community who have made me a better writer and a happier person. Proud of a loving family who take joy from having a successful husband/father/son etc. Proud that the artwork on the front cover of my first book is a photograph taken by my equally talented (Olympic torch bearing) brother. Proud that my peers take me more seriously than I do when it comes to my writing, that people I admire and respect have read and said such wonderful things about Lacuna. Proud of myself. I am finally proud of myself.
The collection itself is quite an emotional read. It must have been an emotional experience to write and work on in the months, years, that led to this?
Thank you, I appreciate you found it so. Every day is emotional, I am a sensitive sort. I am moved by all manner of things. Many of the poems in Lacuna are observational or even fictional, written specifically to evoke something. I have found the more popular poetry is the personal stuff though, anything seeped in raw honesty tends to hit home a little harder. I feel exceptionally accomplished when someone tells me they were moved by a ‘personal piece’ pertaining to an experience when that experience did not happen to me. And I always feel closer to the reader when a more personal piece has touched them, the intimacy of poetry is addictive. Reading poetry, as much as writing it, makes me feel human.
Would you say that a lot of yourself went into the book, or is there a clear break between Kieran Davis the poet and Kieran Davis the day-to-day person?
Without meaning to sound a little out there, I definitely have a sense of multiple personality. There is much of Kieran Davis the poet that does not enter ‘real life’ and some of day-to-day Kieran that goes nowhere near that other loon. Both worlds collide on occasion. Life and the experiences therein – gets written about. Writer ’Me’ often invades home-life, it cannot be helped (well, it can, but don’t tell my wife! Life is hectic, I have to write where and when I can).
A lot of work went into the book, and not entirely from me. My editor (guru and hero) Polly Stretton spent yonks (I love the word ‘yonks’) on Lacuna. And, in addition, I note I have two writing personas. I am still getting used to hearing about and seeing ‘Kieran Davis’ getting published and winning competitions. I also write as ‘Baldypoems’, a name more widely known until recently. ‘Baldy’ is a loveable rogue, a very silly man, with a seemingly inexhaustible repertoire of jokes. Kieran Davis gets taken a bit more seriously. It is fun playing the two parts, and my recent success owes no small part to the path paved by Baldypoems. You can bet your arse he’ll make an appearance at the end of the Lacuna book launch.
Is that generally how you write, or do you try to keep a partition between what’s happening in life and what’s happening in your writing?
I write whatever comes into my mind at the time, I am one of the most fortunate men in the world (proof that fortune and money have nothing in common, because I am skint) as I have a prolific muse. I always have a notebook handy. Always. Something gets written almost every day, sometimes a little, sometimes a load. It all gets processed. Much of it gets turned in to poetry. Over the last twenty years, I have written over five hundred poems. Lacuna is just a small selection of them. Some of the book’s contents were written many years ago. Some of it I cannot begin to discern whether it happened to me or someone else. Memory is flawed, that’s why everything should be written down. I need to write. Not for my own amusement, not for personal therapy (though writing is great therapy) and certainly not for an audience or the mythical money said audience supposedly leads to. I need to write, that’s all there is to it. Fortunately, a little time and effort turns what I write into something people like reading. There is no intentional barrier or partition, but I do carefully select what gets submitted or performed. There is a great deal of my material that will not see the light of day until myself or those written about have popped their clogs. And that will be a while as I refuse to die.
I think poetry, though, can sometimes encourage that intimacy and that outpouring of emotion, whether you’re pulling against it or not.
Absolutely. There is nothing more personal, more powerful or more heartbreakingly beautiful than poetry written from the soul. It is an adventure in someone else’s life, a precious moment embracing an intimate stranger.
I’ve read poetry by people I have never met that made me feel like I knew them more than their spouse. I have had poets bring me to tears, made me feel euphoria one moment and suicidal the next. You can make love with someone, using a well worded, honest poem. You can murder them with a haiku. You can bring them closer to their god or destroy their faith entirely, if you’re brave enough to write it. I want to be more than intimate with words. And I’m working on that.
Are you chiefly interested in writing poetry, or might there be some prose releases on the horizon?
Poetry is and will always be my first love. I will always write poems. But I do not think of myself solely as a poet. I am a writer. I write whatever I feel like writing. When it is not poetry, it is usually fantasy fiction. I am obsessed with wizards and dragons. I have written my first novel (just need to edit it) and a few short stories based in a mythological world I created in my youth. Two short stories from this have been published so far. My fantasy world and its mythology is vast, I hope we get to discuss this more another time. It is epic.
To you, what’s the difference – assuming there is one? Does different creativity feed prose rather than the creativity that feeds poetry, or if you can do one can you automatically do both? With enough persistence and practice, that is.
Initially, no difference. A poem works to a formula or recognised form. Poetry is something that happens, it is somehow evocative, makes you see; think or feel something. Creativity, for me, happens all the time. I never stop thinking, hence the ever-present notebook. The jotters have thoughts and ideas that may turn into a poem, alongside thoughts and ideas that could lead to fiction or research. The jotters are later ‘decanted’. I write the notes into a more legible and workable form in bigger notebooks. I have some for my fantasy, some for my poetry and others for all manner of projects. I later type up near-finished pieces and then edit them. Anything I think worth reading, then gets an audience with The Worcester Writing Circle (a hugely talented group of writers that I respect and admire). Then it gets submitted or professionally edited if intended for serious publication.
Poetry and prose sometimes lead to each other, this gets busy, having several notebooks out at once (whilst juggling work and my four wonderful children) but it is rewarding; and I am lucky enough to have a loving, patient and tolerant wife to keep me grounded.
Finally, then, what’s next for Kieran Davis, author of Lacuna?
A lot. The official launch of Lacuna, followed by a performance at the Swan theatre the following day. Performances at local spoken word events, including The Worcestershire Literary Festival and Fringe's SpeakEasy and also at 42 (Worcester’s monthly Fantasy, sci-Fi and Gothic Horror spoken word event). I have recently joined the Worcestershire Literary Festival committee, so will be working closely with them to bring some great events in to play. I am working on a website for poets to promote poets and publishers of poetry (and hopefully make poetry a more recognised and appreciated art-form). As well as editing the novel and working on my mythology, I continue to write and perform poetry. I have a couple of projects submitted at present, but won’t go in to it just yet in case they are rejected. I am promoting Lacuna. My publisher, Black Pear Press, said they would like to work with me again, so they will be the first people I submit the next full collection to. So finally, for now. I am working on my next collection of poetry. If ‘Lacuna’ suggested there was something left out, then 'Legacy’ will ensure there is something worth leaving behind.
For the latest on Lacuna you can check out Kieran's website for various updates, and make sure you head over to Books & E-books for our review of the collection as well.
Written by: Charlotte Barnes
Published: 6 August 2016
Lacuna is your first published collection – congratulations, again – how does it feel?
Still a little surreal, to be honest. Words like ‘wonderful’ and ‘amazing’ come to mind but don’t seem enough. I have been fortunate enough to have been published in a great many magazines and anthologies over the years. Every time I see my name in print feels great. To finally have my own book, a published book (‘published’ is still a word that makes me feel like I am being tickled and simultaneously fed jelly babies)… Nothing can compare to seeing one’s name on a front cover.
‘Proud’. I think proud is the best way to describe it. I am proud to have written something publishable. Proud to be able to say, I did not give up, kept writing, honed (and continue to hone) my craft. Proud of the company I keep, the talented, supportive and encouraging writers in my community who have made me a better writer and a happier person. Proud of a loving family who take joy from having a successful husband/father/son etc. Proud that the artwork on the front cover of my first book is a photograph taken by my equally talented (Olympic torch bearing) brother. Proud that my peers take me more seriously than I do when it comes to my writing, that people I admire and respect have read and said such wonderful things about Lacuna. Proud of myself. I am finally proud of myself.
The collection itself is quite an emotional read. It must have been an emotional experience to write and work on in the months, years, that led to this?
Thank you, I appreciate you found it so. Every day is emotional, I am a sensitive sort. I am moved by all manner of things. Many of the poems in Lacuna are observational or even fictional, written specifically to evoke something. I have found the more popular poetry is the personal stuff though, anything seeped in raw honesty tends to hit home a little harder. I feel exceptionally accomplished when someone tells me they were moved by a ‘personal piece’ pertaining to an experience when that experience did not happen to me. And I always feel closer to the reader when a more personal piece has touched them, the intimacy of poetry is addictive. Reading poetry, as much as writing it, makes me feel human.
Would you say that a lot of yourself went into the book, or is there a clear break between Kieran Davis the poet and Kieran Davis the day-to-day person?
Without meaning to sound a little out there, I definitely have a sense of multiple personality. There is much of Kieran Davis the poet that does not enter ‘real life’ and some of day-to-day Kieran that goes nowhere near that other loon. Both worlds collide on occasion. Life and the experiences therein – gets written about. Writer ’Me’ often invades home-life, it cannot be helped (well, it can, but don’t tell my wife! Life is hectic, I have to write where and when I can).
A lot of work went into the book, and not entirely from me. My editor (guru and hero) Polly Stretton spent yonks (I love the word ‘yonks’) on Lacuna. And, in addition, I note I have two writing personas. I am still getting used to hearing about and seeing ‘Kieran Davis’ getting published and winning competitions. I also write as ‘Baldypoems’, a name more widely known until recently. ‘Baldy’ is a loveable rogue, a very silly man, with a seemingly inexhaustible repertoire of jokes. Kieran Davis gets taken a bit more seriously. It is fun playing the two parts, and my recent success owes no small part to the path paved by Baldypoems. You can bet your arse he’ll make an appearance at the end of the Lacuna book launch.
Is that generally how you write, or do you try to keep a partition between what’s happening in life and what’s happening in your writing?
I write whatever comes into my mind at the time, I am one of the most fortunate men in the world (proof that fortune and money have nothing in common, because I am skint) as I have a prolific muse. I always have a notebook handy. Always. Something gets written almost every day, sometimes a little, sometimes a load. It all gets processed. Much of it gets turned in to poetry. Over the last twenty years, I have written over five hundred poems. Lacuna is just a small selection of them. Some of the book’s contents were written many years ago. Some of it I cannot begin to discern whether it happened to me or someone else. Memory is flawed, that’s why everything should be written down. I need to write. Not for my own amusement, not for personal therapy (though writing is great therapy) and certainly not for an audience or the mythical money said audience supposedly leads to. I need to write, that’s all there is to it. Fortunately, a little time and effort turns what I write into something people like reading. There is no intentional barrier or partition, but I do carefully select what gets submitted or performed. There is a great deal of my material that will not see the light of day until myself or those written about have popped their clogs. And that will be a while as I refuse to die.
I think poetry, though, can sometimes encourage that intimacy and that outpouring of emotion, whether you’re pulling against it or not.
Absolutely. There is nothing more personal, more powerful or more heartbreakingly beautiful than poetry written from the soul. It is an adventure in someone else’s life, a precious moment embracing an intimate stranger.
I’ve read poetry by people I have never met that made me feel like I knew them more than their spouse. I have had poets bring me to tears, made me feel euphoria one moment and suicidal the next. You can make love with someone, using a well worded, honest poem. You can murder them with a haiku. You can bring them closer to their god or destroy their faith entirely, if you’re brave enough to write it. I want to be more than intimate with words. And I’m working on that.
Are you chiefly interested in writing poetry, or might there be some prose releases on the horizon?
Poetry is and will always be my first love. I will always write poems. But I do not think of myself solely as a poet. I am a writer. I write whatever I feel like writing. When it is not poetry, it is usually fantasy fiction. I am obsessed with wizards and dragons. I have written my first novel (just need to edit it) and a few short stories based in a mythological world I created in my youth. Two short stories from this have been published so far. My fantasy world and its mythology is vast, I hope we get to discuss this more another time. It is epic.
To you, what’s the difference – assuming there is one? Does different creativity feed prose rather than the creativity that feeds poetry, or if you can do one can you automatically do both? With enough persistence and practice, that is.
Initially, no difference. A poem works to a formula or recognised form. Poetry is something that happens, it is somehow evocative, makes you see; think or feel something. Creativity, for me, happens all the time. I never stop thinking, hence the ever-present notebook. The jotters have thoughts and ideas that may turn into a poem, alongside thoughts and ideas that could lead to fiction or research. The jotters are later ‘decanted’. I write the notes into a more legible and workable form in bigger notebooks. I have some for my fantasy, some for my poetry and others for all manner of projects. I later type up near-finished pieces and then edit them. Anything I think worth reading, then gets an audience with The Worcester Writing Circle (a hugely talented group of writers that I respect and admire). Then it gets submitted or professionally edited if intended for serious publication.
Poetry and prose sometimes lead to each other, this gets busy, having several notebooks out at once (whilst juggling work and my four wonderful children) but it is rewarding; and I am lucky enough to have a loving, patient and tolerant wife to keep me grounded.
Finally, then, what’s next for Kieran Davis, author of Lacuna?
A lot. The official launch of Lacuna, followed by a performance at the Swan theatre the following day. Performances at local spoken word events, including The Worcestershire Literary Festival and Fringe's SpeakEasy and also at 42 (Worcester’s monthly Fantasy, sci-Fi and Gothic Horror spoken word event). I have recently joined the Worcestershire Literary Festival committee, so will be working closely with them to bring some great events in to play. I am working on a website for poets to promote poets and publishers of poetry (and hopefully make poetry a more recognised and appreciated art-form). As well as editing the novel and working on my mythology, I continue to write and perform poetry. I have a couple of projects submitted at present, but won’t go in to it just yet in case they are rejected. I am promoting Lacuna. My publisher, Black Pear Press, said they would like to work with me again, so they will be the first people I submit the next full collection to. So finally, for now. I am working on my next collection of poetry. If ‘Lacuna’ suggested there was something left out, then 'Legacy’ will ensure there is something worth leaving behind.
For the latest on Lacuna you can check out Kieran's website for various updates, and make sure you head over to Books & E-books for our review of the collection as well.
Written by: Charlotte Barnes
Published: 6 August 2016
Theatre Review: Oscar Wilde at the Commandery! The Important of Being Earnest by Worcester Rep
With open-air Shakespeare picking up something of a following through the summer months in Britain, Worcester Rep (at the Commandery) have this year decided to change their playwright. From one treasure to another, the company have jumped shipped from Shakespeare in favour of Oscar Wilde and so, from July 12th to July 24th, they will be performing Wilde’s iconic The Importance of Being Earnest. Yesterday evening – than heavens for the dry weather – Mad Hatter Reviews was invited along to see the show and my, what a show it was.
Jonathan Darby was the first familiar face introduced to the audience and, in his double role of Lane (Manservant) and Merriman (Butler), depending on which household he was attending to, he really was quite brilliant. Always in character – one or the other – Darby’s moments of audience interaction were amusing throughout and they were greatly appreciated. Speaking again of amusing actors, I have to take my hat off to Ben Humphrey who, in the role of Jack/Ernest Worthing, was just wonderful. Humphrey delivered a stellar performance throughout the entire evening, delivering the role with the confidence and authenticity that it demands. This is a gem of a performance for Worcester Rep’s Associate Director – although, good acting aside, he really should be careful with those muffins...
Humphrey’s – or rather, Jack’s – partner in crime for the piece is of course Algernon Moncrieff, played by John-Robert Partridge here who delivered the role with commendable enthusiasm throughout. Partridge and Humphrey interact brilliantly with each other here making for an authentic relationship that really is an enjoyable watch. The second duo of the evening, Gwendolen Fairfax and Cecily Cardew, played by Victoria Lucie and Alison Hellings respectively, were charming leading ladies. Their spats were believable, their enthusiasm was contagious, and their musical delivery at the end of the show hit a personal high note for me – a wonderful delivery from them both.
Liz Grand made a return to the Worcester Rep stage in her role as Lady Bracknell and what a return she made! Grand was stern, cutting, and appropriately intimidating, making for a believable Bracknell, and she delivered her most iconic lines to the audience’s delight. Edward Manning returned in his role – if you can believe it – as Miss Prism, who was paired off with Canon Chasuble, played here by Nick Wilkes, and the two certainly made for an interesting romantic pair.
Commendation to Chris Jaeger for another entertaining production here, The Importance of Being Earnest is one of Britain’s best loved plays, it seems safe to say, and Worcester Rep deliver it with the passion and enthusiasm that is deserves.
For further information regarding show times and tickets, the Worcester Rep website can be accessed by clicking here.
Written by: Charlotte Barnes
Published: 15 July 2016
Jonathan Darby was the first familiar face introduced to the audience and, in his double role of Lane (Manservant) and Merriman (Butler), depending on which household he was attending to, he really was quite brilliant. Always in character – one or the other – Darby’s moments of audience interaction were amusing throughout and they were greatly appreciated. Speaking again of amusing actors, I have to take my hat off to Ben Humphrey who, in the role of Jack/Ernest Worthing, was just wonderful. Humphrey delivered a stellar performance throughout the entire evening, delivering the role with the confidence and authenticity that it demands. This is a gem of a performance for Worcester Rep’s Associate Director – although, good acting aside, he really should be careful with those muffins...
Humphrey’s – or rather, Jack’s – partner in crime for the piece is of course Algernon Moncrieff, played by John-Robert Partridge here who delivered the role with commendable enthusiasm throughout. Partridge and Humphrey interact brilliantly with each other here making for an authentic relationship that really is an enjoyable watch. The second duo of the evening, Gwendolen Fairfax and Cecily Cardew, played by Victoria Lucie and Alison Hellings respectively, were charming leading ladies. Their spats were believable, their enthusiasm was contagious, and their musical delivery at the end of the show hit a personal high note for me – a wonderful delivery from them both.
Liz Grand made a return to the Worcester Rep stage in her role as Lady Bracknell and what a return she made! Grand was stern, cutting, and appropriately intimidating, making for a believable Bracknell, and she delivered her most iconic lines to the audience’s delight. Edward Manning returned in his role – if you can believe it – as Miss Prism, who was paired off with Canon Chasuble, played here by Nick Wilkes, and the two certainly made for an interesting romantic pair.
Commendation to Chris Jaeger for another entertaining production here, The Importance of Being Earnest is one of Britain’s best loved plays, it seems safe to say, and Worcester Rep deliver it with the passion and enthusiasm that is deserves.
For further information regarding show times and tickets, the Worcester Rep website can be accessed by clicking here.
Written by: Charlotte Barnes
Published: 15 July 2016
Theatre Review: Much Ado About Nothing by MadCap Theatre Productions, Opening Night!
Yesterday evening hungry theatre-lovers piled into the gardens at the Church of St Andrew, Droitwich, with their picnics, camping chairs, and umbrellas at the ready. It was the opening night of MadCap Theatre Production’s summertime tribute to Shakespeare – this year the group are bringing Much Ado About Nothing to the stage – and I for one was delighted to be there to see this collective kick off their summer tour. Superbly cast and wonderfully delivered, MadCap Theatre Productions are once again delivering here and from start to finish I was absolutely hooked.
Much Ado About Nothing is regarded by many as Shakespeare’s best comedy – if not his best, then at least his best known – and the actors involved in this ensured that the comedic elements of the play never fell flat. Jefferson Bond’s Benedick alongside James Labdarbs’s Claudio made for a thoroughly amusing display of boyish charm during their scenes together, and Bond’s on-stage love affair with the brilliantly hostile Beatrice, played here by Matilda Bott, made for entertaining viewing as well. The pair delivered their roles and their romantic relationship with conviction, and Bott’s sheer determination as the stubborn Beatrice is just beautiful.
In fact, the relationships delivered throughout the entire play are delivered with impressive conviction. Labdarb works with ease alongside Eva McKenna, who presents Hero as both a gossiping girl and a tortured woman, the latter of which was a heartbreaking display. In addition to this, Alex Francis in his role as Leonato plays the disappointed and grieved father extremely well. McKenna/Hero, in her girlish antics, is joined on stage by Margaret, here played by Claire Seller, who brought authenticity to her scenes with a serving of sass where appropriate – and extra commendation must go to her, and some of her fellow actors also, for dotting between several roles over the course of the evening.
It is always a delight to see familiar faces in MadCap’s productions – Nick Baldock made for a marvellous Don Pedro while Patricia Hobday again returned to the stage, this time in the forms of Antonio and Verges – and I was delighted, amused, and appropriately irritated by Robert Moore’s Don John. The character reeked of evil genius from his opening scene and, with the help of Borachio – played wonderfully by Rich Strange – Don John’s evil plans were able to come to fruition.
The whole production was delivered with the ease and confidence of actors who are familiar with each and content in each other’s company, and this shows in their individual deliveries. As for first night nerves, although I’m sure they must have been felt, there were absolutely no signs of them as each cast member took to the stage with ease making for a truly brilliant performance. Another success for MadCap, this is definitely a show worth watching!
Performance times and ticket information can be found here.
Written by: Charlotte Barnes
Published: 2 July 2016
Much Ado About Nothing is regarded by many as Shakespeare’s best comedy – if not his best, then at least his best known – and the actors involved in this ensured that the comedic elements of the play never fell flat. Jefferson Bond’s Benedick alongside James Labdarbs’s Claudio made for a thoroughly amusing display of boyish charm during their scenes together, and Bond’s on-stage love affair with the brilliantly hostile Beatrice, played here by Matilda Bott, made for entertaining viewing as well. The pair delivered their roles and their romantic relationship with conviction, and Bott’s sheer determination as the stubborn Beatrice is just beautiful.
In fact, the relationships delivered throughout the entire play are delivered with impressive conviction. Labdarb works with ease alongside Eva McKenna, who presents Hero as both a gossiping girl and a tortured woman, the latter of which was a heartbreaking display. In addition to this, Alex Francis in his role as Leonato plays the disappointed and grieved father extremely well. McKenna/Hero, in her girlish antics, is joined on stage by Margaret, here played by Claire Seller, who brought authenticity to her scenes with a serving of sass where appropriate – and extra commendation must go to her, and some of her fellow actors also, for dotting between several roles over the course of the evening.
It is always a delight to see familiar faces in MadCap’s productions – Nick Baldock made for a marvellous Don Pedro while Patricia Hobday again returned to the stage, this time in the forms of Antonio and Verges – and I was delighted, amused, and appropriately irritated by Robert Moore’s Don John. The character reeked of evil genius from his opening scene and, with the help of Borachio – played wonderfully by Rich Strange – Don John’s evil plans were able to come to fruition.
The whole production was delivered with the ease and confidence of actors who are familiar with each and content in each other’s company, and this shows in their individual deliveries. As for first night nerves, although I’m sure they must have been felt, there were absolutely no signs of them as each cast member took to the stage with ease making for a truly brilliant performance. Another success for MadCap, this is definitely a show worth watching!
Performance times and ticket information can be found here.
Written by: Charlotte Barnes
Published: 2 July 2016
Theatre News: MadCap Theatre Productions Ready Themselves for Opening Night!
Open air Shakespeare has become a highlight in the Mad Hatter Reviews' calendar in recent years. With more and more theatre companies offering up this summer pastime, a personal favourite of ours are the deliveries made by MadCap Theatre Productions. After two successful years of running the event - which has already seen their performances of both A Midsummer Night's Dream and Twelfth Night - the company are now making their return to the stage, or rather, several stages, around the country to deliver their rendition of Much Ado About Nothing.
The show - which opens tonight - is set to be another masterpiece from this band of talented actors and, if you're looking for an excuse to have a picnic, this is the perfect reason to pack up the camping chairs and buy some cakes. MadCap's first performance of the show will take place this evening in Droitwich - keep your eyes peeled for our review of that tomorrow morning - but their performances over the coming weeks will see them tour all the way through to London, so for a full list of their dates and locations you can click here.
Written by: Charlotte Barnes
Published: 1 July 2016
The show - which opens tonight - is set to be another masterpiece from this band of talented actors and, if you're looking for an excuse to have a picnic, this is the perfect reason to pack up the camping chairs and buy some cakes. MadCap's first performance of the show will take place this evening in Droitwich - keep your eyes peeled for our review of that tomorrow morning - but their performances over the coming weeks will see them tour all the way through to London, so for a full list of their dates and locations you can click here.
Written by: Charlotte Barnes
Published: 1 July 2016
Theatre Review: Extraction, by Wasted Motion Drama
On Tuesday May 17, I waited patiently at the University of Worcester to see the new play by Mark Games, performed by Wasted Motion Drama. I was excited, having already seen the excellent films he has made including Silent War and its follow up, Demons. Extraction, though, is in another league,
Five soldiers came out from the side of the room and proceeded to escort us through enemy territory; a simple yet fantastic set up. After placing our bags in a “truck”, we were ordered through to a dimly lit “barn”. Here, the leader began to explain the plan for us getting out. Without warning, terrorists storm the barn and in the ensuing chaos take hostages. The rest of the performance is an examination of war, terrorism and, the two sides to every story. Being placed in the middle of the chaos, you’re given a truly immersive experience that is riveting. The group utilize video, audience interactivity and, monologues to get the themes across. The section where the audience is encouraged to answer questions about wars stands out as being a clever and unique way to get people thinking about the main theme of this piece. The individual performances are exceptional! Everyone of the cast do their character justice. Adam Weavers, in particular, gives a terrifying performance as the leader of the terrorists. Using his eyes, not to mention his loud and overtly confident vocal delivery, he excellently portrays the sympathetic side of his character with ease as well. Harry Kettle, Mark Games and, Jack Hirst also should be commended for their performances in this, too. Their chilling reading of the soldiers' letters was beautiful and moving, and made for an interesting pause for poignancy in the play. This all gradually builds to an ending that suggests war is a never ending cycle of violence and loss of innocence, and the further brilliance of Extraction is that you leave this performance thinking and discussing the weight of that prospect for long after the show has finished. A marvellous piece of theatre, Extraction is only doing one more performance - Thursday May 19 - so, if you can, it's definitely worth attending. Written by: JD Grant Published: 18 May 2016 |
Theatre Review: Suitable for Shop work by Worcester Rep
The flyer reads ‘World Premiere’, and my, oh my, wasn’t it just. Yesterday evening – May 17 – I, along with hungry audience members who were eager to see Worcester Rep’s latest theatrical delivery, piled into The Swan Theatre’s Vesta Tilley Studio – one of the more intimate settings the theatre has to offer. Not that that was a problem at all, given that what followed was a surprisingly intimate play.
Penned by Chris Jaeger, Suitable For Shop Work is a frank, humourous, and surprisingly emotional discussion of not only how our school years shape us, but also of how the prophecies attached to our younger selves can sometimes go astray... It would be disingenuous to discuss the plot of this play in singular terms, given that Suitable For Shop Work is actually an amalgamation of four independent plots that occasionally interweave over the 50 minutes or so that the performance runs for – there’s no interval here, by the way, not that you actually need one. In the opening minutes of the piece we are introduced to the four strong cast and their respective characters as each take their turn to introduce the other – a lovely touch, I thought. Ben Humphrey takes to the stage as Chris, whose double-barrelled last name repeatedly lends itself well to crude jokes throughout, while Murray Andrews takes on the role of Jon, the loveable rogue. Gemma Martyn Smith here delivers Debbie, the young girl with all the promise who doesn’t quite meet the standards that were set for her, and alongside Smith there is Rhian McLean. Pause for praise here because while all four of these cast members were nothing shy of stunning in their deliveries – the play certainly didn’t suffer for a lack of bodies given that an abundance of talent was on hand to compensate for that – McLean’s delivery of Gina, the misguided girl who, as an older woman, finds herself wrapped up with the wrong man, was appropriately heartbreaking. Female cast member to female audience member, this packed a furious punch with me and I commend McLean’s delivery of that circumstance. With a simple setting that sees the cast members lend themselves as actors in each other’s scenarios – the lapses in character here were a great touch – these four actors served up a spectrum of emotion and while I commend their delivery, I also have to commend Chris Jaeger for having written such a well-crafted script. Suitable For Shop Work is running until May 21 and if you’re in the Worcester area – or even if you aren’t, it’s certainly worth making the journey for – it’s definitely worth a visit to The Swan Theatre to see this. Performance details, and tickets, can be found online by clicking here. Written by: Charlotte Barnes Published: 18 May 2016 |
Gig Review: Russell Kane @ Forum Theatre, Malvern
Saturday evening, May 14, I made the jaunt up to Malvern’s Forum Theatre to see Russell Kane’s Right Man, Wrong Age tour – and I was apprehensive to say the least. Ahead of seeing this performance someone had warned me that Kane is a father now, so it seemed likely that yet another male comedian had greeted fatherhood a little too warmly and decided to write a whole damn stand-up about it. This fear was only compounded further when – trying to hunt out directions for the venue – I actually found a review of the show where someone confirmed that yep, the whole second half is father/baby/parenthood related. After a whole car journey filled with choruses of ‘I hope he isn’t rubbish, you know’ and ‘It better not be all baby stuff’, my companions and I found our seats, settled in, and shortly after this we completely lost ourselves in the onslaught of stellar comedy that followed.
Yes, Kane makes a lot of baby jokes. However, as promised – he warns you that the baby jokes are coming and even gives a snippet of the angle that they’ll be coming from in terms of content – they are baby jokes with a brilliant twist. Kane took to the stage for a forty minute warm up – saving money on an actual warm up act, he joked – and in that warm up he sets up the second half of the show (which runs at around double the length this first segment did). He talked of age, maturity – hence the title of the tour – and saved the mention of his daughter until the very final second of the intro, although many of us had already guessed what was coming by then.
Now we’ve dealt with the elephant/baby in the room, though, it’s also worth noting how much of this tour isn’t about fatherhood. Kane incorporates his own father magnificently with comedy, conviction, and obvious passion – as he has done in previous stand ups – and alongside this he discusses lifestyle, marriage, and, for a surprisingly large stint, he also discusses the local area. Malvern has never before given itself so easily to jokes but Kane threw them out like he had a limitless supply – and it was wonderful. Further commendation goes as well to his absurdly good crowd interaction! My sympathies to the poor young chap on the front row who attended this gig with his mother because they certainly got their fair share of mortifying remarks but this improvisation from Kane was just superb.
A thoroughly entertaining performance, Right Man, Wrong Age, is about babies and fatherhood – but it’s also about so much more! A brilliant two hours of comedy, Kane has come back swinging with this one and if you can catch this performance while it’s on the road – tour dates and tickets can be found here – it’s definitely worth watching.
Written by: Charlotte Barnes
Published: 16 May 2016
Yes, Kane makes a lot of baby jokes. However, as promised – he warns you that the baby jokes are coming and even gives a snippet of the angle that they’ll be coming from in terms of content – they are baby jokes with a brilliant twist. Kane took to the stage for a forty minute warm up – saving money on an actual warm up act, he joked – and in that warm up he sets up the second half of the show (which runs at around double the length this first segment did). He talked of age, maturity – hence the title of the tour – and saved the mention of his daughter until the very final second of the intro, although many of us had already guessed what was coming by then.
Now we’ve dealt with the elephant/baby in the room, though, it’s also worth noting how much of this tour isn’t about fatherhood. Kane incorporates his own father magnificently with comedy, conviction, and obvious passion – as he has done in previous stand ups – and alongside this he discusses lifestyle, marriage, and, for a surprisingly large stint, he also discusses the local area. Malvern has never before given itself so easily to jokes but Kane threw them out like he had a limitless supply – and it was wonderful. Further commendation goes as well to his absurdly good crowd interaction! My sympathies to the poor young chap on the front row who attended this gig with his mother because they certainly got their fair share of mortifying remarks but this improvisation from Kane was just superb.
A thoroughly entertaining performance, Right Man, Wrong Age, is about babies and fatherhood – but it’s also about so much more! A brilliant two hours of comedy, Kane has come back swinging with this one and if you can catch this performance while it’s on the road – tour dates and tickets can be found here – it’s definitely worth watching.
Written by: Charlotte Barnes
Published: 16 May 2016
Gig Review: The Rainband Raise the Roof in Manchester!
After three hard years of work, Manchester’s the Rainband, led by frontman and lead singer Martin Finnigan, better known as Finny, packed out the hall at Manchester Academy 2 this past Friday evening.
The five-piece band, who recently released their first album, Satellite Sunrise, on April 8 via download, played an energetically and emotionally charged set, lasting for just over 90 minutes, with the last show of their current tour being lapped up by their fans and friends in attendance. It was a fait accompli for the band, who have just completed a very hectic schedule, which even included performances in Italy, but it still didn’t stop them from entertaining the several-hundred strong crowd.
Along with performing on home soil, the concert also had a significant personal meaning for Finny himself, as there were special guests that had flown from Italy to see the band perform in person.
Back in 2012, the band released the song Rise Again, as a tribute to the late Marco Simoncelli, who tragically lost his life in Malaysia late in 2011. This enigma of the MotoGP world was a much loved character, having the witty humour and entertaining hairstyle to match. And so, this song was the penultimate track played by the band, having closed off the set with Sirens, along with other tracks such as their latest single to hit the streets, Storm, while She’s A Rainbow, Shadows, and a fantastic rendition of the Rolling Stones’ classic Paint It Black also made an appearance.
The international following continues for this band, having already been recognised by the likes of Simple Minds’ Jim Kerr, BBC 6 Music’s Chris Hawkins and Liam Gallagher, as well as the majority of the music industry. Their momentum is not showing any signs of abating any time soon. So if you get a chance to go and see them live, don't worry about the cost of a ticket, just go out and enjoy the show!
Written by: Alex Goldschmidt
Published: 2 May 2016
The five-piece band, who recently released their first album, Satellite Sunrise, on April 8 via download, played an energetically and emotionally charged set, lasting for just over 90 minutes, with the last show of their current tour being lapped up by their fans and friends in attendance. It was a fait accompli for the band, who have just completed a very hectic schedule, which even included performances in Italy, but it still didn’t stop them from entertaining the several-hundred strong crowd.
Along with performing on home soil, the concert also had a significant personal meaning for Finny himself, as there were special guests that had flown from Italy to see the band perform in person.
Back in 2012, the band released the song Rise Again, as a tribute to the late Marco Simoncelli, who tragically lost his life in Malaysia late in 2011. This enigma of the MotoGP world was a much loved character, having the witty humour and entertaining hairstyle to match. And so, this song was the penultimate track played by the band, having closed off the set with Sirens, along with other tracks such as their latest single to hit the streets, Storm, while She’s A Rainbow, Shadows, and a fantastic rendition of the Rolling Stones’ classic Paint It Black also made an appearance.
The international following continues for this band, having already been recognised by the likes of Simple Minds’ Jim Kerr, BBC 6 Music’s Chris Hawkins and Liam Gallagher, as well as the majority of the music industry. Their momentum is not showing any signs of abating any time soon. So if you get a chance to go and see them live, don't worry about the cost of a ticket, just go out and enjoy the show!
Written by: Alex Goldschmidt
Published: 2 May 2016
Feature: Rest in Peace, Prince
He's the man who was simply known as a symbol, a man that went against the restrictions enforced by the globally-established record companies to pursue his ideas of music. The sad news that Prince had passed away at his Paisley Park complex in Minnesota yesterday had again hit the music world hard after the tragic loss of the likes of Natalie Cole, Lemmy, Frank Sinatra, Jr. and David Bowie in recent months.
Born Prince Rogers Nelson on June 7, 1958, this pint-sized pocket of creative genius rose to prominence in the early 1980s. This was when we first got a taste of his flair for extravagant outfits, meaningful lyrics, and something radically different from the established artists that were on the tips of peoples' tongues globally.
Having been married twice, as well as being linked with a host of celebrities, including former Playboy Model Carmen Electra, this soulful musician, who had the skills to play multiple instruments, would remain as more of a mystical figure at the complex that would be his final resting place.
In a career that spanned 40 years, this man with a unique and somewhat charismatic personality, who was also a showman unlike the norm, was active right up until his death. His hits include the likes of "Sign O' The Times," "When Doves Cry" and "Kiss," as well as over fifty studio and live albums to his credit, and multiple Grammy and MTV Music awards. "Purple Rain," released in 1984, would see the Minnesota native take his first and only Oscar for the track of the song's silver screen namesake, which Prince also starred in.
Despite having become somewhat more reclusive in recent times, Prince's last visit to the UK was back in 2014, where he played several surprise concerts with "3RDEYEGIRL," his new band.
A true creative mastermind has left us, but the legacy and the music he left us with shows that his spirit is still here, touching every soul that listens to his body of work, irrespective of what decade it’s from.
Thank you, Prince.
Written by: Alex Goldschmidt
Published: 22 April 2016
Born Prince Rogers Nelson on June 7, 1958, this pint-sized pocket of creative genius rose to prominence in the early 1980s. This was when we first got a taste of his flair for extravagant outfits, meaningful lyrics, and something radically different from the established artists that were on the tips of peoples' tongues globally.
Having been married twice, as well as being linked with a host of celebrities, including former Playboy Model Carmen Electra, this soulful musician, who had the skills to play multiple instruments, would remain as more of a mystical figure at the complex that would be his final resting place.
In a career that spanned 40 years, this man with a unique and somewhat charismatic personality, who was also a showman unlike the norm, was active right up until his death. His hits include the likes of "Sign O' The Times," "When Doves Cry" and "Kiss," as well as over fifty studio and live albums to his credit, and multiple Grammy and MTV Music awards. "Purple Rain," released in 1984, would see the Minnesota native take his first and only Oscar for the track of the song's silver screen namesake, which Prince also starred in.
Despite having become somewhat more reclusive in recent times, Prince's last visit to the UK was back in 2014, where he played several surprise concerts with "3RDEYEGIRL," his new band.
A true creative mastermind has left us, but the legacy and the music he left us with shows that his spirit is still here, touching every soul that listens to his body of work, irrespective of what decade it’s from.
Thank you, Prince.
Written by: Alex Goldschmidt
Published: 22 April 2016
Feature: Always Alan Rickman
Thursday January 14th, 2016, my world was hit by yet another celebrity death. Mother Nature wasn't content with taking Lemmy from Motorhead and the musical genius David Bowie; she decided to take away one of the greatest actors of all time, Alan Rickman, as well. At the tender age of 69 Alan passed away from cancer and was with friends and loved ones when it happened.
This particular death has hit me a bit more than others as I grew up watching this actor blossom on-screen ever since the tour de force Die Hard in 1988. This role was the break through role and quite literally overnight caused an unknown Rickman to become a sensation, albeit in the movie world. This beautiful actor honed his craft on the stage and in small television roles before the part of Hans Gruber in the aforementioned Die Hard, and from here he went on to play some of the most delicious roles in Hollywood.
The Sheriff of Nottingham in Robin Hood Prince of Thieves, Professor Snape in the Harry Potter series, the Metatron in Dogma (a very underrated role) and Alexander Dane/Dr Lazarus in the cult classic Galaxy Quest to name a few. Although, Rickman's career would not always surrounded by sci-fi and action; at times he worked on much more timid roles such as Sense and Sensibility and, in one of my guilty pleasure films, the excellent ensemble that is Love Actually.
Amongst his many talents in the acting world he has garnered many awards and accolades through his numerous years, these include the 46th best villain for his role in Die Hard also revealing that he almost did not take this role! The role in Robin Hood Prince of Thieves is widely regarded as the movie that made him known as the best for portraying villains in movies. He won a Golden Globe and an Emmy for his performance as Rasputin in the Dark Servant of Destiny and was also nominated for a second Emmy in 2004 for the movie Something the Lord Made.
Rickman would also dabble in music; he was the Master of Ceremonies on Mike Oldfield’s Tubular Bells 2 and even worked with the band on three separate occasions as well, and the man was a great advocate for charity work. Acting as a patron for the charity Saving Faces, he was also the Honorary President of the International Performers Aid Trust which alleviates poverty in some the world’s toughest conditions.
Rickman is survived by his one true love Rima Horton whom he met aged 19 in 1965; they were married in a quiet private service in 2012 in New York.
Words literally cannot explain how sad I feel about this loss. Not since the death of another childhood hero, the Ultimate Warrior, have I felt this way and just like when Warrior passed this has been a great shock to me. As a long time fan of Mr. Rickman’s work it is truly saddening to hear that a lovely man has passed away; long time quotes say that Alan Rickman was always a pleasure to be around and seemed to be a genuinely loving human being.
I’ll leave you with this wonderful but also saddening quote as he sadly will not be here in body for his 80th birthday: “When I’m 80 years old and sitting in my rocking chair, I’ll be reading Harry Potter. And my family will say to me, ‘After all this time?’ And I will say, ‘Always.”’
Thank you, Alan, for the memories you have given us all. Goodbye and farewell.
Written by: Phil Brown
Published: 17 January 2016
This particular death has hit me a bit more than others as I grew up watching this actor blossom on-screen ever since the tour de force Die Hard in 1988. This role was the break through role and quite literally overnight caused an unknown Rickman to become a sensation, albeit in the movie world. This beautiful actor honed his craft on the stage and in small television roles before the part of Hans Gruber in the aforementioned Die Hard, and from here he went on to play some of the most delicious roles in Hollywood.
The Sheriff of Nottingham in Robin Hood Prince of Thieves, Professor Snape in the Harry Potter series, the Metatron in Dogma (a very underrated role) and Alexander Dane/Dr Lazarus in the cult classic Galaxy Quest to name a few. Although, Rickman's career would not always surrounded by sci-fi and action; at times he worked on much more timid roles such as Sense and Sensibility and, in one of my guilty pleasure films, the excellent ensemble that is Love Actually.
Amongst his many talents in the acting world he has garnered many awards and accolades through his numerous years, these include the 46th best villain for his role in Die Hard also revealing that he almost did not take this role! The role in Robin Hood Prince of Thieves is widely regarded as the movie that made him known as the best for portraying villains in movies. He won a Golden Globe and an Emmy for his performance as Rasputin in the Dark Servant of Destiny and was also nominated for a second Emmy in 2004 for the movie Something the Lord Made.
Rickman would also dabble in music; he was the Master of Ceremonies on Mike Oldfield’s Tubular Bells 2 and even worked with the band on three separate occasions as well, and the man was a great advocate for charity work. Acting as a patron for the charity Saving Faces, he was also the Honorary President of the International Performers Aid Trust which alleviates poverty in some the world’s toughest conditions.
Rickman is survived by his one true love Rima Horton whom he met aged 19 in 1965; they were married in a quiet private service in 2012 in New York.
Words literally cannot explain how sad I feel about this loss. Not since the death of another childhood hero, the Ultimate Warrior, have I felt this way and just like when Warrior passed this has been a great shock to me. As a long time fan of Mr. Rickman’s work it is truly saddening to hear that a lovely man has passed away; long time quotes say that Alan Rickman was always a pleasure to be around and seemed to be a genuinely loving human being.
I’ll leave you with this wonderful but also saddening quote as he sadly will not be here in body for his 80th birthday: “When I’m 80 years old and sitting in my rocking chair, I’ll be reading Harry Potter. And my family will say to me, ‘After all this time?’ And I will say, ‘Always.”’
Thank you, Alan, for the memories you have given us all. Goodbye and farewell.
Written by: Phil Brown
Published: 17 January 2016
Theatre Review: Dick Whittington by Worcester Rep @ The Swan Theatre, Worcester
Sprinkled with festive magic, mischief and fun, this Christmas the Worcester Repertory Company staged the pantomime Dick Whittington at the Swan Theatre, Worcester. This show had everything you could wish for in a panto; music, dancing, silly jokes, flamboyant costumes, and plenty of audience interaction. Although pantos are very much intended to appeal to children, this production was enjoyable for all ages and that was reflected in the vast range of ages in the audience.
For those of you who don't know, Dick Whittington is the tale of a young man and his cat Tommy who go to London to seek their fortune. There they meet the beautiful Alice Fitzwarren, who Dick immediately falls in love with and who is able to find Dick and Tommy employment in her father's shop, selling goods and catching rats. However, the evil Queen Rat doesn't take kindly to Tommy killing off her minions so plots to have Dick and Tommy removed. When she succeeds, Dick and Tommy head for a life in the Navy only to meet a Pirate King who also has a bit of a rat problem. By battling the Queen Rat on the Pirate King's ship Dick is able to once more prove his worth and reunite with Alice.
Performed to live music, the show launched with a winning combination of Hanson's Mm-Bop, followed by Eye of the Tiger and Bonnie Tyler, and I knew then that I was in for a great evening. The actors were brilliant and were clearly enjoying their roles, as too were the dancers who were excellent and managed to maintain their energy through some very exuberant performances. I was particularly impressed by the Under the Sea routine which saw the theatre plunged into darkness as Day-Glo fish puppets frolicked across the stage.
There was a lot of interaction with the audience too, which is just what you want from a panto. This interaction never felt awkward as the cast handled whatever was shouted at them with experience and quick wit!
The entire cast were brilliant with stand-out performances from the Rat Queen, Tommy the Cat, Dame Ginny the cook, and Mate Muscles. I particularly liked Ginny the cook, (played by Ben Humphrey who also directed the production) who was incredibly funny and wore some fabulous costumes. I was especially keen on a head piece she wore which featured a stuffed seagull. The Rat Queen played by Liz Grand was also deliciously nasty, providing plenty of opportunities for the audience to boo and hiss, whilst the shipmate Mr Muscles (played by Jonathan Darby) was a cosy bumbling character and instantly lovable. Tommy the Cat, played by Sophie-Jo Lusted, was an almost entirely silent character but still managed to convey charm and emotion through really expressive movements.
Although the panto run has now ended, you can find more of the Worcester Repertory Company's productions on their website here or on the Swan Theatre's website. After this excellent production I will certainly be looking out for the Worcester Repertory Company's panto next year.
Written by: Annie Moss
Published: 5 January 2016
For those of you who don't know, Dick Whittington is the tale of a young man and his cat Tommy who go to London to seek their fortune. There they meet the beautiful Alice Fitzwarren, who Dick immediately falls in love with and who is able to find Dick and Tommy employment in her father's shop, selling goods and catching rats. However, the evil Queen Rat doesn't take kindly to Tommy killing off her minions so plots to have Dick and Tommy removed. When she succeeds, Dick and Tommy head for a life in the Navy only to meet a Pirate King who also has a bit of a rat problem. By battling the Queen Rat on the Pirate King's ship Dick is able to once more prove his worth and reunite with Alice.
Performed to live music, the show launched with a winning combination of Hanson's Mm-Bop, followed by Eye of the Tiger and Bonnie Tyler, and I knew then that I was in for a great evening. The actors were brilliant and were clearly enjoying their roles, as too were the dancers who were excellent and managed to maintain their energy through some very exuberant performances. I was particularly impressed by the Under the Sea routine which saw the theatre plunged into darkness as Day-Glo fish puppets frolicked across the stage.
There was a lot of interaction with the audience too, which is just what you want from a panto. This interaction never felt awkward as the cast handled whatever was shouted at them with experience and quick wit!
The entire cast were brilliant with stand-out performances from the Rat Queen, Tommy the Cat, Dame Ginny the cook, and Mate Muscles. I particularly liked Ginny the cook, (played by Ben Humphrey who also directed the production) who was incredibly funny and wore some fabulous costumes. I was especially keen on a head piece she wore which featured a stuffed seagull. The Rat Queen played by Liz Grand was also deliciously nasty, providing plenty of opportunities for the audience to boo and hiss, whilst the shipmate Mr Muscles (played by Jonathan Darby) was a cosy bumbling character and instantly lovable. Tommy the Cat, played by Sophie-Jo Lusted, was an almost entirely silent character but still managed to convey charm and emotion through really expressive movements.
Although the panto run has now ended, you can find more of the Worcester Repertory Company's productions on their website here or on the Swan Theatre's website. After this excellent production I will certainly be looking out for the Worcester Repertory Company's panto next year.
Written by: Annie Moss
Published: 5 January 2016
Theatre Review: Litter Hero, A Comedy by Nick Wilkes @ The Swan Theatre, Worcester
Litter Hero is a bite-size play with an unexpectedly poignant message attached as we see Mike, the protagonist of sorts, jilted at the alter by his fiancé. His friend Keith appears immediately as a source of support and encouragement for helping Mike get his life back on track which he eventually manages to do, using slightly unconventional methods… Enter, Litter Hero!
The play packs an obvious message with its plea for audiences to pick up more litter on their travels but it communicates this in an endearing way. The characters of Mike and Keith are played by Rob Temple and Murray Andrews respectively and the pair make for brilliant viewing! They are amusing and serious counterparts to each other as Temple presents a troubled and tortured man looking for some direction in his life, while Andrews provides one giggle and eye-roll after another with his comedic interludes. In fact, giggles and eye-rolls are perhaps the best terms for the comedy of the play as a whole as Nick Wilkes, the writer behind the piece, swerves away from obvious jokes and leans towards more subtle humour instead, which the audience certainly appreciated.
I have to say that for a two-man cast, Temple and Andrews really were marvellous. They occupied the space brilliantly, left no room for dead air, and worked impressively with every resource they had at their deposal. A commendable effort by both actors and certainly a worthy addition to their already-impressive list of previous appearances.
Nick Wilkes has made a brilliant effort here to put a comedic spin on what is actually a serious issue and, in communicating this through the medium of the theatre, he has managed to push an agenda without preaching it. The comedy is well thought-out, subtle, and tremendously effective and Litter Hero is certainly worth seeing if you need a light-hearted lift on a cold winter night.
Litter Hero is running at The Swan Theatre, Worcester, for the rest of this week and you can find show times and information regarding tickets by clicking here.
Written by: Charlotte Barnes
Published: 16 December 2015
The play packs an obvious message with its plea for audiences to pick up more litter on their travels but it communicates this in an endearing way. The characters of Mike and Keith are played by Rob Temple and Murray Andrews respectively and the pair make for brilliant viewing! They are amusing and serious counterparts to each other as Temple presents a troubled and tortured man looking for some direction in his life, while Andrews provides one giggle and eye-roll after another with his comedic interludes. In fact, giggles and eye-rolls are perhaps the best terms for the comedy of the play as a whole as Nick Wilkes, the writer behind the piece, swerves away from obvious jokes and leans towards more subtle humour instead, which the audience certainly appreciated.
I have to say that for a two-man cast, Temple and Andrews really were marvellous. They occupied the space brilliantly, left no room for dead air, and worked impressively with every resource they had at their deposal. A commendable effort by both actors and certainly a worthy addition to their already-impressive list of previous appearances.
Nick Wilkes has made a brilliant effort here to put a comedic spin on what is actually a serious issue and, in communicating this through the medium of the theatre, he has managed to push an agenda without preaching it. The comedy is well thought-out, subtle, and tremendously effective and Litter Hero is certainly worth seeing if you need a light-hearted lift on a cold winter night.
Litter Hero is running at The Swan Theatre, Worcester, for the rest of this week and you can find show times and information regarding tickets by clicking here.
Written by: Charlotte Barnes
Published: 16 December 2015
Theatre Review: Romeo and Juliet by Worcester Rep @ Worcester Cathedral
It has become a much anticipated event in Worcester’s social calendar now that every October, for a few evenings and the odd matinee, Worcester Cathedral opens its doors to the talents of Worcester Repertory Company in order for them to bring Shakespeare’s classics to the masses. Last year saw Julius Caesar, this year sees Romeo and Juliet…
Worcester Cathedral, it perhaps goes without saying, is one of the most stunning settings an audience could ask for and it lends itself marvellously to the tragedy of Shakespeare’s most iconic love story. The stage setting itself was simplistic allowing the focus here to fall on the acting and indeed the performance as a whole, and each actor used this space to their own credit, particularly Kivan Dene who plays perhaps the most flamboyant Mercutio I have ever seen, and I do sincerely mean this as a compliment.
The performance boasted a cast of talented actors who delivered their respective roles with conviction. Sue Fortune’s delivery of Nurse was appropriately amusing at times and utterly convincing at others as she mothered Juliet with a sincere tenderness. John-Robert Partridge made for a wonderful Benvolio acting as a perfect balance for Dene’s Mercutio and truthfully, I could have watched this pair for scene after scene, so enjoyable was the weight of their performance together. Gemma Martyn Smith makes for a delicate Lady Capulet alongside Phil Leach’s stern delivery of her husband, and Juliet’s father, who had many of us scowling in disgust (in the best way possible, of course).
The title roles of Romeo and Juliet were given to Jonny Muir and Brigette Wellbelove respectively and they made for a wonderful on-stage couple. Well-cast in their roles of young lovers, the age and appearance of these actors lent itself well to the portrayal of the star-crossed pair and added a great authenticity to their delivery. Muir delivered Romeo the romancer convincingly alongside his gaggle of amusing friends in the opening scenes of the play allowing the audience to see a more amusing side of the character before flipping appropriately to scenes of sincerity on meeting Juliet. Both Muir and Wellbelove worked with and around each other commendably and certainly made a marvellous effort at conveying the title characters of one of Shakespeare’s biggest pieces - with the help of Rob Leetham’s Friar Lawrence who provided a wonderful balance in many of their scenes.
It was undoubtedly an enjoyable evening that once again saw Worcester Rep pull out the stops for a commendable performance of a Shakespearean classic. As with all tragedies, the play runs longer than a comedy perhaps would and the late finish certainly left a chill in the air of the Cathedral so do be sure to wrap up if you plan on visiting the Worcester Rep team this week. Further details regarding show times and tickets can be accessed here.
Written by: Charlotte Barnes
Published: 21 October 2015
Worcester Cathedral, it perhaps goes without saying, is one of the most stunning settings an audience could ask for and it lends itself marvellously to the tragedy of Shakespeare’s most iconic love story. The stage setting itself was simplistic allowing the focus here to fall on the acting and indeed the performance as a whole, and each actor used this space to their own credit, particularly Kivan Dene who plays perhaps the most flamboyant Mercutio I have ever seen, and I do sincerely mean this as a compliment.
The performance boasted a cast of talented actors who delivered their respective roles with conviction. Sue Fortune’s delivery of Nurse was appropriately amusing at times and utterly convincing at others as she mothered Juliet with a sincere tenderness. John-Robert Partridge made for a wonderful Benvolio acting as a perfect balance for Dene’s Mercutio and truthfully, I could have watched this pair for scene after scene, so enjoyable was the weight of their performance together. Gemma Martyn Smith makes for a delicate Lady Capulet alongside Phil Leach’s stern delivery of her husband, and Juliet’s father, who had many of us scowling in disgust (in the best way possible, of course).
The title roles of Romeo and Juliet were given to Jonny Muir and Brigette Wellbelove respectively and they made for a wonderful on-stage couple. Well-cast in their roles of young lovers, the age and appearance of these actors lent itself well to the portrayal of the star-crossed pair and added a great authenticity to their delivery. Muir delivered Romeo the romancer convincingly alongside his gaggle of amusing friends in the opening scenes of the play allowing the audience to see a more amusing side of the character before flipping appropriately to scenes of sincerity on meeting Juliet. Both Muir and Wellbelove worked with and around each other commendably and certainly made a marvellous effort at conveying the title characters of one of Shakespeare’s biggest pieces - with the help of Rob Leetham’s Friar Lawrence who provided a wonderful balance in many of their scenes.
It was undoubtedly an enjoyable evening that once again saw Worcester Rep pull out the stops for a commendable performance of a Shakespearean classic. As with all tragedies, the play runs longer than a comedy perhaps would and the late finish certainly left a chill in the air of the Cathedral so do be sure to wrap up if you plan on visiting the Worcester Rep team this week. Further details regarding show times and tickets can be accessed here.
Written by: Charlotte Barnes
Published: 21 October 2015
Author Interview: Sarah Leavesley talks Poetry, Prose, and Plans for the future
Sarah Leavesley, published as Sarah James, is a Worcestershire based poet who has recently published her marvellous collection, plenty-fish, with Nine Arches Press. In between publicising her new book, and making various appearances around the West Midlands - she's a popular lady, you see - Sarah managed to find time to sit down with the Mad Hatter team and answer some questions for us...
For people who aren’t familiar with your work, or your style of writing, how would you sell your book to them? What sort of poetry should they expect from the collection?
Being a saleswoman: the hardest part of being a poet!
Generally, I write in both experimental and more mainstream traditions, so each collection I’ve had published so far has been very different. The majority of the poems in plenty-fish are more mainstream, with a handful of quite experimental poems. (A handful here being somewhere between 5 and 10 of what I think is 52 poems in total.) Crafted and polished over the past five years, there are poems of landscape, place and family, literary-influenced poems, poems of personal and general history, and lots of water and/or sea. That said though, only two poems with fish in them; the collection title actually arising from word play on the phrase ‘plenty more fish in the sea’.
But perhaps the best way of getting a taste of the collection is the sample poems (which you can do by clicking here and here).
Is poetry your preferred choice for writing, or do you have some prose in the works for the future perhaps?
Tough question. My writing background is in student, regional and then freelance newspaper journalism, including features and reviews. But I always wanted to write more imaginatively. My first creative publications were actually in short fiction, before I had children. Since then, poetry seems to have proved most successful for me, and more adaptable to fitting around children, chores and life than most prose fiction writing. I think this is probably because it’s much easier to fit this writing into small chopped-up blocks of time than eg a novel. Flash fiction also works well in this way. Since finishing a creative writing masters which focussed on poetry (and with my children now older), I have been writing some fiction again. We will see what happens with this…
From my own experience, people to seem to think that there’s something challenging or special about poetry which makes it inaccessible to a lot of readers. As a poet, I’d love to know your thoughts on this.
Enough thoughts for a whole book of essays! But there in that sentence itself is part of the problem perhaps – overcomplicating things. I suspect that the perception of poetry as inaccessible may also be part of what makes it inaccessible, a kind of self-fulfilling prophesy. For a lot of people that I’ve heard this from, part of that perception dates back to school and uninspiring teaching (not necessarily down to the teachers, as opposed to the framework they have had to work with in). I wonder if, once we’ve let ourselves believe something’s difficult or inaccessible, it then becomes so. Like most things, I think poetry also becomes more accessible the more we’re immersed in it. But different people and readers have different tastes. Challenging and special again are terms that may be seen as bad, but can also be good, for some people at least. Life in general can get boring or samey very easily without anything special or challenging to give it some spark.
Do you think that the growing interest in spoken word/performance poetry has been beneficial to this public perception of poetry?
Good question, and one I’m not sure I can answer with any authority. I certainly think it’s a good thing, and a way of bringing poetry to audiences that might shy away from a book. It also opens up a whole different poetry experience and makes different things possible with poetry. That said, and I don’t really want to put the next part into words, I suspect there will always be people whose long-standing opinions about poetry won’t be changed. Also people that don’t even think about poetry at all, negatively or positively, so any widening of audience is something to be celebrated!
In terms of your own work, would you say it’s designed for the page, the stage, or does it bend in both directions?
My own character tends towards introverted and quiet (though close friends might say I have my very much louder moments!) I also love reading, so I’d say my own writing is inevitably designed more for the page than the stage. That said, I work on all my lines aloud and produce poems in a range of styles, some pieces aimed more at stage suitability than others. I enjoy reading at festivals and have performed some poems by heart. But there are some really great performance poets and entertainers out there that bring the stage alive in a way that I can’t ever imagine having the confidence or character to pull off. I’m happy to be in awe of that talent and ability in others.
It’s also great for me to work in collaborations that help to link page and stage. One of the memorable things for me in the past year has been actress Vey Straker bringing poems from my previous poetry collection alive on stage in my poetry-play The Magnetic Diaries. And I have another non-poetry play idea that I’d like to work on at some point, for others to act in. I guess what I’m saying is that I try to be open to as much as I can creatively for page and stage, but that I am naturally more a writer than a performer.
And, finally, you’re obviously publicising your new collection at the moment – congratulations again for that wonderful achievement – but, what’s next? Further aspirations? Writing goals?
I have lots of creative projects in progress: a poetry and photography collaboration, two possible poetry pamphlets, a manuscript that might become the next collection, a novella that I’d love to see published, the play idea that I’d like to actually buckle down to writing, a few short stories that I should do something with…as well as editing work on the go with my poetry imprint, V. Press. But I push myself a lot. At the moment, I’m trying not to look too far ahead or have too great aspirations or expectations. So, the goal for now is to give this collection, plenty-fish, the time and space that it (and my publisher!) are due, to develop V. Press, keep enjoying the creativity, continue trying new things as a writer and generally spread ‘poetry love’ wherever I can.
Sarah's collection, plenty-fish, is up for review in our Books & E-Books section this week as well.
Written by: Charlotte Barnes
Published: 8 October 2015
For people who aren’t familiar with your work, or your style of writing, how would you sell your book to them? What sort of poetry should they expect from the collection?
Being a saleswoman: the hardest part of being a poet!
Generally, I write in both experimental and more mainstream traditions, so each collection I’ve had published so far has been very different. The majority of the poems in plenty-fish are more mainstream, with a handful of quite experimental poems. (A handful here being somewhere between 5 and 10 of what I think is 52 poems in total.) Crafted and polished over the past five years, there are poems of landscape, place and family, literary-influenced poems, poems of personal and general history, and lots of water and/or sea. That said though, only two poems with fish in them; the collection title actually arising from word play on the phrase ‘plenty more fish in the sea’.
But perhaps the best way of getting a taste of the collection is the sample poems (which you can do by clicking here and here).
Is poetry your preferred choice for writing, or do you have some prose in the works for the future perhaps?
Tough question. My writing background is in student, regional and then freelance newspaper journalism, including features and reviews. But I always wanted to write more imaginatively. My first creative publications were actually in short fiction, before I had children. Since then, poetry seems to have proved most successful for me, and more adaptable to fitting around children, chores and life than most prose fiction writing. I think this is probably because it’s much easier to fit this writing into small chopped-up blocks of time than eg a novel. Flash fiction also works well in this way. Since finishing a creative writing masters which focussed on poetry (and with my children now older), I have been writing some fiction again. We will see what happens with this…
From my own experience, people to seem to think that there’s something challenging or special about poetry which makes it inaccessible to a lot of readers. As a poet, I’d love to know your thoughts on this.
Enough thoughts for a whole book of essays! But there in that sentence itself is part of the problem perhaps – overcomplicating things. I suspect that the perception of poetry as inaccessible may also be part of what makes it inaccessible, a kind of self-fulfilling prophesy. For a lot of people that I’ve heard this from, part of that perception dates back to school and uninspiring teaching (not necessarily down to the teachers, as opposed to the framework they have had to work with in). I wonder if, once we’ve let ourselves believe something’s difficult or inaccessible, it then becomes so. Like most things, I think poetry also becomes more accessible the more we’re immersed in it. But different people and readers have different tastes. Challenging and special again are terms that may be seen as bad, but can also be good, for some people at least. Life in general can get boring or samey very easily without anything special or challenging to give it some spark.
Do you think that the growing interest in spoken word/performance poetry has been beneficial to this public perception of poetry?
Good question, and one I’m not sure I can answer with any authority. I certainly think it’s a good thing, and a way of bringing poetry to audiences that might shy away from a book. It also opens up a whole different poetry experience and makes different things possible with poetry. That said, and I don’t really want to put the next part into words, I suspect there will always be people whose long-standing opinions about poetry won’t be changed. Also people that don’t even think about poetry at all, negatively or positively, so any widening of audience is something to be celebrated!
In terms of your own work, would you say it’s designed for the page, the stage, or does it bend in both directions?
My own character tends towards introverted and quiet (though close friends might say I have my very much louder moments!) I also love reading, so I’d say my own writing is inevitably designed more for the page than the stage. That said, I work on all my lines aloud and produce poems in a range of styles, some pieces aimed more at stage suitability than others. I enjoy reading at festivals and have performed some poems by heart. But there are some really great performance poets and entertainers out there that bring the stage alive in a way that I can’t ever imagine having the confidence or character to pull off. I’m happy to be in awe of that talent and ability in others.
It’s also great for me to work in collaborations that help to link page and stage. One of the memorable things for me in the past year has been actress Vey Straker bringing poems from my previous poetry collection alive on stage in my poetry-play The Magnetic Diaries. And I have another non-poetry play idea that I’d like to work on at some point, for others to act in. I guess what I’m saying is that I try to be open to as much as I can creatively for page and stage, but that I am naturally more a writer than a performer.
And, finally, you’re obviously publicising your new collection at the moment – congratulations again for that wonderful achievement – but, what’s next? Further aspirations? Writing goals?
I have lots of creative projects in progress: a poetry and photography collaboration, two possible poetry pamphlets, a manuscript that might become the next collection, a novella that I’d love to see published, the play idea that I’d like to actually buckle down to writing, a few short stories that I should do something with…as well as editing work on the go with my poetry imprint, V. Press. But I push myself a lot. At the moment, I’m trying not to look too far ahead or have too great aspirations or expectations. So, the goal for now is to give this collection, plenty-fish, the time and space that it (and my publisher!) are due, to develop V. Press, keep enjoying the creativity, continue trying new things as a writer and generally spread ‘poetry love’ wherever I can.
Sarah's collection, plenty-fish, is up for review in our Books & E-Books section this week as well.
Written by: Charlotte Barnes
Published: 8 October 2015
Theatre Review: The Great British Comedy Revue by Worcester Rep @ The Swan Theatre
With the evenings growing darker and the rain setting in for the Autumn months, what most of us really need in our lives right now is a good dose of comedic relief. And so, as if by magic, Worcester Repertory Company are offering just the thing over the next few evenings with their most recent production, The Great British Comedy Revue. The play - if I can call it such - is compiled of both popular and lesser known comedy sketches, and even some original ones too, performed by a small but perfectly formed cast of familiar actors. As the four stars took to the stage of the Swan Theatre’s Vesta Tilley Studio, the audience settled in for a couple of hours of comedy and I can confidently say that none of us were disappointed.
The first act was a medley of Shakespeare, wife-swapping, and misunderstandings - what more could you want? Ben Humphries did a marvellous job of introducing the show in his temporary role as Satan, however it was his stunning vocal performance in The Night I Appeared As Macbeth that completely stole the first half for me. Music Hall Shakespeare left me, and surely many other audience members, feeling like I’d been dropped into a Shakespearean-Dickensian mash-up, although I assure you it was certainly a lot more enjoyable than that description might have you believe. Additionally, The Man Who Speaks In Anagrams was also a high point as the talented Rob Leetham took to the stage as… well, the man who speaks in anagrams. The dialogue of this piece in particular was just so clever and so well-delivered; I commend Leetham’s abilities to not only keep his words in the right (or perhaps that should be wrong) order but also to deliver them while keeping a straight face!
Despite the bar having been set impressively high by this first act, the second act was equally enjoyable, impressive, and amusing. Gemma Martyn Smith’s performance in the Mastermind sketch was marvellous as she maintained her serious and professional demeanour in the face of Humphries’ tremendously amusing answers. No One Called Jones appealed to the immaturity in every audience member while I’d Like To Buy Some Tickets Please portrayed an all-too-familiar scenario in which Liz Grand left us rolling our eyes, but in the best possible way. Grand’s performance in this sketch was delivered with conviction and she did an outstanding job of both frustrating and delighting the audience in this piece.
Commendation must of course also be delivered to John Brierley, the man behind the music, and Chris Jaeger who directly this wonderfully put together production. Overall it was a marvellous evening of light-hearted comedy that left audience members feeling not only amused, but also ever so slightly more patriotic. This cast of actors may be little but they are certainly fierce and The Great British Comedy Revue does a wonderful job of showing not only their individual abilities but also their collective ones as a company. It is definitely worth a visit to The Swan Theatre to see this!
Further information regarding show times and tickets can be found now by clicking here.
Written by: Charlotte Barnes
Published: 24 September 2015
The first act was a medley of Shakespeare, wife-swapping, and misunderstandings - what more could you want? Ben Humphries did a marvellous job of introducing the show in his temporary role as Satan, however it was his stunning vocal performance in The Night I Appeared As Macbeth that completely stole the first half for me. Music Hall Shakespeare left me, and surely many other audience members, feeling like I’d been dropped into a Shakespearean-Dickensian mash-up, although I assure you it was certainly a lot more enjoyable than that description might have you believe. Additionally, The Man Who Speaks In Anagrams was also a high point as the talented Rob Leetham took to the stage as… well, the man who speaks in anagrams. The dialogue of this piece in particular was just so clever and so well-delivered; I commend Leetham’s abilities to not only keep his words in the right (or perhaps that should be wrong) order but also to deliver them while keeping a straight face!
Despite the bar having been set impressively high by this first act, the second act was equally enjoyable, impressive, and amusing. Gemma Martyn Smith’s performance in the Mastermind sketch was marvellous as she maintained her serious and professional demeanour in the face of Humphries’ tremendously amusing answers. No One Called Jones appealed to the immaturity in every audience member while I’d Like To Buy Some Tickets Please portrayed an all-too-familiar scenario in which Liz Grand left us rolling our eyes, but in the best possible way. Grand’s performance in this sketch was delivered with conviction and she did an outstanding job of both frustrating and delighting the audience in this piece.
Commendation must of course also be delivered to John Brierley, the man behind the music, and Chris Jaeger who directly this wonderfully put together production. Overall it was a marvellous evening of light-hearted comedy that left audience members feeling not only amused, but also ever so slightly more patriotic. This cast of actors may be little but they are certainly fierce and The Great British Comedy Revue does a wonderful job of showing not only their individual abilities but also their collective ones as a company. It is definitely worth a visit to The Swan Theatre to see this!
Further information regarding show times and tickets can be found now by clicking here.
Written by: Charlotte Barnes
Published: 24 September 2015
Theatre Review: The Tempest performed by Rain or Shine Theatre Company @ Witley Court
The outdoor theatre performance has now become a staple of the British summer social season. So last week I checked the weather, packed a picnic and, headed off to the lovely grounds of Witley Court, Worcestershire. Now nearing the end of its nationwide tour the Rain or Shine Theatre Company were there putting on a performance of Shakespeare's The Tempest.
If you aren't familiar with the plot of The Tempest, here is a quick run through: Prospero, the Duke of Milan and a magician, is usurped by his brother and marooned on an island far out to sea along with his young daughter Miranda. The play opens several years later to a devastating storm controlled by Prospero in which a ship carrying the King of Naples, his son Ferdinand, Prospero's devious brother Antonio and a collection of comedy courtiers is shipwrecked on the island. Aided by the spirit Ariel, Prospero keeps his victims separated and manipulates them until he is able to marry his daughter to the prince and win the favour of the king. Thus Prospero and Miranda are allowed to return to Italy in glory, returned to their rightful high rank.
To add to the chaos is the island's native inhabitant Caliban, who has been kept as Prospero's slave but is now tired of his miserable life of servitude. He is a pitiful yet duplicitous character, who resents Prospero's presence on the island that should rightfully be his.
It is a play of mystical spirits, colonialism and, power games. There is of course some comic relief, as you would expect from Shakespeare, in the form of the King of Naples' jester Trinculo and the drunk butler Stephano. You can imagine the kind of fun they have exploring the island.
The Rain or Shine company is a very close knit group, with only seven actors playing all the parts and providing atmospheric music through wind chimes, rain sticks and thunder tubes. The stage was small, but that is only to be expected from a touring outdoor production; they have to be able to set up almost anywhere. The set was none the less very clever, using a simple raised platform to show positions of power and suspended masks to represent the ever present spirits that inhabit the island.
It was also very interesting to see that the actor who played Caliban (Ellis J. Wells) was also playing the role of Ferdinand. This was quite an interesting juxtaposition which shed new light onto the irony of Miranda's immediate infatuation with Ferdinand, when she is so repulsed by the affections of Caliban. It also presented the perfect opportunity for Wells to show off his ability to change his whole physicality for the parts, which he did admirably.
In fact all of the actors were very good, giving convincing performances and making their part their own. I had been slightly apprehensive before the play began that it may be a little too dark in tone, but the way the play was interpreted gave it much more colour. All in all it was an excellent performance and a very enjoyable evening.
Written by: Annie Moss
Published: 17 August 2015
If you aren't familiar with the plot of The Tempest, here is a quick run through: Prospero, the Duke of Milan and a magician, is usurped by his brother and marooned on an island far out to sea along with his young daughter Miranda. The play opens several years later to a devastating storm controlled by Prospero in which a ship carrying the King of Naples, his son Ferdinand, Prospero's devious brother Antonio and a collection of comedy courtiers is shipwrecked on the island. Aided by the spirit Ariel, Prospero keeps his victims separated and manipulates them until he is able to marry his daughter to the prince and win the favour of the king. Thus Prospero and Miranda are allowed to return to Italy in glory, returned to their rightful high rank.
To add to the chaos is the island's native inhabitant Caliban, who has been kept as Prospero's slave but is now tired of his miserable life of servitude. He is a pitiful yet duplicitous character, who resents Prospero's presence on the island that should rightfully be his.
It is a play of mystical spirits, colonialism and, power games. There is of course some comic relief, as you would expect from Shakespeare, in the form of the King of Naples' jester Trinculo and the drunk butler Stephano. You can imagine the kind of fun they have exploring the island.
The Rain or Shine company is a very close knit group, with only seven actors playing all the parts and providing atmospheric music through wind chimes, rain sticks and thunder tubes. The stage was small, but that is only to be expected from a touring outdoor production; they have to be able to set up almost anywhere. The set was none the less very clever, using a simple raised platform to show positions of power and suspended masks to represent the ever present spirits that inhabit the island.
It was also very interesting to see that the actor who played Caliban (Ellis J. Wells) was also playing the role of Ferdinand. This was quite an interesting juxtaposition which shed new light onto the irony of Miranda's immediate infatuation with Ferdinand, when she is so repulsed by the affections of Caliban. It also presented the perfect opportunity for Wells to show off his ability to change his whole physicality for the parts, which he did admirably.
In fact all of the actors were very good, giving convincing performances and making their part their own. I had been slightly apprehensive before the play began that it may be a little too dark in tone, but the way the play was interpreted gave it much more colour. All in all it was an excellent performance and a very enjoyable evening.
Written by: Annie Moss
Published: 17 August 2015
Theatre Review: Mad Cap theatre Productions Brings A Midsummer Night's Dream to the Midlands!
On a midsummer night (see what I did there?) there is nothing more enjoyable than an open-air performance of Shakespeare, as far as I’m concerned. So when Mad Cap Theatre Productions extended an invitation to see their performance of Shakespeare’s A Midsummer Night’s Dream in Worcester yesterday evening, we gladly accepted. The venue was beautiful, the weather was (mostly) kind to us, and the performance itself was undoubtedly one of the most enjoyable open-air Shakespeare events that I have seen.
The staging of the performance was fairly simple but the delivery certainly did not suffer for it; the actors make the most of their props and the space around them, including one or welcome intrusions into the space of the audience. And now, on the topic of the actors - whoever was responsible for the casting of this performance deserves a hearty pat on the back this morning because these actors took to their roles with an impressive ease - despite many of them taking on the persona of more than one character.
Edward De Gaetano took to the roles of Oberon and Theseus while Lindsay Chaplin flitted between Titania and Hippolyta and these two work together wonderfully! They are a raucous couple who have such an authentic spark that their arguments and their moments of tenderness hit the audience with equal measure. In addition, Oisin Porter’s delivery of Puck made for a marvellous referee between these two, and even better trouble-maker between the other couples. Porter delivers with an authentic enthusiasm for the part and his frequent intrusions (including a wander around the audience - make sure you guard your picnics) offered a delightful dose of improvised comedy.
More romance and altercations came from the surrounding couples compiled of Robert Moore’s Lysander and Matilda Bott’s Hermia, and James Labdarbs’ Demetrius coupled with Anna Nicholson’s Helena. Bott and Nicholson bring such bite to their respective characters! Their moments of girlish squeals - particularly from Bott - and bitter cat-fighting are wonderful, amusing, and they certainly bring a little more edge to this interpretation of Shakespeare. Alongside these squabbles, Moore and Labdarbs are no strangers to creating their own set of brawls either and between the two couples there was a wealth of laughter emanating from the audience. They delivered with such enthusiasm that at times their lines actually felt impromptu rather than rehearsed.
Of course the comedy doesn’t finish there. The band of players featured in the play, headed up by Emma Leigh’s Quince were the source of endless amusement, particularly during their final performance (Patricia Hobday’s Lion is certainly worth watching out for here!). However I must share the opinions of other critics when I say that Robert Moore’s Bottom (the character that is, not, you know…) absolutely stole these moments. Moore’s delivery was deliciously overdone and was certainly the source of continuous amusement throughout the entire play - a sentiment that was clearly shared by the rest of the audience as well.
Mad Cap Theatre Productions truly delivered with this. They were funny, they were heartfelt, and they brought out their characters with the ease and professionalism of experienced actors. Regardless of which characters were on the stage at any given time, it always felt as though the actors shared a professional bond with each other and that certainly aided the general feel of this performance. An all-round success, as far as I’m concerned, A Midsummer Night’s Dream will run another two performances this summer - further information regarding dates and tickets can be found here - and it’s certainly worth attending if you can!
Written by: Charlotte Barnes
Published: 2 August 2015
The staging of the performance was fairly simple but the delivery certainly did not suffer for it; the actors make the most of their props and the space around them, including one or welcome intrusions into the space of the audience. And now, on the topic of the actors - whoever was responsible for the casting of this performance deserves a hearty pat on the back this morning because these actors took to their roles with an impressive ease - despite many of them taking on the persona of more than one character.
Edward De Gaetano took to the roles of Oberon and Theseus while Lindsay Chaplin flitted between Titania and Hippolyta and these two work together wonderfully! They are a raucous couple who have such an authentic spark that their arguments and their moments of tenderness hit the audience with equal measure. In addition, Oisin Porter’s delivery of Puck made for a marvellous referee between these two, and even better trouble-maker between the other couples. Porter delivers with an authentic enthusiasm for the part and his frequent intrusions (including a wander around the audience - make sure you guard your picnics) offered a delightful dose of improvised comedy.
More romance and altercations came from the surrounding couples compiled of Robert Moore’s Lysander and Matilda Bott’s Hermia, and James Labdarbs’ Demetrius coupled with Anna Nicholson’s Helena. Bott and Nicholson bring such bite to their respective characters! Their moments of girlish squeals - particularly from Bott - and bitter cat-fighting are wonderful, amusing, and they certainly bring a little more edge to this interpretation of Shakespeare. Alongside these squabbles, Moore and Labdarbs are no strangers to creating their own set of brawls either and between the two couples there was a wealth of laughter emanating from the audience. They delivered with such enthusiasm that at times their lines actually felt impromptu rather than rehearsed.
Of course the comedy doesn’t finish there. The band of players featured in the play, headed up by Emma Leigh’s Quince were the source of endless amusement, particularly during their final performance (Patricia Hobday’s Lion is certainly worth watching out for here!). However I must share the opinions of other critics when I say that Robert Moore’s Bottom (the character that is, not, you know…) absolutely stole these moments. Moore’s delivery was deliciously overdone and was certainly the source of continuous amusement throughout the entire play - a sentiment that was clearly shared by the rest of the audience as well.
Mad Cap Theatre Productions truly delivered with this. They were funny, they were heartfelt, and they brought out their characters with the ease and professionalism of experienced actors. Regardless of which characters were on the stage at any given time, it always felt as though the actors shared a professional bond with each other and that certainly aided the general feel of this performance. An all-round success, as far as I’m concerned, A Midsummer Night’s Dream will run another two performances this summer - further information regarding dates and tickets can be found here - and it’s certainly worth attending if you can!
Written by: Charlotte Barnes
Published: 2 August 2015
Theatre Review: Pride and Prejudice @ The Attic Theatre
Yesterday evening I made the jaunt over to Stratford to see Tread The Board’s production of a Jane Austen classic: Pride and Prejudice. However, while I was expecting to find a period drama waiting at the other end of this journey, I was in fact greeted by a period comedy that put a new spin on Austen unlike anything I’ve seen before. Admittedly, I was hoping for a more traditional production of the iconic tale; however, the frequent roars of laughter from surrounding audience members - including some wildly enthusiastic women on the front row - can hardly be argued with in terms of how the production was widely received.
The staging of the play was wonderfully simplistic and the scene changes were commendable. As the lights dimmed the characters quickly moved in to re-arrange or remove furniture as necessary, and their interactions during these moments were often amusing in their own right.
As with all theatre productions there are certain characters and cast members who run the risk of outshining the others, and in this production this fell to some unexpected characters indeed. I simply have to commend James Tanton for a deliciously over-acted portrayal of Mr. Collins who simply stole every scene in which he was featured. The Collins character came to life in an amusing and often cringe-worthy manner through Tanton’s delivery, and he certainly provided a number a high points throughout.
Ashleigh Dickinson, who is making her Tread The Boards debut in this production as she takes to the role of Jane Bennet, also provided an endearing and authentic delivery of a much-loved character. Dickinson is soft-spoken, deliberately vulnerable, and works wonderfully alongside love interest Mr. Bingley, played by Benjamin Archer. Archer certainly delivers an enthusiastic and awkward portrayal of the character, however, in many ways this works to the make the character charmingly clumsy and engaging, and he certainly succeeded in causing several rumbles of laughter from the audience.
The roles of Miss Bingley and Lady Catherine (and Kitty Bennet) went to Cassandra Wilson, and she was undeniably fierce in both roles. Her delivery was flawless and she delivered her lines with such bite, it is no wonder why she was cast for both roles. The Mr. Wickham of this production was also a wise decision by casting as Stephen Horncastle breezed on-stage sporting a soldier’s uniform and ruffled hairstyle that left Ciara May Wilson (Lydia Bennet) appropriately weak at the knees. Bob Joyce’s portrayal of Mr. Bennet was also a welcome sight here as the character was modestly played and certainly worked towards counteracting the brashness of Mrs. Bennet, Joanne Gough.
It would of course be impossible to discuss Pride and Prejudice without mentioning Elizabeth Bennet and Mr. Darcy and, while the second half of the play certainly offered some touching moments between the pair, I must admit the first half hit one or two stumbling blocks. Elizabeth Bryant makes her debut here as Elizabeth Bennet and at times she delivers the character with commendable authenticity. However, due to the comedic element of this production, some of Austen’s original bite for the character just seemed lost here. A little less bookworm and a little more snide, this may be the modern Elizabeth Bennet, it just wasn’t what I initially expected from a period production. Having said that, the second half certainly picked up for me as the comedy was dialled down and the sincerity of the performance became more apparent. Bryant brings her Bennet alongside Henry Heathcote’s commendably moody Mr. Darcy and between them, they succeed in delivering some truly touching moments.
Overall it was an enjoyable performance and, while I was perhaps expecting some more traditional elements in terms of delivery, the comedic spin was certainly well-received by the majority of the audience, and I certainly commend the company for placing such a unique take on a classic. Pride and Prejudice will continue to run at The Attic Theatre until July 19th; tickets can be purchased online and it is certainly worth attending if you are in the Stratford area over the coming days.
Written by: Charlotte Barnes
Published: 16 July 2015
The staging of the play was wonderfully simplistic and the scene changes were commendable. As the lights dimmed the characters quickly moved in to re-arrange or remove furniture as necessary, and their interactions during these moments were often amusing in their own right.
As with all theatre productions there are certain characters and cast members who run the risk of outshining the others, and in this production this fell to some unexpected characters indeed. I simply have to commend James Tanton for a deliciously over-acted portrayal of Mr. Collins who simply stole every scene in which he was featured. The Collins character came to life in an amusing and often cringe-worthy manner through Tanton’s delivery, and he certainly provided a number a high points throughout.
Ashleigh Dickinson, who is making her Tread The Boards debut in this production as she takes to the role of Jane Bennet, also provided an endearing and authentic delivery of a much-loved character. Dickinson is soft-spoken, deliberately vulnerable, and works wonderfully alongside love interest Mr. Bingley, played by Benjamin Archer. Archer certainly delivers an enthusiastic and awkward portrayal of the character, however, in many ways this works to the make the character charmingly clumsy and engaging, and he certainly succeeded in causing several rumbles of laughter from the audience.
The roles of Miss Bingley and Lady Catherine (and Kitty Bennet) went to Cassandra Wilson, and she was undeniably fierce in both roles. Her delivery was flawless and she delivered her lines with such bite, it is no wonder why she was cast for both roles. The Mr. Wickham of this production was also a wise decision by casting as Stephen Horncastle breezed on-stage sporting a soldier’s uniform and ruffled hairstyle that left Ciara May Wilson (Lydia Bennet) appropriately weak at the knees. Bob Joyce’s portrayal of Mr. Bennet was also a welcome sight here as the character was modestly played and certainly worked towards counteracting the brashness of Mrs. Bennet, Joanne Gough.
It would of course be impossible to discuss Pride and Prejudice without mentioning Elizabeth Bennet and Mr. Darcy and, while the second half of the play certainly offered some touching moments between the pair, I must admit the first half hit one or two stumbling blocks. Elizabeth Bryant makes her debut here as Elizabeth Bennet and at times she delivers the character with commendable authenticity. However, due to the comedic element of this production, some of Austen’s original bite for the character just seemed lost here. A little less bookworm and a little more snide, this may be the modern Elizabeth Bennet, it just wasn’t what I initially expected from a period production. Having said that, the second half certainly picked up for me as the comedy was dialled down and the sincerity of the performance became more apparent. Bryant brings her Bennet alongside Henry Heathcote’s commendably moody Mr. Darcy and between them, they succeed in delivering some truly touching moments.
Overall it was an enjoyable performance and, while I was perhaps expecting some more traditional elements in terms of delivery, the comedic spin was certainly well-received by the majority of the audience, and I certainly commend the company for placing such a unique take on a classic. Pride and Prejudice will continue to run at The Attic Theatre until July 19th; tickets can be purchased online and it is certainly worth attending if you are in the Stratford area over the coming days.
Written by: Charlotte Barnes
Published: 16 July 2015
theatre Review: The Comedy of Errors @ the Commandery, Worcester
Yesterday evening, continuing with my now yearly tradition, I visited The Commandery in Worcester to see the latest Shakespearean offering from Worcester Repertory Company who, this year, are performing The Comedy of Errors. The play itself is - as it says on the tin - a comedy that deals with romance, loss, and (naturally, this is Shakespeare after all) one or two cases of mistaken identity. One of Shakespeare’s earliest pieces, Worcester Rep delivered the play with ease, humour, and a welcome splash of contemporary comedy, and if you’re looking for light-hearted entertainment at all during the next two weeks, this performance is certainly worth an evening of your time.
In terms of critiquing the cast itself, it is perhaps best to address them in sets of two: Sam Patrick and Jamie Kwasnik were quite wonderful in their roles as Antipholus of Syracuse and Antipholus of Ephesus respectively. Sam Patrick is, without question, one of the finest comedy actors that I have had the pleasure of seeing in live theatre; he brings such enthusiasm and authenticity to the piece that even his spur of the moment facial expressions had me laughing. Kwasnik, also, was perfectly cast here and was truly allowed to shine during the second half of the performance; delivering this role with such conviction that it was hard not to feel moved by his character at times, despite the lad about town feel that he generally incorporating into his performance.
Familiar face Rob Leetham, as Dromio of Syracuse, and Wilf Williams, as Dromio of Ephesus, were a marvellous pairing and, between them, they delivered a wealth of comedy throughout. Acting as a pair of Shakespearean Chuckle Brothers, if you will, they were frequently on-hand with an amusing remark - the humour of which was often missed by the surrounding characters, only making it even more amusing for the audience - and delivered a hilarious brotherly bond when they were at last reunited.
Gemma Martyn Smith, the actress behind Luciana, delivered her powerful speeches with admirable conviction and they certainly offered moments of genuine emotion in amongst the organised chaos established by the colourful characters that surrounded her. Rhian McLean, as Adriana, simply must be mentioned here also for her marvellous theatricality and her cutting edge delivery as she repeatedly snaps at the more comedic characters. A force to be reckoned with, McLean/Adriana is a knock-out and whether it be the character, the actress behind her, or a combination of the two, this lady certainly packed a punch in yesterday’s performance.
Worcester Rep regulars Jonathan Darby, as Egeon, and Edward Manning, as Abbess, shared some of the most hilarious moments in this performance and, while I am hesitant to ruin it for prospective audience members, I will say that these charming actors are certainly worth watching in the final scene of the play.
A small but perfectly formed cast, Nick Wilkes delivered Solinus, Duke of Ephesus with a marvellous air of confidence while Sophie Vick, as Courtesan, brought more swag into Shakespeare than I had ever seen before. Ru Gilfillan (Officer) and Ieuan Dolloway (Merchant), I would admittedly have liked to see more of, however their amusing one-liners had the audience laughing on several occasions, and that squeaky truncheon was the source of much amusement for all.
Worcester Rep have once again succeeded in bringing Shakespeare to a contemporary audience in an original and entertaining way (admittedly, I could have happily side-stepped the toilet humour, but I can’t deny that the reference to the infamous Alan video - available here for those who aren’t familiar - did have me laughing), and The Comedy of Errors will certainly stand out as one of my favourite performances to date. Available at The Commandery until July 19th, it is certainly worth packing a picnic (and perhaps a blanket) and heading down there for an entertaining midsummer evening of Shakespeare.
Written by: Charlotte Barnes
Published: 9 July 2015
In terms of critiquing the cast itself, it is perhaps best to address them in sets of two: Sam Patrick and Jamie Kwasnik were quite wonderful in their roles as Antipholus of Syracuse and Antipholus of Ephesus respectively. Sam Patrick is, without question, one of the finest comedy actors that I have had the pleasure of seeing in live theatre; he brings such enthusiasm and authenticity to the piece that even his spur of the moment facial expressions had me laughing. Kwasnik, also, was perfectly cast here and was truly allowed to shine during the second half of the performance; delivering this role with such conviction that it was hard not to feel moved by his character at times, despite the lad about town feel that he generally incorporating into his performance.
Familiar face Rob Leetham, as Dromio of Syracuse, and Wilf Williams, as Dromio of Ephesus, were a marvellous pairing and, between them, they delivered a wealth of comedy throughout. Acting as a pair of Shakespearean Chuckle Brothers, if you will, they were frequently on-hand with an amusing remark - the humour of which was often missed by the surrounding characters, only making it even more amusing for the audience - and delivered a hilarious brotherly bond when they were at last reunited.
Gemma Martyn Smith, the actress behind Luciana, delivered her powerful speeches with admirable conviction and they certainly offered moments of genuine emotion in amongst the organised chaos established by the colourful characters that surrounded her. Rhian McLean, as Adriana, simply must be mentioned here also for her marvellous theatricality and her cutting edge delivery as she repeatedly snaps at the more comedic characters. A force to be reckoned with, McLean/Adriana is a knock-out and whether it be the character, the actress behind her, or a combination of the two, this lady certainly packed a punch in yesterday’s performance.
Worcester Rep regulars Jonathan Darby, as Egeon, and Edward Manning, as Abbess, shared some of the most hilarious moments in this performance and, while I am hesitant to ruin it for prospective audience members, I will say that these charming actors are certainly worth watching in the final scene of the play.
A small but perfectly formed cast, Nick Wilkes delivered Solinus, Duke of Ephesus with a marvellous air of confidence while Sophie Vick, as Courtesan, brought more swag into Shakespeare than I had ever seen before. Ru Gilfillan (Officer) and Ieuan Dolloway (Merchant), I would admittedly have liked to see more of, however their amusing one-liners had the audience laughing on several occasions, and that squeaky truncheon was the source of much amusement for all.
Worcester Rep have once again succeeded in bringing Shakespeare to a contemporary audience in an original and entertaining way (admittedly, I could have happily side-stepped the toilet humour, but I can’t deny that the reference to the infamous Alan video - available here for those who aren’t familiar - did have me laughing), and The Comedy of Errors will certainly stand out as one of my favourite performances to date. Available at The Commandery until July 19th, it is certainly worth packing a picnic (and perhaps a blanket) and heading down there for an entertaining midsummer evening of Shakespeare.
Written by: Charlotte Barnes
Published: 9 July 2015
The Importance of BEing Earnest @ Malvern Theatre
The are some sights in the world which should not be missed. The pyramids, a sunset, David Suchet in drag... Well, maybe not quite drag, but he certainly makes an impressive show of embracing his femininity as Lady Bracknell in the latest production of The Importance of Being Earnest.
Oscar Wilde's much loved comedy is currently touring the provinces ahead of its London run at the end of June, and it is well worth seeing. This production has stuck closely to Wilde's original script, but has added more physical comedy than appears in the stage direction. The actors' movements are fluid and expressive, bringing to life the flippant dialogue and creating some extra laughs, if any extra were needed. For those not familiar with the play, it is a farce set in the 19th century based on mistaken identity and double lives, featuring two young men, two young women, a priest, a governess and one terrifying aunt. Both the sets and costumes have been carefully designed to reflect the opulent fashions of the time. Lady Bracknell has some fantastic hats and there is a marked difference between Gwendolen Fairfax's London fashions and the country clothing of Cecily Cardew. The three acts of the play are defined by a complete change of set so there are two intervals to accommodate the pause as everything is moved. Suchet is the main draw with this production and he does not disappoint. He does a very good glare which he uses frequently, and his clipped speech mirrors Wilde's cutting words. It is quite easy to forget that Suchet was once the portly Belgian detective as his every movement embodies Wilde's imposing matriarch. Of course the line that everyone wants to see is 'A handbag!' which Edith Evans' made notorious in 1940. I have a sense that Suchet probably changes his delivery of the line in each performance depending on his mood and how responsive the audience has been up to that point. For the show I saw he drenched the line in a snigger, which was quite surprising for such a severe character. He made much more of his outraged lines either side of the handbag which are equally funny and probably often overlooked. The rest of the cast, although not as well known were also very good. Michael Benz as John/Ernest Worthing gave his character a foppish silliness which I think has been lacking in other productions. As a result his friendship with Algernon and his creation of an alter ego were much more believable. Emily Barber and Imogen Doel, as Gwendolen and Cecily, brought vibrancy to their lines and filled the stage with their exuberance. Tickets for London shows are still available and there will also be a live screening in cinemas on 8th October. It is a really fun performance which both the cast and the audience enjoy. Even though I've heard all the jokes before, I still cried with laughter. It is very good indeed. Written by: Annie Moss Published: 31 May 2015 |
Postcards from the Seaside @ Artrix, Bromsgrove
Yesterday evening Madcap Theatre Productions opened their tour of their latest production, Postcards From The Seaside. This musical production, penned by the evidently talented Laurie Hornsby, explores the impact suffered by a small community in the stretch of time leading up to the Dunkirk evacuation, which sees its 75th anniversary this year. The performance itself is made up of a small but perfectly formed cast that brings an unexpected amount of laughter throughout the show and an emotionally provocative ending that moved me more than I had ever expected it to.
As is often the case with musical theatre, the actors have little to no margin for error in terms of their vocal performances; thankfully, in the cases of the four actors who took the stage yesterday evening, no margin was required. Anna Nicholason, who took to the stage in the role of Emily Bagshaw - a marvellous name, don’t you think? - was simply stunning in each and every vocal performance; there was something undeniably classic and fine-tined about her delivery which shaped Emily’s character into something that felt extremely authentic. The second female role within the performance was taken by Melanie Greaney who portrayed the loud, rough around the edges, but completely endearing Gerty Skidmore. Greaney’s vocals arrived with an absolute force that I adored throughout, not only showing her musical abilities but also reinforcing her acting ones when she returned to the brash tones of Gerty. Alongside this powerhouse of female vocals, we were also introduced to the cheeky-chappy enthusiasm of Sam Patrick, who appeared as jack of all trades character Sid. Throughout this piece Patrick packed a punch into his performance that suggested he was enjoying this just as much as the audience members and not only was that an endearing quality to observe, but also a natural and complimentary one in terms of the success of his performance. Last, but by no means least, Nick Baldock is the completing member of this cast and admittedly, I have some mixed feelings about his character, Lester Duvall; however, I think these mixed feelings might actually be quite a good thing. Baldock emerges with a brash and slightly over-baked Duvall for a large chunk of the performance, which is convincing and, as I described to someone afterwards, ‘emotionally provocative’. Duvall is on a pedestal for the opening half of this and, despite the grimaces that his superiority occasionally stirred from me, I do think this was entirely necessary for the other side of his character to work (I can’t say more without ruining this for people, and it really is something you should see for yourselves). Postcards From The Seaside is a splendid mixture of ear-catching show tunes and genuine emotion, the latter of which left me wishing I had the foresight to wear waterproof mascara (consider yourselves warned, ladies). Emma Leigh’s directing of the show is flawless, and I cannot speak highly enough of the literary abilities of Laurie Hornsby nor the musical abilities of Chris Corcoran. This was a simply stunning performance. Further touring information can be found by clicking here. Written by: Charlotte Barnes Published: 31 May 2015 |
Theatre Review: Pride And Prejudice @ The Swan Theatre, Worcester
From 5th- 9th May the Swan Theatre, Worcester was showing performances of Pride and Prejudice from the theatre's own Amateur Company. I've had some bad experiences with Am. Dram. in the past and I admit, I was a little apprehensive at the prospect of another evening of it. I was particularly worried because the performance is of a much loved narrative which has had such excellent adaptations on screen. So, having primed myself with wine, just in case, I settled down amongst a reassuringly full audience. I am pleased to say that it was a very enjoyable evening.
The play is an adaptation by Brian Burton, the author of more than 50 plays, and sticks closely to Austen's text. There is a considerable amount of narration between scenes from the voice of Jane Austen (performed with charm and much consideration for intonation by Olivia Lumley) which means that a good proportion of Austen's tongue in cheek wit is preserved. There are times, however, when you are being given a lot of information by the narrator which I would have preferred to have seen performed, but as always with adaptations of novels there is a need to shorten the story.
As most of you will know, Pride and Prejudice is set at the start of the 19th century and is centred around the Bennet family. Elizabeth is our heroine, navigating the ever fraught marketplace of marriage amongst the gentry, alongside her sweet natured sister Jane and her three rather trying younger sisters. If you know the story then it is probably an advantage to watching this production as the characters often appear in groups with little introduction. Again, this is mostly the result of time constraints and does not diminish this enjoyable performance. In addition to this the set was very well designed with only minor adjustments made between scenes to signify a change of setting and plenty of period appropriate props.
The cast are very good and are clearly having a good time playing such familiar characters. Mr Bennet (Keith Thompson) and Mrs Bennet (Michelle Whitfield) are particularly brilliant, bringing comedy to the family's sagas, performing with excellent comic timing and understanding. Mrs Bennet's often overbearing character was handled well, instead of becoming a caricature (as she is sometimes portrayed), her anxieties and affections for her daughters became real. She even called Mr Bennet out on his favouritism for Elizabeth.
Lizzie Crow who plays Lizzy Bennet is also very good and really inhabits her character, rolling her eyes and giving meaningful nods to other characters even when she does not have a scripted response. I was impressed by the energy Crow had to carry such a demanding role!
The commitment of these actors should not be underestimated and it is a credit to their hard work, and the work of the director Tim Crow, and supporting crew that the performance is so well executed. A marvellous evening out.
Written by: Annie Moss
Published: 10 May 2015
The play is an adaptation by Brian Burton, the author of more than 50 plays, and sticks closely to Austen's text. There is a considerable amount of narration between scenes from the voice of Jane Austen (performed with charm and much consideration for intonation by Olivia Lumley) which means that a good proportion of Austen's tongue in cheek wit is preserved. There are times, however, when you are being given a lot of information by the narrator which I would have preferred to have seen performed, but as always with adaptations of novels there is a need to shorten the story.
As most of you will know, Pride and Prejudice is set at the start of the 19th century and is centred around the Bennet family. Elizabeth is our heroine, navigating the ever fraught marketplace of marriage amongst the gentry, alongside her sweet natured sister Jane and her three rather trying younger sisters. If you know the story then it is probably an advantage to watching this production as the characters often appear in groups with little introduction. Again, this is mostly the result of time constraints and does not diminish this enjoyable performance. In addition to this the set was very well designed with only minor adjustments made between scenes to signify a change of setting and plenty of period appropriate props.
The cast are very good and are clearly having a good time playing such familiar characters. Mr Bennet (Keith Thompson) and Mrs Bennet (Michelle Whitfield) are particularly brilliant, bringing comedy to the family's sagas, performing with excellent comic timing and understanding. Mrs Bennet's often overbearing character was handled well, instead of becoming a caricature (as she is sometimes portrayed), her anxieties and affections for her daughters became real. She even called Mr Bennet out on his favouritism for Elizabeth.
Lizzie Crow who plays Lizzy Bennet is also very good and really inhabits her character, rolling her eyes and giving meaningful nods to other characters even when she does not have a scripted response. I was impressed by the energy Crow had to carry such a demanding role!
The commitment of these actors should not be underestimated and it is a credit to their hard work, and the work of the director Tim Crow, and supporting crew that the performance is so well executed. A marvellous evening out.
Written by: Annie Moss
Published: 10 May 2015
Caged Arts Launch Event @ Worcester Arts Workshop (25 April 2015)
On Saturday (April 25th) I had the absolute pleasure of attending the very first event held by Caged Arts, and what an event it was. With a room packed with poetic energy, various workshops were set up within Worcester Arts Workshop which saw everything from a Haiku Hut to Jigsaw-ing pieces of poetry together, and it was certainly a promising opening event from this relatively new organisation.
Taking a wander around I encountered Imperfect Poetry with Jas, a workshop designed to encourage deviation from the I-must-make-things-rhyme mentality that seems to have attached itself to poetry (seriously, why do people still believe that?). Here Jas was encouraging participants to think differently about their writing and rhyming habits when it comes to poetry - and the use of rhyming couplets was appropriately banned from the table!
This was followed by the Jigsaw Poetry Challenge, which is both much more enjoyable and therapeutic than the title might have you believe. Luci, the poet in charge of this particular workshop, brought with her a laidback attitude to writing and a load of words cut out from newspapers… on paper, it might sound a little quirky, but it was a thoroughly enjoyable exercise of picking out words and pasting them together to make bite size pieces of poetry.
Last, but by no means least, the final workshop available was a Haiku Hut of sorts that saw resident Hauki writer Rory coming up with personalised poems on the spot. The workshop came complete with a mini-history lesson of exactly how this form came about - most of which I was completely ignorant of prior to last Saturday - followed by laughs and syllable-counting, and two wonderful Haukis that I brought home with me.
And, as if all of this wasn’t enough, the marvellous Worcester Roots Foundation was also there selling their recycled crafts!
If you didn’t make it down to the workshop last weekend then I’m afraid you really did miss an absolute treat. The poets involved in this were all upbeat, approachable, and eager to share their knowledge and abilities with everyone and anyone who walked in, making for a charming atmosphere and a truly enjoyable couple of hours in their company. A fabulous addition to the arts scene in Worcestershire, Caged Arts, and indeed Heidi Murphy - the poet behind this company - made a brilliant entrance on to the scene, and we’re hoping to see more of these workshops - and surely a vast array of other artistic activities - over the coming months.
Written by: Charlotte Barnes
Published: 27 April 2015
Taking a wander around I encountered Imperfect Poetry with Jas, a workshop designed to encourage deviation from the I-must-make-things-rhyme mentality that seems to have attached itself to poetry (seriously, why do people still believe that?). Here Jas was encouraging participants to think differently about their writing and rhyming habits when it comes to poetry - and the use of rhyming couplets was appropriately banned from the table!
This was followed by the Jigsaw Poetry Challenge, which is both much more enjoyable and therapeutic than the title might have you believe. Luci, the poet in charge of this particular workshop, brought with her a laidback attitude to writing and a load of words cut out from newspapers… on paper, it might sound a little quirky, but it was a thoroughly enjoyable exercise of picking out words and pasting them together to make bite size pieces of poetry.
Last, but by no means least, the final workshop available was a Haiku Hut of sorts that saw resident Hauki writer Rory coming up with personalised poems on the spot. The workshop came complete with a mini-history lesson of exactly how this form came about - most of which I was completely ignorant of prior to last Saturday - followed by laughs and syllable-counting, and two wonderful Haukis that I brought home with me.
And, as if all of this wasn’t enough, the marvellous Worcester Roots Foundation was also there selling their recycled crafts!
If you didn’t make it down to the workshop last weekend then I’m afraid you really did miss an absolute treat. The poets involved in this were all upbeat, approachable, and eager to share their knowledge and abilities with everyone and anyone who walked in, making for a charming atmosphere and a truly enjoyable couple of hours in their company. A fabulous addition to the arts scene in Worcestershire, Caged Arts, and indeed Heidi Murphy - the poet behind this company - made a brilliant entrance on to the scene, and we’re hoping to see more of these workshops - and surely a vast array of other artistic activities - over the coming months.
Written by: Charlotte Barnes
Published: 27 April 2015
Theatre Review: P.G. Wodehouse takes to the stage!
It has taken nearly 100 years to manipulate P.G. Wodehouse's much loved novels into something that is worthy of being transported on to stage, so it is a relief that after all that time and effort, it has turned out brilliantly.
Jason Thorpe, Robert Webb, and Christopher Ryan plunge head first into Wodehouse's classic caper style in this Laurence Olivier award winning comedy. Following a successful run in the West End, the play is now touring until June and it is well worth seeing.
The three chaps are the only cast members and, like many productions with small casts, the play is a great opportunity for these actors to flex their thespian muscle. Webb plays upper class twit Bertie Wooster, who is also our narrator for the evening. He launches into the notorious story of the theft of the silver cow creamer and the demise of the fascist leader Roderick Spode. It is largely based on the novel The Code of the Woosters. If you haven't read this particular Wodehouse book it's not a problem, Wodehouse's texts are much the same in both style and event. If you haven't read any Wodehouse before, what have you been doing?
Playing the infamous unflappable Jeeves, Thorpe has the exhausting job of not only keeping in character as he rearranges the set, but also of playing several other characters through the intermediary of Jeeves. Ryan has a similar job as the butler Seppings, who is also charged with representing several vastly different characters, including Bertie's Aunt Dahlia and the monstrous Spode.
This is not a matter of being short staffed, but it's a way of telling the story whist keeping the sense of ad hoc mayhem which make Wodehouse's novels so brilliant. There is a brilliant scene when all three are on stage, Jeeves in the guise of Sir Watkyn Bassett, Seppings as Spode and Wooster as himself, when they realise that they have reached the point in the story when Madeline Bassett enters. There is of course no one left to appear on stage, therefore there are several minutes of awkward side glances before Thorpe/Jeeves/Sir Watkyn sidles off, only to reappear with a frilly lampshade on his head and a lace curtain draped over one shoulder to represent Madeline.
In another scene it is noted that Ryan's Seppings is considerably shorter than Spode, who is supposed to be grazing his head on ceilings. In every scene afterwards Seppings is seen wheeling a large wooden frame with a suit stuck on the front onto stage before popping his head through the top.
There were a few genuine gaffs during the performance I saw, but they were handled well and considering the genial tone of the play, might actually have added to it.
It is a proper old fashioned farce but it's been adapted for stage very well so that Wodehouse's narrative style is maintained. If you can catch the show, it's well worth seeing for an evening of light entertainment with a bit of panache.
Written by: Annie Moss
Published: 7 April 2015
Jason Thorpe, Robert Webb, and Christopher Ryan plunge head first into Wodehouse's classic caper style in this Laurence Olivier award winning comedy. Following a successful run in the West End, the play is now touring until June and it is well worth seeing.
The three chaps are the only cast members and, like many productions with small casts, the play is a great opportunity for these actors to flex their thespian muscle. Webb plays upper class twit Bertie Wooster, who is also our narrator for the evening. He launches into the notorious story of the theft of the silver cow creamer and the demise of the fascist leader Roderick Spode. It is largely based on the novel The Code of the Woosters. If you haven't read this particular Wodehouse book it's not a problem, Wodehouse's texts are much the same in both style and event. If you haven't read any Wodehouse before, what have you been doing?
Playing the infamous unflappable Jeeves, Thorpe has the exhausting job of not only keeping in character as he rearranges the set, but also of playing several other characters through the intermediary of Jeeves. Ryan has a similar job as the butler Seppings, who is also charged with representing several vastly different characters, including Bertie's Aunt Dahlia and the monstrous Spode.
This is not a matter of being short staffed, but it's a way of telling the story whist keeping the sense of ad hoc mayhem which make Wodehouse's novels so brilliant. There is a brilliant scene when all three are on stage, Jeeves in the guise of Sir Watkyn Bassett, Seppings as Spode and Wooster as himself, when they realise that they have reached the point in the story when Madeline Bassett enters. There is of course no one left to appear on stage, therefore there are several minutes of awkward side glances before Thorpe/Jeeves/Sir Watkyn sidles off, only to reappear with a frilly lampshade on his head and a lace curtain draped over one shoulder to represent Madeline.
In another scene it is noted that Ryan's Seppings is considerably shorter than Spode, who is supposed to be grazing his head on ceilings. In every scene afterwards Seppings is seen wheeling a large wooden frame with a suit stuck on the front onto stage before popping his head through the top.
There were a few genuine gaffs during the performance I saw, but they were handled well and considering the genial tone of the play, might actually have added to it.
It is a proper old fashioned farce but it's been adapted for stage very well so that Wodehouse's narrative style is maintained. If you can catch the show, it's well worth seeing for an evening of light entertainment with a bit of panache.
Written by: Annie Moss
Published: 7 April 2015
Theatre Review: Wasters @ Coach House Theatre, malvern
When I was kindly invited along to the Coach House Theatre in Malvern to see a new dark comedy, penned by Nick Wilkes and directed by Jon Legg, I distinctly remember thinking how nice it would be to see a comedy for a change. However, after seeing Wasters yesterday evening - on the grand opening night of the performance - I can safely state that I got much more than I bargained for.
The premise of the play is this: Peter has a relatively good life - or, as good a life as a homeless person can have. He has made a home for himself in a back alley behind a supermarket, where he is frequently fed by Gemma - the pretty girl who works there - and where he occasionally bumps into his friend, John the Bapist. There’s also his friend Herbie to consider, but I don’t want to ruin the surprise there! One day, while Peter is hunting for coffee stamps, David turns up. And then everything changes.
A relatively simple premise, perhaps, but the execution of this was simply wonderful. While I may have been expecting a series of events to make me laugh, what I actually found was a poignant, topical, and entirely moving play, that was, for me, truly heartbreaking at times.
It would be a crime to ignore what an absolutely outstanding performance was delivered by Murray Andrews, who played the homeless and incredibly quirky Peter. Andrews was marvellous, memorable, and an absolute credit to the production as a whole. Given the small scale cast here, it was obviously essential for their on-stage relationships to click with authenticity, and the relationship established between Peter (Andrews) and David, played by Nick Wilkes, did exactly that. With much of the play existing around their interactions, and indeed their reactions to each other, the pair offered moments of philosophical insight and humour throughout the production - the entire audience, I feel confident saying, were hanging on every word.
Alicia Bennett, who played Gemma in the production, offered her own endearing and amusing moments throughout, while Adrian Ross-Jones, the actor behind John the Baptist, appeared as a turning point in the play to offer further philosophical insight, delivered with conviction and confidence. If anything, I would perhaps have enjoyed to see more from Gemma and John - for reasons that will become clear when you see the performance - however, perhaps their story lies in a future script rather than in this one.
Wasters is so much more than a simple comedy. It’s relevant, truthful, harsh in an entirely necessary way, and absolutely beautiful to watch. The dialogue is superb and the delivery from the cast was flawless - with extra commendation going to everyone involved for delivering something this fine-tuned on opening night no less. It truly was a marvellous show.
If you’re in or around the Malvern area in the next week, then I cannot recommend this highly enough as a source of entertainment for the evening! You can find further information on the show and how to purchase tickets by clicking here.
Written by: Charlotte Barnes
Published: 3 March 2015
The premise of the play is this: Peter has a relatively good life - or, as good a life as a homeless person can have. He has made a home for himself in a back alley behind a supermarket, where he is frequently fed by Gemma - the pretty girl who works there - and where he occasionally bumps into his friend, John the Bapist. There’s also his friend Herbie to consider, but I don’t want to ruin the surprise there! One day, while Peter is hunting for coffee stamps, David turns up. And then everything changes.
A relatively simple premise, perhaps, but the execution of this was simply wonderful. While I may have been expecting a series of events to make me laugh, what I actually found was a poignant, topical, and entirely moving play, that was, for me, truly heartbreaking at times.
It would be a crime to ignore what an absolutely outstanding performance was delivered by Murray Andrews, who played the homeless and incredibly quirky Peter. Andrews was marvellous, memorable, and an absolute credit to the production as a whole. Given the small scale cast here, it was obviously essential for their on-stage relationships to click with authenticity, and the relationship established between Peter (Andrews) and David, played by Nick Wilkes, did exactly that. With much of the play existing around their interactions, and indeed their reactions to each other, the pair offered moments of philosophical insight and humour throughout the production - the entire audience, I feel confident saying, were hanging on every word.
Alicia Bennett, who played Gemma in the production, offered her own endearing and amusing moments throughout, while Adrian Ross-Jones, the actor behind John the Baptist, appeared as a turning point in the play to offer further philosophical insight, delivered with conviction and confidence. If anything, I would perhaps have enjoyed to see more from Gemma and John - for reasons that will become clear when you see the performance - however, perhaps their story lies in a future script rather than in this one.
Wasters is so much more than a simple comedy. It’s relevant, truthful, harsh in an entirely necessary way, and absolutely beautiful to watch. The dialogue is superb and the delivery from the cast was flawless - with extra commendation going to everyone involved for delivering something this fine-tuned on opening night no less. It truly was a marvellous show.
If you’re in or around the Malvern area in the next week, then I cannot recommend this highly enough as a source of entertainment for the evening! You can find further information on the show and how to purchase tickets by clicking here.
Written by: Charlotte Barnes
Published: 3 March 2015
Theatre NEws: The Coach House theatre prepares for new play by Nick Wilkes, Wasters!
Wasters, the latest play to emerge from poplar writer Nick Wilkes, will soon be arriving at The Coach House Theatre in Malvern. The play, marketed as a dark comedy, appears to follow the startlingly unconventional existence of Peter, who lives in an alley behind a supermarket that seems to endow him with everything he could possibly need in life: a comfortable cardboard paradise, a comrade in a bin who provides frequent interaction for him, and all the nearly-past-its-sell-by-date food that he can possibly eat. That is, until new character David arrives, and things go terribly awry…
Selling itself as ‘a dark comedy of food waste, life decisions, and toilet rolls’, Wasters promises to be an interesting, amusing, and memorable experience for all, and certainly isn’t something that you want to miss.
Wasters will be performed from March 2nd to March 7th 2015, every evening at 7.30pm with a matinee performance on Saturday at 2.30pm. For more information on the show, including how to book tickets, you can access the relevant webpage by clicking here.
Written by: Charlotte Barnes
Published: 12 February 2015
Selling itself as ‘a dark comedy of food waste, life decisions, and toilet rolls’, Wasters promises to be an interesting, amusing, and memorable experience for all, and certainly isn’t something that you want to miss.
Wasters will be performed from March 2nd to March 7th 2015, every evening at 7.30pm with a matinee performance on Saturday at 2.30pm. For more information on the show, including how to book tickets, you can access the relevant webpage by clicking here.
Written by: Charlotte Barnes
Published: 12 February 2015
Theatre NEws: Hamlet - coming to cinemas soon!
Since the announcement that Shakespeare’s iconic character Hamlet was to be performed by a woman, there have been some strong words said on the subject. However, since Maxine Peake took to the stage in this role, there has been nothing but good remarks uttered about this splendid manipulation of one of Shakespeare’s best-known plays. So it will perhaps surprise few people to read that the performance is now coming to a cinema near you, rather than a stage, in the near future.
Alongside Peake, viewers can expect to see John Shrapnel, Katie West, Thomas Arnold, and Gillian Bevan.
The performance itself has received glowing reviews since it arrived on the stage some months ago, and critics continue to discuss at the length the success of this unconventional piece of theatre.
Hamlet will open in select cinemas across the UK on March 23rd, and for a taste of what to expect from the performance, you can find the trailer below.
Alongside Peake, viewers can expect to see John Shrapnel, Katie West, Thomas Arnold, and Gillian Bevan.
The performance itself has received glowing reviews since it arrived on the stage some months ago, and critics continue to discuss at the length the success of this unconventional piece of theatre.
Hamlet will open in select cinemas across the UK on March 23rd, and for a taste of what to expect from the performance, you can find the trailer below.
Written by: Charlotte Barnes
Published: 30 January 2015
Published: 30 January 2015
Theatre Review: Gold, Frankincense & Mirth @ The Swan Theatre, Worcester
The Swan Theatre is fast becoming my favourite place for theatrical talent, given that my two visits there in the last month have both introduced wonderful performances - although in very different ways. In between playing host to an extremely energetic pantomime, the review of which you can read just below, the theatre is also hosting a different style of performance in the form of Gold, Frankincense & Mirth, which I had the pleasure of viewing last night.
The performance is an altogether more intimate affair, with Nick Wilkes and Harriet Amos combining their talents in acting and music to deliver a festive treat. Rather than entering the large room that I was first introduced to, I instead made my way to the Vesta Tilley Studio - a much smaller venue (although still part of the Swan), with a much smaller audience, and, I imagine, much more pressure for Wilkes and Amos who really were under the spotlight here. Everything was pealed back to a minimum leaving them on stage with nothing but their charm and their talent to sustain the performance - fortunately, they obviously have an abundance of both.
Throughout the performance we were treated to a number of musical pieces, delivered by the young Harriet Amos who has a clear passion for her profession, and a number of festive readings, ranging from Charles Dickens to T S Eliot. Wilkes, a familiar face on the Worcestershire theatrical scene, delivered an absolutely splendid reading of an extract taken from Dickens’ A Christmas Carol and this, for me, was a stand-out section of the evening. Animated and amusing, Amos and Wilkes worked together wonderfully last night, and they should be commended for their efforts.
Terrible Christmas jokes aside, it was charming, it was entertaining and, perhaps best of all, I left feeling more Christmassy than I could have expected. Gold, Frankincense & Mirth was a wonderful treat and I simply cannot recommend it highly enough, particularly for those of you looking for a good dose of festive spirit. Gold, Frankincense & Mirth will remain at The Swan Theatre for the rest of this week, and for further information on how to book tickets you can access the relevant website by clicking here.
Written by: Charlotte Barnes
Published: 17 December 2014
The performance is an altogether more intimate affair, with Nick Wilkes and Harriet Amos combining their talents in acting and music to deliver a festive treat. Rather than entering the large room that I was first introduced to, I instead made my way to the Vesta Tilley Studio - a much smaller venue (although still part of the Swan), with a much smaller audience, and, I imagine, much more pressure for Wilkes and Amos who really were under the spotlight here. Everything was pealed back to a minimum leaving them on stage with nothing but their charm and their talent to sustain the performance - fortunately, they obviously have an abundance of both.
Throughout the performance we were treated to a number of musical pieces, delivered by the young Harriet Amos who has a clear passion for her profession, and a number of festive readings, ranging from Charles Dickens to T S Eliot. Wilkes, a familiar face on the Worcestershire theatrical scene, delivered an absolutely splendid reading of an extract taken from Dickens’ A Christmas Carol and this, for me, was a stand-out section of the evening. Animated and amusing, Amos and Wilkes worked together wonderfully last night, and they should be commended for their efforts.
Terrible Christmas jokes aside, it was charming, it was entertaining and, perhaps best of all, I left feeling more Christmassy than I could have expected. Gold, Frankincense & Mirth was a wonderful treat and I simply cannot recommend it highly enough, particularly for those of you looking for a good dose of festive spirit. Gold, Frankincense & Mirth will remain at The Swan Theatre for the rest of this week, and for further information on how to book tickets you can access the relevant website by clicking here.
Written by: Charlotte Barnes
Published: 17 December 2014
Review: Beauty and The Beast @ The Swan Theatre, Worcester
The room is packed, the audience (consisting mostly of children, and soon to be embarrassed teachers) is going wild, and the stage is set. The atmosphere in The Swan Theatre this morning was superb and, thanks to such a talented cast, that excited atmosphere lasted throughout the entire performance.
You all know the story: Belle, the beauty of the piece, is forced to stay inside a castle with a hideous beast, who was forced to retreat there himself following the curse of a wicked fairy, Dolores. A classic tale, if ever there was one, the cast served in bringing this childhood favourite to life once more and I enjoyed absolutely every second of it!
With a relatively small cast, I feel the need to commend each and every member! Natalie Cawley took to the stage as the infamous beauty, Belle, delivering a feisty performance and providing a worthy opponent for the grumpy Prince, played by Worcester Rep newcomer, Jonny Muir - who, I must say, was marvellous. Muir’s delivery of The Beast, in particular, allowed for a charming on-stage relationship to blossom with Cawley and I should quickly note that his lonely singing solo was just lovely. Additionally, on the topic of singing, Oliver Brooks (playing the character of Pierre, the Prince’s sidekick, if you will) delivered a beautiful performance of the iconic Tale As Old As Time (a song which I now can’t get out of my head!) that struck a familiar chord with older and younger members of the audience alike.
Of course, the return of a Worcester Rep production saw the return of Ben Humphrey, playing the absolutely fabulous role of Dame Doo Doo. Mrs. Doubtfire meets The Proclaimers, Humphrey absolutely delivered on this one, occasionally stealing the show with his outrageous outbursts and so-terrible-they’re-actually-sort-of-funny jokes, of which there are plenty in this production, from the majority of the cast. Naturally, where we find Dame Doo Doo we also find Belle’s father, Albert, played brilliantly by Rob Leetham, who I would have actually liked to see a little more of. Leetham, with a marvellous vocal performance in the second half, delivered a charming and convincing presentation in this role.
And now, as there always is with pantomimes, the baddy of the piece. Sympathies for Liz Grand for having so many children constantly booing her throughout her time on the stage! A wonderful, evil diva, the character of Dolores was well placed in the hands of Grand, who rose to the challenge superbly, offering a believable bad-woman - a truly likeable baddy, for me.
Finally, I cannot go without mentioning a particular applause to the amazing dancers; fluttering in and out of their respective scenes flawlessly, they were cetainly outstanding members of this wonderful production.
A hefty congratulations to Chris Jaeger, writer and director of the piece, because this is a truly fine production. Whether you’re a family with children looking for a Christmas treat, or a group of adults looking to revisit a classic childhood story, it is certainly worth grabbing yourselves tickets to this because you don’t want to miss this cheery performance.
Oh, no you don’t. (I’m so sorry, I couldn‘t stop myself!)
Tickets are selling out quickly so for those interested in seeing a panto performance over Christmas, you can find further details on how to book tickets by accessing The Swan Theatre’s website here.
Written by: Charlotte Barnes
Published: 4 December 2014
You all know the story: Belle, the beauty of the piece, is forced to stay inside a castle with a hideous beast, who was forced to retreat there himself following the curse of a wicked fairy, Dolores. A classic tale, if ever there was one, the cast served in bringing this childhood favourite to life once more and I enjoyed absolutely every second of it!
With a relatively small cast, I feel the need to commend each and every member! Natalie Cawley took to the stage as the infamous beauty, Belle, delivering a feisty performance and providing a worthy opponent for the grumpy Prince, played by Worcester Rep newcomer, Jonny Muir - who, I must say, was marvellous. Muir’s delivery of The Beast, in particular, allowed for a charming on-stage relationship to blossom with Cawley and I should quickly note that his lonely singing solo was just lovely. Additionally, on the topic of singing, Oliver Brooks (playing the character of Pierre, the Prince’s sidekick, if you will) delivered a beautiful performance of the iconic Tale As Old As Time (a song which I now can’t get out of my head!) that struck a familiar chord with older and younger members of the audience alike.
Of course, the return of a Worcester Rep production saw the return of Ben Humphrey, playing the absolutely fabulous role of Dame Doo Doo. Mrs. Doubtfire meets The Proclaimers, Humphrey absolutely delivered on this one, occasionally stealing the show with his outrageous outbursts and so-terrible-they’re-actually-sort-of-funny jokes, of which there are plenty in this production, from the majority of the cast. Naturally, where we find Dame Doo Doo we also find Belle’s father, Albert, played brilliantly by Rob Leetham, who I would have actually liked to see a little more of. Leetham, with a marvellous vocal performance in the second half, delivered a charming and convincing presentation in this role.
And now, as there always is with pantomimes, the baddy of the piece. Sympathies for Liz Grand for having so many children constantly booing her throughout her time on the stage! A wonderful, evil diva, the character of Dolores was well placed in the hands of Grand, who rose to the challenge superbly, offering a believable bad-woman - a truly likeable baddy, for me.
Finally, I cannot go without mentioning a particular applause to the amazing dancers; fluttering in and out of their respective scenes flawlessly, they were cetainly outstanding members of this wonderful production.
A hefty congratulations to Chris Jaeger, writer and director of the piece, because this is a truly fine production. Whether you’re a family with children looking for a Christmas treat, or a group of adults looking to revisit a classic childhood story, it is certainly worth grabbing yourselves tickets to this because you don’t want to miss this cheery performance.
Oh, no you don’t. (I’m so sorry, I couldn‘t stop myself!)
Tickets are selling out quickly so for those interested in seeing a panto performance over Christmas, you can find further details on how to book tickets by accessing The Swan Theatre’s website here.
Written by: Charlotte Barnes
Published: 4 December 2014
Beauty and the Beast Arrives in Worcester this Christmas!
So far this year Worcester Rep has made a name for themselves in the Mad Hatter archives with two stunning performances of Shakespeare. However, it now seems that they’re stealing a spot on the site for something entirely different in the form of their latest pantomime: Beauty and The Beast.
When the press release arrived in my inbox I was absolutely delighted to see that such a talented collection of actors were taking part in this classic tale. With the likes of Natalie Cawley (Belle), Ben Humphrey (Dame Do Do), and newcomer Jonny Muir (Prince/Beast) taking to the stage, the performance, which runs from December 1st (today!) until January 4th, is sure to be a panto that you won’t want to miss!
Attending a pantomime is undoubtedly the best way to kick off the Christmas season, particularly given the warm welcome, natural comedy, and exceptional talent that the Rep, without fail, always offer to an audience.
Tickets are priced between £10.75 and £15.75 and can be purchased either by calling the Box Office (01905 611427), or by accessing The Swan Theatre’s website by clicking here.
Written by: Charlotte Barnes
Published: 1 December 2014
When the press release arrived in my inbox I was absolutely delighted to see that such a talented collection of actors were taking part in this classic tale. With the likes of Natalie Cawley (Belle), Ben Humphrey (Dame Do Do), and newcomer Jonny Muir (Prince/Beast) taking to the stage, the performance, which runs from December 1st (today!) until January 4th, is sure to be a panto that you won’t want to miss!
Attending a pantomime is undoubtedly the best way to kick off the Christmas season, particularly given the warm welcome, natural comedy, and exceptional talent that the Rep, without fail, always offer to an audience.
Tickets are priced between £10.75 and £15.75 and can be purchased either by calling the Box Office (01905 611427), or by accessing The Swan Theatre’s website by clicking here.
Written by: Charlotte Barnes
Published: 1 December 2014
Author Interview: Helen Hart Talks Writing, Competitions, and nanowrimo with Shayna Krishnasamy
For those of you who might have missed it, last week, via our blog, we introduced you the latest in writing competitions, launched by SilverWood Books and Kobo Writing Life. The blog post, which is still available by clicking here, explained not only the conditions of competition entry, but it also detailed a few members of the fabulous judging panel involved with this wonderful opportunity! The likes of Helen Hart, the publishing director of SilverWood Books, and Shayna Krishnasamy, a bestselling Kobo author, are currently preparing to receive an influx of promising submissions - in between being successful authors themselves.
I'm absolutely delighted to be working alongside such talented women, so when Helen emailed me to ask if I wanted a copy of her brief interview with Shayna, I eagerly grabbed at the chance! Shayna is an author of literary and young adult fiction, and has enjoyed best-selling success, mostly through Kobo, for her previous novels (and we can excitedly report that a third novel is also in the works!).
Shayna, what are you working on at the moment?
Currently I’m participating in NaNoWriMo (National Novel Writing Month), trying to complete 50,000 words of a new novel in just 30 days. It’s a lot of work, but also lots of fun to have a new writing challenge.
What are you most looking forward to in judging the Open Day Writing Competition?
I love reading the work of new writers. I’m really looking forward to discovering a new and original voice.
What is best piece of writing advice you’ve ever received?
The best advice I’ve ever received as a writer is to ignore the audience. If you think too much about how readers will react to your work it can cripple the writing process. That’s something I still struggle with to this day.
Do you have a top tip about promoting books online?
If you want your eBook to sell, make sure you have a professional book cover. Nothing says amateur like a book cover you created yourself using Microsoft Paint (and yes, the reader can tell the difference)!
Make sure you pop over to our blog section for further information on this competition; or, alternatively, you can get in touch with SilverWood Books by emailing them (info@silverwoodbooks.co.uk) or contacting them via Twitter (@SilverWoodBooks) to discuss further details with the team!
Written by: Charlotte Barnes
Published: 19 November 2014
I'm absolutely delighted to be working alongside such talented women, so when Helen emailed me to ask if I wanted a copy of her brief interview with Shayna, I eagerly grabbed at the chance! Shayna is an author of literary and young adult fiction, and has enjoyed best-selling success, mostly through Kobo, for her previous novels (and we can excitedly report that a third novel is also in the works!).
Shayna, what are you working on at the moment?
Currently I’m participating in NaNoWriMo (National Novel Writing Month), trying to complete 50,000 words of a new novel in just 30 days. It’s a lot of work, but also lots of fun to have a new writing challenge.
What are you most looking forward to in judging the Open Day Writing Competition?
I love reading the work of new writers. I’m really looking forward to discovering a new and original voice.
What is best piece of writing advice you’ve ever received?
The best advice I’ve ever received as a writer is to ignore the audience. If you think too much about how readers will react to your work it can cripple the writing process. That’s something I still struggle with to this day.
Do you have a top tip about promoting books online?
If you want your eBook to sell, make sure you have a professional book cover. Nothing says amateur like a book cover you created yourself using Microsoft Paint (and yes, the reader can tell the difference)!
Make sure you pop over to our blog section for further information on this competition; or, alternatively, you can get in touch with SilverWood Books by emailing them (info@silverwoodbooks.co.uk) or contacting them via Twitter (@SilverWoodBooks) to discuss further details with the team!
Written by: Charlotte Barnes
Published: 19 November 2014
Theatre NEws: The Hunger Games - the musical!
The Hunger Games, both the books and the film adaptations, has proven to be a popular franchise with readers and viewers on a global scale. It’s become something of a dystopian phenomenon, so it’s not a massive surprise to hear that those involved in the movie production of the series plan to extend their involvement further when the film adaptations have finished. It is, however, a little surprising to hear that this involvement will see them taking the films to the stage, with the announcement that a Hunger Games musical is in the works.
With reports appearing online towards the end of last week, we can now confirm that in 2016, The Hunger Games will be coming to a stage near you.
Reports have revealed that famous Broadway name Robin de Levita will be working on the production of the musical, which will apparently be performed at a new theatre somewhere near Wembley Stadium.
With Lionsgate apparently taking quite an active role in this production, it seems that right now there are only positive comments being made about the project! Officials have voiced their excitement over the past week, claiming that The Hunger Games has even more to offer audiences, and this will be well-communicated through this latest venture.
Stay tuned for more details as this develops.
Written by: Charlotte Barnes
Published: 10 November 2014
With reports appearing online towards the end of last week, we can now confirm that in 2016, The Hunger Games will be coming to a stage near you.
Reports have revealed that famous Broadway name Robin de Levita will be working on the production of the musical, which will apparently be performed at a new theatre somewhere near Wembley Stadium.
With Lionsgate apparently taking quite an active role in this production, it seems that right now there are only positive comments being made about the project! Officials have voiced their excitement over the past week, claiming that The Hunger Games has even more to offer audiences, and this will be well-communicated through this latest venture.
Stay tuned for more details as this develops.
Written by: Charlotte Barnes
Published: 10 November 2014
Worcester Rep Bring Julius Caesar to the Cathedral!
Casting your minds back some months now, you may recall our review of Worcester Rep’s performance of Shakespeare at The Commandery in Worcester. An avid fan of these summertime performances, I was delighted when the opportunity presented itself to see the company perform not only something considerably more serious, but also in an entirely different venue.
Worcester Rep have performed at various venues in recent weeks, delivering Shakespeare’s Julius Caesar to the masses. However, last night they brought the performance home to Worcester Cathedral and I must say, it was simply stunning.
The actors in this company are remarkable! Everyone involved delivered their roles with such conviction and passion that it was almost contagious, emanating from each actor as they took to the stage. Matthew Springett, in particular, warrants commendation here for his marvellous performance of Brutus; on leaving the production, in fact, I remarked to my friend who had accompanied me that the portrayal of Brutus was ‘beautiful’ - an assessment that I stand by today. Of course, Brutus cannot be discussed fully without mentioning Cassius, a role played by Phil Leach; a role played, may I add, extremely well. The on-stage relationship between these characters was utterly convincing and callous as they went about their plans, making for a convincing performance from the pair. The powerful trio, for want of a better term, was sealed by the stunning delivery of Mark Antony from Johathan Darby who, with conviction and sincere emotion, perfectly completed this wonderful trinity.
In a mostly male cast, Gemma Martyn Smith delivered a perfectly delicate depiction of Portia also. The gentle nature of both character and actress were portrayed admirably, making her stand strong alongside her male associates!
Tried and tested actors that I have seen repeatedly throughout the Shakespeare at The Commandery events, such as Ben Humphrey, Eddy Westbury, Edward Manning, and Liz Grand certainly did not disappoint either! Each actor here is truly worth their weight in gold, performing their respective parts so beautifully that I was disappointed to see the play come to an end.
Shakespeare at the Cathedral is undoubtedly a well-polished and perfectly performed example of one of Shakespeare’s finest plays, with each actor doing their character justice. With the Worcester Cathedral leg of this tour lasting a few nights longer, I can honestly say that those who haven’t yet got tickets should certainly investigate whether any are still available, while those who have should expect a true treat from this marvellous company.
Written by: Charlotte Barnes
Published: 23 October 2014
Worcester Rep have performed at various venues in recent weeks, delivering Shakespeare’s Julius Caesar to the masses. However, last night they brought the performance home to Worcester Cathedral and I must say, it was simply stunning.
The actors in this company are remarkable! Everyone involved delivered their roles with such conviction and passion that it was almost contagious, emanating from each actor as they took to the stage. Matthew Springett, in particular, warrants commendation here for his marvellous performance of Brutus; on leaving the production, in fact, I remarked to my friend who had accompanied me that the portrayal of Brutus was ‘beautiful’ - an assessment that I stand by today. Of course, Brutus cannot be discussed fully without mentioning Cassius, a role played by Phil Leach; a role played, may I add, extremely well. The on-stage relationship between these characters was utterly convincing and callous as they went about their plans, making for a convincing performance from the pair. The powerful trio, for want of a better term, was sealed by the stunning delivery of Mark Antony from Johathan Darby who, with conviction and sincere emotion, perfectly completed this wonderful trinity.
In a mostly male cast, Gemma Martyn Smith delivered a perfectly delicate depiction of Portia also. The gentle nature of both character and actress were portrayed admirably, making her stand strong alongside her male associates!
Tried and tested actors that I have seen repeatedly throughout the Shakespeare at The Commandery events, such as Ben Humphrey, Eddy Westbury, Edward Manning, and Liz Grand certainly did not disappoint either! Each actor here is truly worth their weight in gold, performing their respective parts so beautifully that I was disappointed to see the play come to an end.
Shakespeare at the Cathedral is undoubtedly a well-polished and perfectly performed example of one of Shakespeare’s finest plays, with each actor doing their character justice. With the Worcester Cathedral leg of this tour lasting a few nights longer, I can honestly say that those who haven’t yet got tickets should certainly investigate whether any are still available, while those who have should expect a true treat from this marvellous company.
Written by: Charlotte Barnes
Published: 23 October 2014
Gig Review: Paul Chowdhry @ Wulfrun Hall, Wolverhampton
It goes without saying that Paul Chowdhry is a little bit controversial. Okay, really controversial. Over the past couple of years he’s made quite a name for himself by addressing Indian culture in an upfront and, I’m not ashamed to say, extremely amusing manner. However, given the nature of his jokes, I must admit I was a little bit nervous about his performance in Wolverhampton last Saturday night, and just how well it would be received by everyone else in attendance.
I can now say that that shouldn’t have been a concern, at all.
We were in the relatively intimate venue of Wulfrun Hall, Wolverhampton, with around 650 people who were eagerly awaiting the arrival of the notoriously offence comedian. And he certainly didn’t disappoint anyone on that part.
While the show was structured around the idea of political correctness, hence the title of the tour, PC World, Chowdhry clearly wasn’t afraid to deviate from the set jokes he had in mind. The script itself was hilarious, with some important issues being raised but in a truly amusing way, which had the entire audience not only laughing along, but also relating entirely to the topics Chowdhry was intent on addressing throughout the gig.
However, in addition to the set comedy, there was something of the best interaction with hecklers I think I’ve ever seen. I’ve always said, and I completely stand by this, that people just should not try and take on comedians in a battle of quick-wit. It’s their job to be funny, cutting, and as sharp as they possibly can be, three qualities that became apparent in Chowdhry about five minutes into his performance. The ‘question and answer’ section at the end, however, prompted a new wave of heckling brilliance and I am truly grateful to the people who asked so many absurd questions, because they got some bloody marvellous answers.
A relative late-comer to the comedy scene, Chowdhry delivered a strong, confident, and amusing set from start to finish, offering a sound follow-up tour to the smash hit that introduced him to us in What’s Happening, White People? If you’ve got tickets to see the tour then brace yourselves, because you’re in for a treat; if you haven’t, then you need to get this DVD on pre-order because it will be a worthy Christmas present for comedy fans everywhere.
Written by: Charlotte Barnes
Published: 20 October 2014
I can now say that that shouldn’t have been a concern, at all.
We were in the relatively intimate venue of Wulfrun Hall, Wolverhampton, with around 650 people who were eagerly awaiting the arrival of the notoriously offence comedian. And he certainly didn’t disappoint anyone on that part.
While the show was structured around the idea of political correctness, hence the title of the tour, PC World, Chowdhry clearly wasn’t afraid to deviate from the set jokes he had in mind. The script itself was hilarious, with some important issues being raised but in a truly amusing way, which had the entire audience not only laughing along, but also relating entirely to the topics Chowdhry was intent on addressing throughout the gig.
However, in addition to the set comedy, there was something of the best interaction with hecklers I think I’ve ever seen. I’ve always said, and I completely stand by this, that people just should not try and take on comedians in a battle of quick-wit. It’s their job to be funny, cutting, and as sharp as they possibly can be, three qualities that became apparent in Chowdhry about five minutes into his performance. The ‘question and answer’ section at the end, however, prompted a new wave of heckling brilliance and I am truly grateful to the people who asked so many absurd questions, because they got some bloody marvellous answers.
A relative late-comer to the comedy scene, Chowdhry delivered a strong, confident, and amusing set from start to finish, offering a sound follow-up tour to the smash hit that introduced him to us in What’s Happening, White People? If you’ve got tickets to see the tour then brace yourselves, because you’re in for a treat; if you haven’t, then you need to get this DVD on pre-order because it will be a worthy Christmas present for comedy fans everywhere.
Written by: Charlotte Barnes
Published: 20 October 2014
Author Interview: Kevin Brooke talks Teenage fiction, the writing process, and future publications
Kevin Brooke is a West Midlands-based writer who has seen a number of successes already in 2014, including much success in various short-story and fiction competitions and, most recently, the publication of his Young Adult novel, Jimmy Cricket. After attending the book launch for Brooke's latest novel, not only did we grab ourselves a review copy - and you can read that review in Books & E-books today - but we also managed to grab the author himself to ask where exactly Jimmy Cricket came from, and what we should be expecting next...
Now, for people who might not be familiar with your writing just yet, what should readers be expecting from Jimmy Cricket?
Although the story has its heart in cricket, it’s mainly about a fifteen year old who, with the loss of parents in a car accident, is going through a difficult time. As a result many of his decisions are irrational and get him into trouble. Luckily he has the support of some patient people and the outlet of sport to help him through an extremely challenging period in his life.
At the launch of the book you mentioned that you wanted to write a YA novel for boys, rather than for girls - which really struck a chord with me, because I actually think there should be more books that cater to boys. Is this something you feel quite strongly about?
Apart from at school, and during English lessons, I didn’t read a book the whole way through until I was in my early twenties. Whether this is because there wasn’t the type of books available that interested me I don’t know. Either way, I now love reading and like so many people, I always have a book on the go. I guess what I’m saying is that my answer is a definite yes.
I've, possibly incorrectly, branded the book as a YA novel - was there a particular age group that you had in mind when you were writing the book?
As the main character is 15 and as most children tend to prefer to read stories about people of their age, or preferably slightly older than they are, the target age range would be approx. 12-15. My 11 year old nephew suggested to me that if it was a film, and because of some of the themes, if would be classified as a PG and therefore may not be necessarily be suitable for younger children.
I understand Jimmy Cricket actually took some years to write. What was the process behind writing the book? A lot of research? A lot of changes?
There was research at the beginning, then an ongoing development process although most of the cricket club side of things is from memory. I played for Shepperton Cricket Club for about 10 years, starting from when I was about fifteen. It was such an important time for me, hence the dedication at the front of the book, with the front cover also based on photos of the cricket club at that time.
Do you think, in any future publications, you'll stick to a Young Adult genre, or are there other areas and genres you'd like to explore?
My preference is to write for this age group. Most of the better short stories I've written are based on a memory from my teens, or the characters are of this age. Is there a more exciting and yet terrifying time of life when everything and anything matters so much? I do believe this is such a pivotal few years for everybody. I also believe that there's still a chance to put things right, just in case any huge mistakes are made - I like to think so becuase everybody deserves a second chance, don't they?
Finally, is there another novel in the making at the moment? Or are you taking a break - if there is such a thing for a writer! - while you're publicising the Jimmy Cricket publication?
I spent a few years working in the Alps and with this in mind I’ve written the first few chapters of a new story, where a runaway is assumed to be someone else, giving him the opportunity to board a coach in Victoria station. The character then ends up in a ski resort in Austria without much money and minus a passport. The title of the book will be 'The Worst Barman in Kitzbuhel' and the main character, a 17 year old Jimmy.
Well there we have it - some exciting plans for the future indeed, and we'll definitely keep you updated on The Worst Barman in Kitzbuhel (fabulous title, by the way, Kevin!) as we have more information on that as well. Oh, and while you're here, make sure you head over to Books & E-books for our review of Kevin's novel!
Written by: Charlotte Barnes
Published: 10 October 2014
Now, for people who might not be familiar with your writing just yet, what should readers be expecting from Jimmy Cricket?
Although the story has its heart in cricket, it’s mainly about a fifteen year old who, with the loss of parents in a car accident, is going through a difficult time. As a result many of his decisions are irrational and get him into trouble. Luckily he has the support of some patient people and the outlet of sport to help him through an extremely challenging period in his life.
At the launch of the book you mentioned that you wanted to write a YA novel for boys, rather than for girls - which really struck a chord with me, because I actually think there should be more books that cater to boys. Is this something you feel quite strongly about?
Apart from at school, and during English lessons, I didn’t read a book the whole way through until I was in my early twenties. Whether this is because there wasn’t the type of books available that interested me I don’t know. Either way, I now love reading and like so many people, I always have a book on the go. I guess what I’m saying is that my answer is a definite yes.
I've, possibly incorrectly, branded the book as a YA novel - was there a particular age group that you had in mind when you were writing the book?
As the main character is 15 and as most children tend to prefer to read stories about people of their age, or preferably slightly older than they are, the target age range would be approx. 12-15. My 11 year old nephew suggested to me that if it was a film, and because of some of the themes, if would be classified as a PG and therefore may not be necessarily be suitable for younger children.
I understand Jimmy Cricket actually took some years to write. What was the process behind writing the book? A lot of research? A lot of changes?
There was research at the beginning, then an ongoing development process although most of the cricket club side of things is from memory. I played for Shepperton Cricket Club for about 10 years, starting from when I was about fifteen. It was such an important time for me, hence the dedication at the front of the book, with the front cover also based on photos of the cricket club at that time.
Do you think, in any future publications, you'll stick to a Young Adult genre, or are there other areas and genres you'd like to explore?
My preference is to write for this age group. Most of the better short stories I've written are based on a memory from my teens, or the characters are of this age. Is there a more exciting and yet terrifying time of life when everything and anything matters so much? I do believe this is such a pivotal few years for everybody. I also believe that there's still a chance to put things right, just in case any huge mistakes are made - I like to think so becuase everybody deserves a second chance, don't they?
Finally, is there another novel in the making at the moment? Or are you taking a break - if there is such a thing for a writer! - while you're publicising the Jimmy Cricket publication?
I spent a few years working in the Alps and with this in mind I’ve written the first few chapters of a new story, where a runaway is assumed to be someone else, giving him the opportunity to board a coach in Victoria station. The character then ends up in a ski resort in Austria without much money and minus a passport. The title of the book will be 'The Worst Barman in Kitzbuhel' and the main character, a 17 year old Jimmy.
Well there we have it - some exciting plans for the future indeed, and we'll definitely keep you updated on The Worst Barman in Kitzbuhel (fabulous title, by the way, Kevin!) as we have more information on that as well. Oh, and while you're here, make sure you head over to Books & E-books for our review of Kevin's novel!
Written by: Charlotte Barnes
Published: 10 October 2014
Author Interview: Beth Murray Talks Mirror Image, the Horror genre, and Future Writing Projects
Now, if the name Beth Murray seems familiar to you, then it'll probably be because her novel, Mirror Image, was recently reviewed in our Books & E-books section - and what a glowing review it was! During my email conversations with Murray that led up to this interview, she revealed to me that not only is she working towards her degree in Psychology, but she's also a fully practising witch - so perhaps that explains the funny goings-on in her fiction. Eager to know more, we managed to pin her down with some questions about her chosen genre, which is of course horror, and what sort of things we can expect from her in the future...
For people who aren't familiar with your writing yet, what sort of genre should they expect from one of your novels?
All of my stories, whether they’re novels or short stories, are all centred around the bizarre, the supernatural, and the weird! As for specific genres, they tend to differ. Some are out-and-out horrors, some are thrillers, and some are dark fantasy. But they all have aspects of the peculiar as a base.
Is there a particular reason you went into this genre of writing?
Mainly because I’m a total horror freak! I love reading books and watching films that, when you head off to bed, make you keep the lights on a little longer, look under the bed before you get in, and makes your heart beat far too loud when the house creaks in the night. If you were to ask my daughter and my partner, they would tell you that I’m addicted to all things scary, and they wouldn’t be too far wrong. I’ve always been interested in ghost and ghouls and gore, and I think that a person’s writing is always more impressive when it contains what the writer is passionate about.
Do you think you'd be comfortable branching out into other styles and genres, rather than horror writing, or do you feel fairly comfortable with where you are at the minute?
I’m fairly comfortable writing different genres. I’ve even written some children’s stories, done for my daughter, nieces and nephew when they were younger, and some for friends of my daughter’s. I also write poetry as well, so I’m quite versatile with styles and content. The only thing that is constant is that everything I write has a slight supernatural/fantastical hint to it.
Now, Mirror Image, which we recently reviewed, falls very much into the category of supernatural/horror writing. What was the inspiration behind that?
I can’t remember the specifics, but there was a news report that I watched about a family who had been taken advantage of by someone who was supposed to have been a friend. And it got me thinking that life would be so much easier if we could see people’s true faces, not the false masks that they use to deceive. And as the story started developing in my head, and after I gave Sarah the ability to see just that, I began to think about what an otherwise-ordinary person would do if confronted with that knowledge, and how it would affect her.
One thing that intrigued me about Mirror Image is how you wanted the reader to feel about your leading lady. Sympathetic, judgemental, both?
I definitely think that Sarah deserves sympathy for what she sees – even I felt sorry for her while I was writing about the horrific images that she gets confronted with – and for what she feels it is her duty to do. Yet I know that after a while, and with each increasingly-destructive choices she makes, sympathy for her begins to dissolve into judgment for her actions. What I hope is left, though, after the reader puts the book down, is at least an understanding of why she ended up the way that she did.
I have to ask, do you have another novel in the works at the minute?
I have two novels that are complete, plus a collection of short stories. I currently have two other novels on the go. One that was started a few years back and I keep adding chapters to it every now and then when inspiration hits. The other is one I work on whenever I have the chance – but juggling studying for my degree with spending time with my family and keeping up with the housework, sadly it doesn’t allow much time for writing at the moment.
When should we expect another publication from you?
Well, being a new and unknown writer, getting even one novel published is a huge thing, especially since I’ve been trying to get published since I was fifteen years old. It all depends on how well sales for this novel go and how well it is received. If things continue to go well, I’ve got two other novels ready to go as soon as possible (and, yes, that is a shameless plug for people to buy and/or recommend it as much as possible). So, fingers crossed it shouldn’t be too long.
Written by: Charlotte Barnes
Published: 1 October 2014
For people who aren't familiar with your writing yet, what sort of genre should they expect from one of your novels?
All of my stories, whether they’re novels or short stories, are all centred around the bizarre, the supernatural, and the weird! As for specific genres, they tend to differ. Some are out-and-out horrors, some are thrillers, and some are dark fantasy. But they all have aspects of the peculiar as a base.
Is there a particular reason you went into this genre of writing?
Mainly because I’m a total horror freak! I love reading books and watching films that, when you head off to bed, make you keep the lights on a little longer, look under the bed before you get in, and makes your heart beat far too loud when the house creaks in the night. If you were to ask my daughter and my partner, they would tell you that I’m addicted to all things scary, and they wouldn’t be too far wrong. I’ve always been interested in ghost and ghouls and gore, and I think that a person’s writing is always more impressive when it contains what the writer is passionate about.
Do you think you'd be comfortable branching out into other styles and genres, rather than horror writing, or do you feel fairly comfortable with where you are at the minute?
I’m fairly comfortable writing different genres. I’ve even written some children’s stories, done for my daughter, nieces and nephew when they were younger, and some for friends of my daughter’s. I also write poetry as well, so I’m quite versatile with styles and content. The only thing that is constant is that everything I write has a slight supernatural/fantastical hint to it.
Now, Mirror Image, which we recently reviewed, falls very much into the category of supernatural/horror writing. What was the inspiration behind that?
I can’t remember the specifics, but there was a news report that I watched about a family who had been taken advantage of by someone who was supposed to have been a friend. And it got me thinking that life would be so much easier if we could see people’s true faces, not the false masks that they use to deceive. And as the story started developing in my head, and after I gave Sarah the ability to see just that, I began to think about what an otherwise-ordinary person would do if confronted with that knowledge, and how it would affect her.
One thing that intrigued me about Mirror Image is how you wanted the reader to feel about your leading lady. Sympathetic, judgemental, both?
I definitely think that Sarah deserves sympathy for what she sees – even I felt sorry for her while I was writing about the horrific images that she gets confronted with – and for what she feels it is her duty to do. Yet I know that after a while, and with each increasingly-destructive choices she makes, sympathy for her begins to dissolve into judgment for her actions. What I hope is left, though, after the reader puts the book down, is at least an understanding of why she ended up the way that she did.
I have to ask, do you have another novel in the works at the minute?
I have two novels that are complete, plus a collection of short stories. I currently have two other novels on the go. One that was started a few years back and I keep adding chapters to it every now and then when inspiration hits. The other is one I work on whenever I have the chance – but juggling studying for my degree with spending time with my family and keeping up with the housework, sadly it doesn’t allow much time for writing at the moment.
When should we expect another publication from you?
Well, being a new and unknown writer, getting even one novel published is a huge thing, especially since I’ve been trying to get published since I was fifteen years old. It all depends on how well sales for this novel go and how well it is received. If things continue to go well, I’ve got two other novels ready to go as soon as possible (and, yes, that is a shameless plug for people to buy and/or recommend it as much as possible). So, fingers crossed it shouldn’t be too long.
Written by: Charlotte Barnes
Published: 1 October 2014
Book Launch: Black Pear Press Release Young Adult Novel with a twist!
If you’re a regular reader here at the site then you’ll probably know by now that there’s nothing I love more than a decent book. So naturally, when the opportunity arose on Friday to attend the book launch of Black Pear Press’s latest publication, Jimmy Cricket, I eagerly grabbed at the chance to go along and see what this new book is all about.
The book, written by Kevin Brooke, details the turbulent life of teen Jimmy, who is suffering deeply after the loss of both of his parents. A Young Adult novel with a twist, during the question and answer session of the evening, Brooke told audience-members that he was actually hoping to write a YA book that was aimed at boys, in contrast to the many, many publications that seem to be geared specifically towards teenage girls.
Now, on to the event itself…
Brooke tentatively took to the stage following a glowing introduction from Polly Robinson, a member of the publishing team at Black Pear Press. Throughout his delivery of a small sample of chapters from the book, Brooke was animated, involved, and convincing. In providing chapters that offered a gripping and intriguing taste of the book, many audiences members, myself included, were left wondering what on earth the Jimmy character would do next - so, naturally, a fair few of us left with a copy of the book tucked under one arm, fully prepared to read and judge some shameful teenage antics (that many of us can probably relate to).
The two readings from Brooke were broken up with a sample of performance poetry - a delightful palate cleanser - and a question and answer session, ultimately making for a wonderful start to the weekend, and a brilliant launch for any book.
I’ll be spending this Sunday tucked up with Jimmy Cricket, so make sure you keep your eyes peeled on our Books & E-books section for the review in the near future!
Written by: Charlotte Barnes
Published: 28 September 2014
The book, written by Kevin Brooke, details the turbulent life of teen Jimmy, who is suffering deeply after the loss of both of his parents. A Young Adult novel with a twist, during the question and answer session of the evening, Brooke told audience-members that he was actually hoping to write a YA book that was aimed at boys, in contrast to the many, many publications that seem to be geared specifically towards teenage girls.
Now, on to the event itself…
Brooke tentatively took to the stage following a glowing introduction from Polly Robinson, a member of the publishing team at Black Pear Press. Throughout his delivery of a small sample of chapters from the book, Brooke was animated, involved, and convincing. In providing chapters that offered a gripping and intriguing taste of the book, many audiences members, myself included, were left wondering what on earth the Jimmy character would do next - so, naturally, a fair few of us left with a copy of the book tucked under one arm, fully prepared to read and judge some shameful teenage antics (that many of us can probably relate to).
The two readings from Brooke were broken up with a sample of performance poetry - a delightful palate cleanser - and a question and answer session, ultimately making for a wonderful start to the weekend, and a brilliant launch for any book.
I’ll be spending this Sunday tucked up with Jimmy Cricket, so make sure you keep your eyes peeled on our Books & E-books section for the review in the near future!
Written by: Charlotte Barnes
Published: 28 September 2014
Gig Review: Lee Evans @ Birmingham N.i.A
On Saturday evening I, along with 12, 000 or so other people, herded ourselves into Birmingham’s N.I.A building to see the glorious, hilarious, and yes, the unbelievably sweat, comedy genius that is Lee Evans. A firm fan of his, when this latest tour, titled Monsters, was announced some months ago, I was among many other fans who went straight online to nab tickets as soon as the tour dates were announced. Now, with a stream of other venues ahead of him, I can confidently say that if you’ve got tickets to see this stand-up, you definitely won’t be disappointed.
Evans sprung on stage with his usual energy, entertaining us with amusing anecdotes of how this tour was written in Birmingham, where Evans’ comedy actually started some twenty years ago.
The stand-up itself, as fans would expect, is littered with amusing one-liners and hilarious real-life observations, prompting the ‘it’s funny because it’s true’ reaction from the crowd. The Birmingham show that I attended was actually being filmed for the DVD release, which prompted yet another opportunity for comedy as Evans observed crowd reactions to certain jokes and used these to comment on what would and wouldn’t make it not only into the DVD but also into the rest of the tour.
‘Yep, alright, we’ll cut that…’
It seems hard to assess specific elements of the show without potentially ruining it for people who are planning to see this in the near future, so I suppose that all I can truthfully say is that Lee Evans has, once again, pulled it out of the comedy bag with this script. The jokes are truthful, amusing, and often close-to-home in terms of their subject matter and the audience, myself included, lapped up every second of the performance.
If you’re lucky enough to have tickets to this show then brace yourselves, because you’re in for a night of one laugh after another. If you’re not seeing the show, it might be worth popping over to Amazon to put in your pre-order of the DVD, which will be released later this year, because this certainly isn’t a tour that you want to miss…
Written by: Charlotte Barnes
Published: 22 September 2014
Evans sprung on stage with his usual energy, entertaining us with amusing anecdotes of how this tour was written in Birmingham, where Evans’ comedy actually started some twenty years ago.
The stand-up itself, as fans would expect, is littered with amusing one-liners and hilarious real-life observations, prompting the ‘it’s funny because it’s true’ reaction from the crowd. The Birmingham show that I attended was actually being filmed for the DVD release, which prompted yet another opportunity for comedy as Evans observed crowd reactions to certain jokes and used these to comment on what would and wouldn’t make it not only into the DVD but also into the rest of the tour.
‘Yep, alright, we’ll cut that…’
It seems hard to assess specific elements of the show without potentially ruining it for people who are planning to see this in the near future, so I suppose that all I can truthfully say is that Lee Evans has, once again, pulled it out of the comedy bag with this script. The jokes are truthful, amusing, and often close-to-home in terms of their subject matter and the audience, myself included, lapped up every second of the performance.
If you’re lucky enough to have tickets to this show then brace yourselves, because you’re in for a night of one laugh after another. If you’re not seeing the show, it might be worth popping over to Amazon to put in your pre-order of the DVD, which will be released later this year, because this certainly isn’t a tour that you want to miss…
Written by: Charlotte Barnes
Published: 22 September 2014
Marvel Comic's 2014 shake-up: our thoughts!
So far, 2014 has been a year of change and shake-ups for many forms of media. Marvel, a prime example of just one these changing media companies, has been busy building its empire of movies with the phenomenal Marvel Cinematic Universe, and yet it still has time to cause a controversial stir when it comes to comics.
Never one to shy away from controversy in their comic books, Marvel recently announced the bold move to kill off one of the most beloved characters and now centre of the X-Men comics. No, not Charles Xavier, but Logan aka Wolverine.
Yes, you read that correct. The technically un-killable Wolverine will die later this year and in my mind, I'm thinking it's about time. Much like the WWE character Undertaker, and his streak at Wrestlemania, it has gotten boring. How can you expect a character to be fallible if he is basically immortal? Yes, Wolverine has been around for decades and is a great character, but his death will infinitely mean more than the countless times he has been near death, but never quite made it.
But Marvel didn’t just settle for announcing the death of Wolverine, oh no...
The last few weeks have seen news of Captain America (Steve Rogers) being replaced in November by his partner in crime fighting The Falcon (Sam Wilson). Now, Captain America has been replaced countless times but he has never been portrayed as a black man.
So, that’s technically two birds with one stone for Marvel. A black Captain America, and again I say about time! If the comic book movies will portray The Kingpin, Perry White and Nick Fury (yes, Fury is black in the Ultimate Comic Universe), then why can’t the books? Is it because of the fear that idiotic ideas will surface about the fact a beloved character now has a different skin colour? In 2014 these fears should be well away from people’s minds.
Alas, this is not the only ‘Mythology’ Marvel is playing around with: it has also been announced that Thor will become a woman.
Yes, folks, The Mighty Thor will become female. Now, little has been leaked as to what will happen but from various research that I have done it seems as though the male Thor (who has been in the books since 1962) will no longer be able to wield Mjolnir. What does this mean? Well, allow me to reference the movie of Thor released in 2011, Odin says into the hammer when banishing Thor from Asgard, “Whomever holds this hammer, should he be worthy shall possess the power of Thor”. It’s all in the writing there, folks. Whoever is worthy to lift Mjolnir will possess the powers of Thor. This big shake-up is likely to happen towards the end of October/November just like Captain America's change and Wolverine's death.
So Marvel is really looking to spice up the comic book world in 2014! Rumours are still going round about a possible Iron Man shake-up, due to referencing changes in Cap and Thor's respective universe. But what could possibly happen to Iron Man aka Tony Stark to shake things up? I mean, the guy has pretty much had everything happen to him. Nevertheless, whatever it is, I’m sure that Marvel will not stray away from it being amazingly controversial.
And there’s nothing wrong with that, to quote Eric Bischoff from WCW: controversy creates cash.
Written by: Phil Brown
Published: 29 July 2014
Never one to shy away from controversy in their comic books, Marvel recently announced the bold move to kill off one of the most beloved characters and now centre of the X-Men comics. No, not Charles Xavier, but Logan aka Wolverine.
Yes, you read that correct. The technically un-killable Wolverine will die later this year and in my mind, I'm thinking it's about time. Much like the WWE character Undertaker, and his streak at Wrestlemania, it has gotten boring. How can you expect a character to be fallible if he is basically immortal? Yes, Wolverine has been around for decades and is a great character, but his death will infinitely mean more than the countless times he has been near death, but never quite made it.
But Marvel didn’t just settle for announcing the death of Wolverine, oh no...
The last few weeks have seen news of Captain America (Steve Rogers) being replaced in November by his partner in crime fighting The Falcon (Sam Wilson). Now, Captain America has been replaced countless times but he has never been portrayed as a black man.
So, that’s technically two birds with one stone for Marvel. A black Captain America, and again I say about time! If the comic book movies will portray The Kingpin, Perry White and Nick Fury (yes, Fury is black in the Ultimate Comic Universe), then why can’t the books? Is it because of the fear that idiotic ideas will surface about the fact a beloved character now has a different skin colour? In 2014 these fears should be well away from people’s minds.
Alas, this is not the only ‘Mythology’ Marvel is playing around with: it has also been announced that Thor will become a woman.
Yes, folks, The Mighty Thor will become female. Now, little has been leaked as to what will happen but from various research that I have done it seems as though the male Thor (who has been in the books since 1962) will no longer be able to wield Mjolnir. What does this mean? Well, allow me to reference the movie of Thor released in 2011, Odin says into the hammer when banishing Thor from Asgard, “Whomever holds this hammer, should he be worthy shall possess the power of Thor”. It’s all in the writing there, folks. Whoever is worthy to lift Mjolnir will possess the powers of Thor. This big shake-up is likely to happen towards the end of October/November just like Captain America's change and Wolverine's death.
So Marvel is really looking to spice up the comic book world in 2014! Rumours are still going round about a possible Iron Man shake-up, due to referencing changes in Cap and Thor's respective universe. But what could possibly happen to Iron Man aka Tony Stark to shake things up? I mean, the guy has pretty much had everything happen to him. Nevertheless, whatever it is, I’m sure that Marvel will not stray away from it being amazingly controversial.
And there’s nothing wrong with that, to quote Eric Bischoff from WCW: controversy creates cash.
Written by: Phil Brown
Published: 29 July 2014
Review: Twelfth Night @ Arley Arboretum, Bewdley
A week or so ago, MadCap Theatre Productions contacted us to see if we’d be interested in attending their performance of Shakespeare’s Twelfth Night. A literature geek to my core, I couldn’t pass up the chance of seeing this company of actors in action not only performing one of my favourite plays, but doing so in the gorgeous setting of Arley Arboretum (Near Bewdley). So last night, armed with camping chairs, a picnic, and just the right amount of sunshine, I set out to see their performance.
One of Shakespeare’s most popular and well-known plays, the elements of comedy, romance, and mistaken identities were communicated perfectly throughout the performance. Leaving no potential joke untold, it quickly became apparent that we were all in for an evening of comedic brilliance.
I have to give mention to Sam Patrick and Robert Moore, who played Sir Toby Belch and Sir Andrew Aguecheek respectively, who were simply marvellous. Their independent acting combined with their on-stage chemistry often had me giggling before they’d even started saying their lines; a naturally funny pair indeed, the casting of their characters was a flawless choice. Although of course, the likes of Oisin Porter, who played Feste (the Fool of the piece), were also integral to the comedy! Additionally, Emma Leigh, who plays Maria, contributed to this further with her intriguing and convincing relationship with the mischievous male characters that was not only entirely natural, but also the perfect female touch that this band of boys required.
As I’m looking through the programme for the show, I can safely say that there isn’t a person in there who doesn’t deserve a mention for their performance last night, with each actor proving their weight in gold after such a convincing and memorable evening of Shakespeare. Rebecca Bell (Olivia)and Emmeline Braefield (Viola) should, however, have a final mention here for their wonderful relationship with each other. With Bell’s performance becoming more convincing as we travelled through the plot of the play, her excitement, infatuation, and romantic interest in Braefield (Viola disguised as a man, of course) became perfectly cringe-worthy - although I mean that in a complimentary sense!
Overall, it was a wonderful evening and a wonderful performance, displayed by actors who obviously have a strong bond both on-stage and off-stage, and their closeness as a company is invaluable to their displays as actors. A friendly, talented, and hilarious bunch, I will certainly be keeping my eyes peeled for future performances from MadCap Theatre Productions in the near future.
And finally, for those of you who might be interested in seeing this wonderful performance - which I sincerely recommend you do - there are actually only three shows left! You can find out where the actors will be performing, and buy tickets for their final shows, by visiting their website here.
Again, we thank MadCap for inviting us to their performance (and for posing for our pictures at the end)!
One of Shakespeare’s most popular and well-known plays, the elements of comedy, romance, and mistaken identities were communicated perfectly throughout the performance. Leaving no potential joke untold, it quickly became apparent that we were all in for an evening of comedic brilliance.
I have to give mention to Sam Patrick and Robert Moore, who played Sir Toby Belch and Sir Andrew Aguecheek respectively, who were simply marvellous. Their independent acting combined with their on-stage chemistry often had me giggling before they’d even started saying their lines; a naturally funny pair indeed, the casting of their characters was a flawless choice. Although of course, the likes of Oisin Porter, who played Feste (the Fool of the piece), were also integral to the comedy! Additionally, Emma Leigh, who plays Maria, contributed to this further with her intriguing and convincing relationship with the mischievous male characters that was not only entirely natural, but also the perfect female touch that this band of boys required.
As I’m looking through the programme for the show, I can safely say that there isn’t a person in there who doesn’t deserve a mention for their performance last night, with each actor proving their weight in gold after such a convincing and memorable evening of Shakespeare. Rebecca Bell (Olivia)and Emmeline Braefield (Viola) should, however, have a final mention here for their wonderful relationship with each other. With Bell’s performance becoming more convincing as we travelled through the plot of the play, her excitement, infatuation, and romantic interest in Braefield (Viola disguised as a man, of course) became perfectly cringe-worthy - although I mean that in a complimentary sense!
Overall, it was a wonderful evening and a wonderful performance, displayed by actors who obviously have a strong bond both on-stage and off-stage, and their closeness as a company is invaluable to their displays as actors. A friendly, talented, and hilarious bunch, I will certainly be keeping my eyes peeled for future performances from MadCap Theatre Productions in the near future.
And finally, for those of you who might be interested in seeing this wonderful performance - which I sincerely recommend you do - there are actually only three shows left! You can find out where the actors will be performing, and buy tickets for their final shows, by visiting their website here.
Again, we thank MadCap for inviting us to their performance (and for posing for our pictures at the end)!
Written by: Charlotte Barnes
Published: 27 July 2014
Published: 27 July 2014
Review: A Midsummer Night's Dream @ The Commandery, Worcester
Last night, on a not quite midsummer night (see what I did there?), I found myself at The Commandery in Worcester - an amazing venue in its own right - waiting to see a performance of Shakespeare’s A Midsummer Night’s Dream, courtesy of Worcester Repertory Company. It’s the third year in a row that I’ve attended the event of Shakespeare At The Commandery, and as always I left feeling impressed and uplifted by the outstanding performance put on with minimal scenery and maximum talent. While the previous years have been wonderful, the company truly outdid themselves with this year’s performance, effortlessly combining traditional Shakespearean elements with splashes of modern-day humour that had the audience chuckling throughout.
The play, which is one of Shakespeare’s most popular creations, deals with romance, mystery, magic and much more. With amusing characters and an even more amusing script, tailored appropriately for a modern audience, the play provided perfectly light-hearted entertainment for a July evening.
As I write this review I’m intermittently returning to the programme from the performance and reacquainting myself with the talented actors that contributed towards the evening. Frankly, all of them deserve commendation for their performances! With John-Robert Partridge and Gemma Martyn Smith adopting the roles of Puck and Fairy respectively, they brought with them such a wonderful splash of comedy to the piece; with wonderful performances and amusing improvisation, they certainly had me giggling on several occasions.
Furthermore, the relationships between the cast here were flawless! Alicia Bennett, playing the love-struck Helena, and Sophie Vick playing Hermia, presented a fabulous friendship, in the beginning, which turned into a feisty fisticuffs mid-way through the piece. Their romanctic relationships with Eddy Westbury (Demetrius) and Samuel Griffiths (Lysander) were both convincing, amusing, and extremely fiery at some points. Although they certainly weren’t the only romance-ridden characters that had temperatures rising throughout the performance with Rhian McLean (Titania/Hippolyta) and Nick Wilkes (Oberon/Thesus) having their fair share of heated moments also.
Ultimately, it was a stunning and well-executed performance that succeeded in showing the entire audience exactly how much theatrical talent Worcester has to offer. Directors Chris Jaeger and Ben Humphrey of course deserve a mention here for collaborating on this project, which is running for another three evenings until Sunday (July 20th). However, if you can’t make this performance then fear not because the company will be back in October with a performance of Julius Caesar at Worcester Cathedral, and you can find more information about that by clicking here.
Written by: Charlotte Barnes
Published: 18 July 2014
The play, which is one of Shakespeare’s most popular creations, deals with romance, mystery, magic and much more. With amusing characters and an even more amusing script, tailored appropriately for a modern audience, the play provided perfectly light-hearted entertainment for a July evening.
As I write this review I’m intermittently returning to the programme from the performance and reacquainting myself with the talented actors that contributed towards the evening. Frankly, all of them deserve commendation for their performances! With John-Robert Partridge and Gemma Martyn Smith adopting the roles of Puck and Fairy respectively, they brought with them such a wonderful splash of comedy to the piece; with wonderful performances and amusing improvisation, they certainly had me giggling on several occasions.
Furthermore, the relationships between the cast here were flawless! Alicia Bennett, playing the love-struck Helena, and Sophie Vick playing Hermia, presented a fabulous friendship, in the beginning, which turned into a feisty fisticuffs mid-way through the piece. Their romanctic relationships with Eddy Westbury (Demetrius) and Samuel Griffiths (Lysander) were both convincing, amusing, and extremely fiery at some points. Although they certainly weren’t the only romance-ridden characters that had temperatures rising throughout the performance with Rhian McLean (Titania/Hippolyta) and Nick Wilkes (Oberon/Thesus) having their fair share of heated moments also.
Ultimately, it was a stunning and well-executed performance that succeeded in showing the entire audience exactly how much theatrical talent Worcester has to offer. Directors Chris Jaeger and Ben Humphrey of course deserve a mention here for collaborating on this project, which is running for another three evenings until Sunday (July 20th). However, if you can’t make this performance then fear not because the company will be back in October with a performance of Julius Caesar at Worcester Cathedral, and you can find more information about that by clicking here.
Written by: Charlotte Barnes
Published: 18 July 2014
Gig Review: Eppyfest 3 @ Lansdown Hall, Stroud
Despite the cries of "Glastonbury!" and "Sonisphere!" throughout the past month, I was drawn to the Lansdown Hall in Stroud to attend the smaller gem of a festival known as Eppyfest. Started by Ian Fairholm back in 2012, Eppyfest is a festival designed to bring several different kinds of bands/artists together. A simple glance at the line-up shows that Ian has got a good eye and ear for the variety of music. From the electronic-tinged folk of I Am Your Autopilot to the sheer celtic energy of Flutatious, there was a great mix of genres at the event.
With Ian acting as MC for the event each band successfully made their mark on the festival and wowed everybody with their music. I for one was buying every CD I could after each set!
First up was I Am Your Autopilot, whose gentle, sweet dream music got Eppyfest off to a very pleasant start. By contrast, The Fierce and the Dead were loud and heavy, getting the crowd going with their instrumental metal. Rounding off the first half was the amazing Thumpermonkey, who showcased their own unique take on progressive rock while somehow managing to be louder than The Fierce and the Dead.
After a break for food the second set kicked off with the wonderful Andy Pickford, showcasing his keyboard skills with a single 40 minute piece that managed to display his own style and be both peaceful and very rocky throughout as Andy created layers of music with his keyboards that took the crowd to different places. Next up was the wonderful instrumental, progressive rock band Henry Fool with the unexpected appearance of Tim Bowness, formerly of No-Man (who you should check out if you haven't already). With him on vocals the audience were treated to a lovely set of songs from his recently released solo album, along with songs from No-Man and, of course, Henry Fool.
Finally, the headliners of the event, Flutatious, hit the stage and instantly drew the crowd in with their celtic dance music, displaying an energy so strong and infectious that everybody was soon up on their feet and dancing, bringing the festival to a fantastic conclusion!
Rest assured that Eppyfest will be back next year, with a line-up as unique as this year's. It's a great place to see up and coming bands and, with such an eclectic mix of music, there is definitely something for everyone to enjoy.
Written by: Ed Wilkins
Published: 15 July 2014
With Ian acting as MC for the event each band successfully made their mark on the festival and wowed everybody with their music. I for one was buying every CD I could after each set!
First up was I Am Your Autopilot, whose gentle, sweet dream music got Eppyfest off to a very pleasant start. By contrast, The Fierce and the Dead were loud and heavy, getting the crowd going with their instrumental metal. Rounding off the first half was the amazing Thumpermonkey, who showcased their own unique take on progressive rock while somehow managing to be louder than The Fierce and the Dead.
After a break for food the second set kicked off with the wonderful Andy Pickford, showcasing his keyboard skills with a single 40 minute piece that managed to display his own style and be both peaceful and very rocky throughout as Andy created layers of music with his keyboards that took the crowd to different places. Next up was the wonderful instrumental, progressive rock band Henry Fool with the unexpected appearance of Tim Bowness, formerly of No-Man (who you should check out if you haven't already). With him on vocals the audience were treated to a lovely set of songs from his recently released solo album, along with songs from No-Man and, of course, Henry Fool.
Finally, the headliners of the event, Flutatious, hit the stage and instantly drew the crowd in with their celtic dance music, displaying an energy so strong and infectious that everybody was soon up on their feet and dancing, bringing the festival to a fantastic conclusion!
Rest assured that Eppyfest will be back next year, with a line-up as unique as this year's. It's a great place to see up and coming bands and, with such an eclectic mix of music, there is definitely something for everyone to enjoy.
Written by: Ed Wilkins
Published: 15 July 2014
Author Interview: Adrian Churchward Talks to us About Moscow Bound, and what the remaining books have in store!
After being recently introduced to the stunning political novel, Moscow Bound, I couldn't resist the opportunity to catch up with Adrian Churchward, the man behind the masterpiece, and find out what events really inspired this thought-provoking piece of literature, and indeed when we'll be able to devour the second instalment.
Having recently finished the wonderful Moscow Bound, I have to ask, where did the inspiration for such an intricate and complex project come from?
In the early 1980s, while working as a lawyer in Los Angeles, I met a Vietnam Vet. who flew missions over North Vietnam during the war. He was a source of many tales. Later in 1986, while working as a lawyer in Moscow, I befriended a retired Soviet Military Intelligence officer who was stationed in Hanoi (North Vietnam) during the war, as a "Soviet adviser". Although he never mentioned anything about taking American GIs into the USSR, he was also a source of many interesting tales. Then in 1998 The Sunday Times published an article by their Moscow Correspondent, Mark Franchetti, about his visit to Arzamas-16.
I asked myself the "What if?" question; this resulted in Moscow Bound.
And I'm right in thinking it's the first part of a trilogy?
Yes. I am becoming increasingly concerned about the abuse of power committed by the political elite. By this I mean not just our politicians, but also civil servants, military leaders, the media, corporate bosses and their major shareholders. As Lord Acton said in 1887: "Power tends to corrupt and absolute power corrupts absolutely." This democratic deficit is no clearer evidenced than in the decision-making structures comprising the EU behemoth. By constantly frustrating the principle of subsidiarity (which was agreed upon in the Maastricht Treaty) the unelected, unaccountable and (allegedly) corrupt EU Commissioners are effectively enacting laws which have varying degrees of impact on our daily lives.
Is the second book a work in progress, or are you still in the planning stages of the second instalment?
I have completed the novel's story line and am currently drafting the first few chapters. However, my experience in writing Moscow Bound has taught me that story lines change as the characters take over.
Do you have a time scale in mind for when we might see the second and third books?
I would like to complete the second book within the next 12 months, after which it will be submitted to three/six months of professional editing. It should be ready for publication by Christmas 2015. I would hope that the final book in the trilogy would also be completed within an 18 month period i.e. by the summer of 2017.
Is it a possibility that these books will grow beyond a trilogy, or do you have the next two books firmly plotted in your mind?
Interesting question. As I have said, the second book is already plotted (but not firmly). I have only a vague idea as to the story line for the third book. I am not opposed to extending the trilogy to a "quadrilogy", or even further. It depends on what is going to happen in the third book.
And, finally, are there any other writing projects in your near future, or is the focus entirely on the trilogy for the moment?
I have a fourth book, another thriller, in mind. It concerns the issue of how far the state now intrudes into the people's private lives in a so-called liberal democracy. I have been thinking about it since 2006, when the Information Commissioner said that we were in danger of sleep-walking into a total surveillance society. I might use the idea to extend the trilogy, but it could easily stand alone.
Moscow Bound is available to buy now, and, if Adrian's in-depth discussion of the book hasn't already intrigued you enough to give the novel a chance, then perhaps our glowing review will! Head over to Books & E-books to read our thoughts.
Written by: Charlotte Barnes
Published: 13 June 2014
Having recently finished the wonderful Moscow Bound, I have to ask, where did the inspiration for such an intricate and complex project come from?
In the early 1980s, while working as a lawyer in Los Angeles, I met a Vietnam Vet. who flew missions over North Vietnam during the war. He was a source of many tales. Later in 1986, while working as a lawyer in Moscow, I befriended a retired Soviet Military Intelligence officer who was stationed in Hanoi (North Vietnam) during the war, as a "Soviet adviser". Although he never mentioned anything about taking American GIs into the USSR, he was also a source of many interesting tales. Then in 1998 The Sunday Times published an article by their Moscow Correspondent, Mark Franchetti, about his visit to Arzamas-16.
I asked myself the "What if?" question; this resulted in Moscow Bound.
And I'm right in thinking it's the first part of a trilogy?
Yes. I am becoming increasingly concerned about the abuse of power committed by the political elite. By this I mean not just our politicians, but also civil servants, military leaders, the media, corporate bosses and their major shareholders. As Lord Acton said in 1887: "Power tends to corrupt and absolute power corrupts absolutely." This democratic deficit is no clearer evidenced than in the decision-making structures comprising the EU behemoth. By constantly frustrating the principle of subsidiarity (which was agreed upon in the Maastricht Treaty) the unelected, unaccountable and (allegedly) corrupt EU Commissioners are effectively enacting laws which have varying degrees of impact on our daily lives.
Is the second book a work in progress, or are you still in the planning stages of the second instalment?
I have completed the novel's story line and am currently drafting the first few chapters. However, my experience in writing Moscow Bound has taught me that story lines change as the characters take over.
Do you have a time scale in mind for when we might see the second and third books?
I would like to complete the second book within the next 12 months, after which it will be submitted to three/six months of professional editing. It should be ready for publication by Christmas 2015. I would hope that the final book in the trilogy would also be completed within an 18 month period i.e. by the summer of 2017.
Is it a possibility that these books will grow beyond a trilogy, or do you have the next two books firmly plotted in your mind?
Interesting question. As I have said, the second book is already plotted (but not firmly). I have only a vague idea as to the story line for the third book. I am not opposed to extending the trilogy to a "quadrilogy", or even further. It depends on what is going to happen in the third book.
And, finally, are there any other writing projects in your near future, or is the focus entirely on the trilogy for the moment?
I have a fourth book, another thriller, in mind. It concerns the issue of how far the state now intrudes into the people's private lives in a so-called liberal democracy. I have been thinking about it since 2006, when the Information Commissioner said that we were in danger of sleep-walking into a total surveillance society. I might use the idea to extend the trilogy, but it could easily stand alone.
Moscow Bound is available to buy now, and, if Adrian's in-depth discussion of the book hasn't already intrigued you enough to give the novel a chance, then perhaps our glowing review will! Head over to Books & E-books to read our thoughts.
Written by: Charlotte Barnes
Published: 13 June 2014
Author Interview: Stephanie Boddy Talks To Us about Horror, Writing Habits, and what the Future holds!
Having recently read the hit horror novel The House on Poultney Road, which I've reviewed for the Books & E-books section this week, I thought it was time we pinned down the author of this spine-chilling novel to find out what the future holds for the much-loved characters in this book, and whether we'll be seeing them again in the future...
The House on Poultney Road is your first novel, I believe? From what I've read online it's become quite the success! Can we expect a second novel in the future?
Yes, The House on Poultney Road is my debut novel but I have a lot of experience writing short stories which can be seen on my Facebook page. The ambition is to become a full time writer, and eventually get my fiction work published traditionally. The second novel, It Found Me is due to be published in September this year. I am already working on it with my editor, William Fruman.
I was ‘warned’ several times by other authors to hide my first ten novels in a cupboard and think about publishing my work after that and even then people wouldn’t be interested in what I have to say but it was due to the thousands of followers on Facebook who encouraged me to get THoPR published so I have them to thank for my success so far.
Many people have voiced a feeling that the novel leaves a lot of unanswered questions, a sentiment that I myself share, is there the possibility of a sequel to Poultney Road, or is that story finished for you now?
The sequel, It Found Me is the follow up. It should answer a lot of questions people have asked me regarding the story and what happened to certain members of my family and the entities that resided in the house. Unfortunately with true ghost stories, in my opinion, there isn't always a happy ending or answers to every unexplained occurrence. I didn't want to fall too far from the truth with The House on Poultney Road which is why it was a little open-ended however I also knew all along that there would be a sequel.
I still can't believe the interest and success that THoPR has had. It had reached the number of sales I anticipated in a year in less than four months. I have had interest from production companies, audio producers and I am now in talks with a US Lit Agent about representation which is the life long goal.
Now, the Poultney Road novel is published as being based on a true story, I have to ask, how true to life are the events in this book?
The House on Poultney Road is a story I hold very close to my heart. I can write with confidence that the stories regarding séances / Ouija boards and the entities I describe within the story (the man in black, the white lady, the soldier with only half a face etc) are all based on actual spirits and events that existed and were described to me by family members.
I think because I have written the story in a fictional style, I haven't written it in a diary style like many other true life hauntings are told; so people have found it more difficult to believe the story. I wrote it this way because fiction writing is where my heart belongs and was how I felt comfortable doing it. Although the stories and occurrences are based on real events, some of the padding and minor characters have been fictionalized as I didn’t have my Grandparents around to get names and better descriptions. Most of the story relies on my own memories from years of questions I’d asked as a kid. My parents and Uncle and Aunt were very forthcoming with the minor details that I needed.
I never wrote THoPR to convince people that what I am telling them is true nor that they have to believe in the afterlife, it is simply something that my family experienced, and is a story that I have been fascinated by since I was a teenager. I never met my Granddad but I think what he made happen inside that house is extraordinary and it was almost six years ago that I decided to put pen to paper and share his story with others.
I've had a read through your bio, which is available on your own website, and it seems that you're a horror fan to your very core. Does the horror genre impact all of your writing, or do you sometimes deviate to other genres?
Horror is where my heart is - ghosts, zombie, you name it, I love it. Most of what I have written in the past has been paranormal horror because it's something I relate to but I have also written the occasional love story and poetry is also something I am passionate about. I can't ever imagine writing comedy or chick lit but I would like to tread the water in some other genres like thrillers and mystery suspense.
And, finally, are there any new writing projects that you're working on at the minute? Perhaps another novel, or more short stories, in the near future?
I have just finished writing a short novella called The Secret People which is more gory and a little more graphic than what I'm used to but I loved writing it. I have also submitted an entry to Xchyler for publication (fingers crossed) and, of course, I am spending every spare moment writing my sequel novel, It Found Me.
I have learned from reviews and feedback of The House on Poultney Road that an editor is extremely important to have (I don't think a proofreader alone cuts it when writing a novel) so I am working with William as well as in talks with other editors re. It Found Me and other future projects so that my forthcoming material will be of a professional quality.
I am very excited about what is to come.
To find out more about Stephanie's upcoming sequel to her successful début, and to check out her other writing which is available online, you can check out her Facebook page, Twitter, and personal website, where you'll find enough horrific goodies to keep you going until her exciting new novel is released.
Written by: Charlotte Barnes
Published: 10 June 2014
The House on Poultney Road is your first novel, I believe? From what I've read online it's become quite the success! Can we expect a second novel in the future?
Yes, The House on Poultney Road is my debut novel but I have a lot of experience writing short stories which can be seen on my Facebook page. The ambition is to become a full time writer, and eventually get my fiction work published traditionally. The second novel, It Found Me is due to be published in September this year. I am already working on it with my editor, William Fruman.
I was ‘warned’ several times by other authors to hide my first ten novels in a cupboard and think about publishing my work after that and even then people wouldn’t be interested in what I have to say but it was due to the thousands of followers on Facebook who encouraged me to get THoPR published so I have them to thank for my success so far.
Many people have voiced a feeling that the novel leaves a lot of unanswered questions, a sentiment that I myself share, is there the possibility of a sequel to Poultney Road, or is that story finished for you now?
The sequel, It Found Me is the follow up. It should answer a lot of questions people have asked me regarding the story and what happened to certain members of my family and the entities that resided in the house. Unfortunately with true ghost stories, in my opinion, there isn't always a happy ending or answers to every unexplained occurrence. I didn't want to fall too far from the truth with The House on Poultney Road which is why it was a little open-ended however I also knew all along that there would be a sequel.
I still can't believe the interest and success that THoPR has had. It had reached the number of sales I anticipated in a year in less than four months. I have had interest from production companies, audio producers and I am now in talks with a US Lit Agent about representation which is the life long goal.
Now, the Poultney Road novel is published as being based on a true story, I have to ask, how true to life are the events in this book?
The House on Poultney Road is a story I hold very close to my heart. I can write with confidence that the stories regarding séances / Ouija boards and the entities I describe within the story (the man in black, the white lady, the soldier with only half a face etc) are all based on actual spirits and events that existed and were described to me by family members.
I think because I have written the story in a fictional style, I haven't written it in a diary style like many other true life hauntings are told; so people have found it more difficult to believe the story. I wrote it this way because fiction writing is where my heart belongs and was how I felt comfortable doing it. Although the stories and occurrences are based on real events, some of the padding and minor characters have been fictionalized as I didn’t have my Grandparents around to get names and better descriptions. Most of the story relies on my own memories from years of questions I’d asked as a kid. My parents and Uncle and Aunt were very forthcoming with the minor details that I needed.
I never wrote THoPR to convince people that what I am telling them is true nor that they have to believe in the afterlife, it is simply something that my family experienced, and is a story that I have been fascinated by since I was a teenager. I never met my Granddad but I think what he made happen inside that house is extraordinary and it was almost six years ago that I decided to put pen to paper and share his story with others.
I've had a read through your bio, which is available on your own website, and it seems that you're a horror fan to your very core. Does the horror genre impact all of your writing, or do you sometimes deviate to other genres?
Horror is where my heart is - ghosts, zombie, you name it, I love it. Most of what I have written in the past has been paranormal horror because it's something I relate to but I have also written the occasional love story and poetry is also something I am passionate about. I can't ever imagine writing comedy or chick lit but I would like to tread the water in some other genres like thrillers and mystery suspense.
And, finally, are there any new writing projects that you're working on at the minute? Perhaps another novel, or more short stories, in the near future?
I have just finished writing a short novella called The Secret People which is more gory and a little more graphic than what I'm used to but I loved writing it. I have also submitted an entry to Xchyler for publication (fingers crossed) and, of course, I am spending every spare moment writing my sequel novel, It Found Me.
I have learned from reviews and feedback of The House on Poultney Road that an editor is extremely important to have (I don't think a proofreader alone cuts it when writing a novel) so I am working with William as well as in talks with other editors re. It Found Me and other future projects so that my forthcoming material will be of a professional quality.
I am very excited about what is to come.
To find out more about Stephanie's upcoming sequel to her successful début, and to check out her other writing which is available online, you can check out her Facebook page, Twitter, and personal website, where you'll find enough horrific goodies to keep you going until her exciting new novel is released.
Written by: Charlotte Barnes
Published: 10 June 2014
Author Interview: Dylan Spicer Talks Giant Cannibals!
Some of you may already be familiar with Dylan Spicer and his fascinating world of transmedia blogging and writing. Not so long ago, Dylan had a sit-down-talk with us about his exciting project, Narradu Memories, but now it seems there's another amazing project on the horizon for this young writer, and his writing partner Mike Warren, who are boldly putting a new spin on an old classic...
As names go, Giant Cannibals is a fairly intriguing one! What exactly is the project all about?
Giant Cannibals is a 90-minute audio drama, based on a hidden story within Homer’s Odyssey. I wrote the script with Mike Warren.
Odysseus loses eleven of his twelve ships - and almost all of his men - in a massacre at the hands of the Laestrygonians, whom he describes as enormous cannibal monsters. In The Odyssey, this disaster seems to come out of nowhere. Our story explores what happened to cause it.
The play will be free to stream from our website (www.giantcannibals.co.uk) in six episodes. There’s a transmedia element too: you can already read articles, diaries and essays exploring themes as diverse as cannibalism, monstrosity and digital storytelling - and there’s much, much more to come.
Homer's Odyssey is one of the most well-known texts there is but, I have to ask, what led to your interest in it? Why this, and not something else?
Giant Cannibals owes something to coincidence. I’d taken a transmedia module on my Masters course, and was looking to create a project that explored the possibilities of digital media online. I was also looking at applying new perspectives to existing fictional characters. Mike came to me with a pitch about cannibals and deception in The Odyssey, and asked which format would be best to tell the story. We wrote the script together, and it all grew very naturally from there!
Is there the possibility of you and the rest of the team involved with this project maybe working on other texts in the future?
We are definitely looking ahead. Our next aim is to explore something through another mixture of formats - we’ve even been looking at text-adventure games! However, we’re still post-producing Giant Cannibals, so - for the moment - that’s where our focus stays.
And how exactly will this work? Will the episodes be something like podcasts?
Everything will be released on our website, giantcannibals.co.uk, and available to stream. However, we’re working hard to prise open the benefits of our own virtual space. The great thing about Homer is that whichever line you pick, you’re offered a dozen fascinating ideas to explore. By publishing deep-thinking articles interleaved with emotionally-charged fiction, we’re hoping to put our audience in front of things they didn’t know they’d enjoy.
Now, Homer's Odyssey isn't the easiest text to read for a lot of people - myself included! What exactly should we expect from your re-telling? Something traditional, or something more approachable for a modern audience?
Our aim from the start has been to entertain people who wouldn’t normally reach for the classics, and we wrote every word of our script with that in mind. No ham, no smugness, no “Fakespeare”. We researched The Odyssey meticulously, and the story we tell is consistent with the source text - but you don’t need to care about Homer to enjoy it, because we think it stands just as well on its own as an emotive story. If we interest you enough to dig a little deeper, that depth is a couple of clicks away. Speaking of which, we’re looking for people to contribute articles. If you’re interested, please do have a look at the website, and email dylanspicer@hotmail.co.uk.
Finally, when should we expect to see these episodes go live online?
We’re already releasing content! Right now we’ve got some really meaty articles, and there are podcasts - and more - on the way, so while we’re hard at work in the editing suite, you can watch the story grow from grains of research into the full-blown series we’ve made. We’re aiming to release the episodes this autumn, and will be keeping everyone up-to-date via Facebook and Twitter.
With frequent updates appearing in several places, including Twitter, Facebook, and the website itself, there's no excuse to miss anything about this exciting and innovative project, which will hopefully be the start of a series from these talented authors!
Written by: Charlotte Barnes
Published: 6 June 2014
As names go, Giant Cannibals is a fairly intriguing one! What exactly is the project all about?
Giant Cannibals is a 90-minute audio drama, based on a hidden story within Homer’s Odyssey. I wrote the script with Mike Warren.
Odysseus loses eleven of his twelve ships - and almost all of his men - in a massacre at the hands of the Laestrygonians, whom he describes as enormous cannibal monsters. In The Odyssey, this disaster seems to come out of nowhere. Our story explores what happened to cause it.
The play will be free to stream from our website (www.giantcannibals.co.uk) in six episodes. There’s a transmedia element too: you can already read articles, diaries and essays exploring themes as diverse as cannibalism, monstrosity and digital storytelling - and there’s much, much more to come.
Homer's Odyssey is one of the most well-known texts there is but, I have to ask, what led to your interest in it? Why this, and not something else?
Giant Cannibals owes something to coincidence. I’d taken a transmedia module on my Masters course, and was looking to create a project that explored the possibilities of digital media online. I was also looking at applying new perspectives to existing fictional characters. Mike came to me with a pitch about cannibals and deception in The Odyssey, and asked which format would be best to tell the story. We wrote the script together, and it all grew very naturally from there!
Is there the possibility of you and the rest of the team involved with this project maybe working on other texts in the future?
We are definitely looking ahead. Our next aim is to explore something through another mixture of formats - we’ve even been looking at text-adventure games! However, we’re still post-producing Giant Cannibals, so - for the moment - that’s where our focus stays.
And how exactly will this work? Will the episodes be something like podcasts?
Everything will be released on our website, giantcannibals.co.uk, and available to stream. However, we’re working hard to prise open the benefits of our own virtual space. The great thing about Homer is that whichever line you pick, you’re offered a dozen fascinating ideas to explore. By publishing deep-thinking articles interleaved with emotionally-charged fiction, we’re hoping to put our audience in front of things they didn’t know they’d enjoy.
Now, Homer's Odyssey isn't the easiest text to read for a lot of people - myself included! What exactly should we expect from your re-telling? Something traditional, or something more approachable for a modern audience?
Our aim from the start has been to entertain people who wouldn’t normally reach for the classics, and we wrote every word of our script with that in mind. No ham, no smugness, no “Fakespeare”. We researched The Odyssey meticulously, and the story we tell is consistent with the source text - but you don’t need to care about Homer to enjoy it, because we think it stands just as well on its own as an emotive story. If we interest you enough to dig a little deeper, that depth is a couple of clicks away. Speaking of which, we’re looking for people to contribute articles. If you’re interested, please do have a look at the website, and email dylanspicer@hotmail.co.uk.
Finally, when should we expect to see these episodes go live online?
We’re already releasing content! Right now we’ve got some really meaty articles, and there are podcasts - and more - on the way, so while we’re hard at work in the editing suite, you can watch the story grow from grains of research into the full-blown series we’ve made. We’re aiming to release the episodes this autumn, and will be keeping everyone up-to-date via Facebook and Twitter.
With frequent updates appearing in several places, including Twitter, Facebook, and the website itself, there's no excuse to miss anything about this exciting and innovative project, which will hopefully be the start of a series from these talented authors!
Written by: Charlotte Barnes
Published: 6 June 2014
Author Interview: We Talk to Lindsay Stanberry-Flynn about her latest novel, her sudden success, and her future plans!
After recently reading The Piano Player's Son, a heart-warming, hard-hitting novel that leaves the reader open-mouthed and desperate for a sequel, I couldn't resist the opportunity to interview the author behind that stunning piece of fiction. So I caught up with Lindsay Stanberry-Flynn to talk to her about the process of writing her current novel, and what writing plans she has for the future.
Thanks to some rummaging about online, I’ve discovered that you graduated from Bath Spa University with an MA in Creative Writing. Swaying slightly from the topic of your current book, I’d love to know, what impact did this degree have on you as a writer?
I think I would identify three main areas where the MA influenced me as a writer. The first, and probably most important, was to make me appreciate things from the reader’s side of the book. When you are writing, you are so caught up with the characters, plot, and the sheer complexity of the task – especially with a novel – that it’s easy to forget the impact on the reader. With tutors and fellow-students continually commenting on your work, you’re forced to question ‘Reader – how is it for you?’ and this is a valuable lesson.
Second, I’d say the input from the tutors. I was lucky enough to have the writer, Tessa Hadley, as my manuscript tutor for my novel ‘Unravelling’. Feedback from her at our regular meetings helped me to strengthen the characters, iron out problems with the plot and structure, and make sure everything was relevant.
The third area was spending 12/18 months where it was expected that writing and reading was your main preoccupation. Having been employed as a full-time tutor at a further education college, where the workload was more like double time and writing was squeezed in, it was wonderful to be in a world where everyone was grappling with the demands of writing. The sense of validation was immense: it gave me permission to call myself a writer.
‘The Piano Player’s Son’, which I’ve had the pleasure of reading, seems to be getting praise from everywhere at the minute. Did you expect this level of acceptance and success for the book?
It was scary having a second novel come out. I’ve had a lot of success with my first novel ‘Unravelling’, which has won several awards, and inevitably I wondered if people would be equally complimentary about ‘The Piano Player’s Son’. However, I reasoned that it had won the Cinnamon Press Novel Award (prize was publication) and that no publisher would put money into a book that they didn’t rate highly. But it was still a relief when positive reviews and comments starting coming in. When people say that they’ve enjoyed it so much, they’ve bought a copy for a friend’s birthday, or I visit a book group and they are full of praise, I never take it for granted. I want my books to find readers, so every new reader means a lot to me.
For those who aren’t yet familiar with the novel, how would you describe it? In terms of the genre and the like?
I’m not sure it fits neatly into a genre – certainly not in the sense of fantasy, romance, thriller. It probably comes into the women’s contemporary fiction category, but some readers have found certain aspects of it dark. I read something from an author who said they write issue-based fiction dealing with adults in crisis (apologies for not being able to credit this) and I think that applies to my novels. I’ve been told in the past that my writing is too literary to be commercial and too commercial to be literary. I take that to mean it’s a well-written story with some of the ‘unputdownable’ qualities of popular fiction. In fact, ‘I couldn’t put it down’ is a frequent comment. I think it’s time for a new genre!
We’d love to hear about your experience of writing the novel. Many people are describing it as something of an emotional read; I wonder, was it an emotional write?
Neither of my novels is based on personal experience, so I didn’t have to relive any of that, but inevitably writers call on emotions they’ve felt, albeit in different circumstances. Recreating emotions often requires mining the experiences that have generated them which can be painful.
Both my parents are dead, so I’ve got some understanding of the grief, vacuum and confusion the death of a parent can create. This helped with the reactions of the grown up children in the novel to their father, Henry’s, death. I also drew on my feelings about my own children to explore Isabel’s pain at the breakdown of her marriage, and the loss of family that means so much to her. That seems to have worked, as readers have said how much they felt for her about her children. I certainly felt her pain while I was writing.
Perhaps one of the most emotional aspects to write was Rick’s experience. A number of people have said they don’t like him, but I have a lot of sympathy for him. He wants to create a perfect life for his wife and family, but he goes about it in the wrong way. Horrible things happen to him, which despite him sometimes bringing them on himself, I felt incredibly sad about. I knew the things had to happen, but his pain and frustration made me feel sad for him – especially as I was responsible for them!
Your first novel, ‘Unravelling’ was also extremely successful! Would you say your writing style has changed between the two books, or are you in a comfortable place in terms of style?
I think I’m in a comfortable place generally, but I like to think my writing keeps improving and developing the more I write. I’m happy with the quality of the writing in ‘Unravelling’, but I’d also be pleased if people think the writing is even better in ‘The Piano Player’s Son’! My understanding of the craft of writing deepens all the time. I also teach creative writing, so have to read many different pieces of writing from students, and this helps me see more what works and what doesn’t.
I know you’re involved with many blog tours and such like for ‘The Piano Player’s Son’, but I was wondering whether there are any more writing projects on the horizon. Perhaps plans for a new novel?
It’s always a difficult balance to strike between promoting one book and keeping the creativity going in order to write another. I want people to read my novels, and so I spend time promoting them. A novel takes so much time, energy and commitment to write, it seems wrong to abandon it as soon as it’s out in the world. However, my real love is writing: making up characters and putting them in difficult situations to see how they cope. I am about half way through another novel. I would be further, but I had to make major alterations, when I realised I actually had two narratives that I was trying to compress into one novel. The reworked version explores family relationships, like my other novels, but this time within the context of family duty/expectations versus personal fulfilment. With modern culture’s emphasis on achieving one’s dreams, and that if someone wants something badly enough, it will happen, the novel’s considers the effects on relationships when goals are pushed to an extreme. Its working title is ‘Phoenix’.
If you want to know more about Lindsay, or perhaps find some information on her other publications and future plans, you can access her personal website by clicking here. Don't forget to head over to Books and E-Books to read our review of 'The Piano Player's Son' today.
Written by: Charlotte Barnes
Published: 3 June 2014
Thanks to some rummaging about online, I’ve discovered that you graduated from Bath Spa University with an MA in Creative Writing. Swaying slightly from the topic of your current book, I’d love to know, what impact did this degree have on you as a writer?
I think I would identify three main areas where the MA influenced me as a writer. The first, and probably most important, was to make me appreciate things from the reader’s side of the book. When you are writing, you are so caught up with the characters, plot, and the sheer complexity of the task – especially with a novel – that it’s easy to forget the impact on the reader. With tutors and fellow-students continually commenting on your work, you’re forced to question ‘Reader – how is it for you?’ and this is a valuable lesson.
Second, I’d say the input from the tutors. I was lucky enough to have the writer, Tessa Hadley, as my manuscript tutor for my novel ‘Unravelling’. Feedback from her at our regular meetings helped me to strengthen the characters, iron out problems with the plot and structure, and make sure everything was relevant.
The third area was spending 12/18 months where it was expected that writing and reading was your main preoccupation. Having been employed as a full-time tutor at a further education college, where the workload was more like double time and writing was squeezed in, it was wonderful to be in a world where everyone was grappling with the demands of writing. The sense of validation was immense: it gave me permission to call myself a writer.
‘The Piano Player’s Son’, which I’ve had the pleasure of reading, seems to be getting praise from everywhere at the minute. Did you expect this level of acceptance and success for the book?
It was scary having a second novel come out. I’ve had a lot of success with my first novel ‘Unravelling’, which has won several awards, and inevitably I wondered if people would be equally complimentary about ‘The Piano Player’s Son’. However, I reasoned that it had won the Cinnamon Press Novel Award (prize was publication) and that no publisher would put money into a book that they didn’t rate highly. But it was still a relief when positive reviews and comments starting coming in. When people say that they’ve enjoyed it so much, they’ve bought a copy for a friend’s birthday, or I visit a book group and they are full of praise, I never take it for granted. I want my books to find readers, so every new reader means a lot to me.
For those who aren’t yet familiar with the novel, how would you describe it? In terms of the genre and the like?
I’m not sure it fits neatly into a genre – certainly not in the sense of fantasy, romance, thriller. It probably comes into the women’s contemporary fiction category, but some readers have found certain aspects of it dark. I read something from an author who said they write issue-based fiction dealing with adults in crisis (apologies for not being able to credit this) and I think that applies to my novels. I’ve been told in the past that my writing is too literary to be commercial and too commercial to be literary. I take that to mean it’s a well-written story with some of the ‘unputdownable’ qualities of popular fiction. In fact, ‘I couldn’t put it down’ is a frequent comment. I think it’s time for a new genre!
We’d love to hear about your experience of writing the novel. Many people are describing it as something of an emotional read; I wonder, was it an emotional write?
Neither of my novels is based on personal experience, so I didn’t have to relive any of that, but inevitably writers call on emotions they’ve felt, albeit in different circumstances. Recreating emotions often requires mining the experiences that have generated them which can be painful.
Both my parents are dead, so I’ve got some understanding of the grief, vacuum and confusion the death of a parent can create. This helped with the reactions of the grown up children in the novel to their father, Henry’s, death. I also drew on my feelings about my own children to explore Isabel’s pain at the breakdown of her marriage, and the loss of family that means so much to her. That seems to have worked, as readers have said how much they felt for her about her children. I certainly felt her pain while I was writing.
Perhaps one of the most emotional aspects to write was Rick’s experience. A number of people have said they don’t like him, but I have a lot of sympathy for him. He wants to create a perfect life for his wife and family, but he goes about it in the wrong way. Horrible things happen to him, which despite him sometimes bringing them on himself, I felt incredibly sad about. I knew the things had to happen, but his pain and frustration made me feel sad for him – especially as I was responsible for them!
Your first novel, ‘Unravelling’ was also extremely successful! Would you say your writing style has changed between the two books, or are you in a comfortable place in terms of style?
I think I’m in a comfortable place generally, but I like to think my writing keeps improving and developing the more I write. I’m happy with the quality of the writing in ‘Unravelling’, but I’d also be pleased if people think the writing is even better in ‘The Piano Player’s Son’! My understanding of the craft of writing deepens all the time. I also teach creative writing, so have to read many different pieces of writing from students, and this helps me see more what works and what doesn’t.
I know you’re involved with many blog tours and such like for ‘The Piano Player’s Son’, but I was wondering whether there are any more writing projects on the horizon. Perhaps plans for a new novel?
It’s always a difficult balance to strike between promoting one book and keeping the creativity going in order to write another. I want people to read my novels, and so I spend time promoting them. A novel takes so much time, energy and commitment to write, it seems wrong to abandon it as soon as it’s out in the world. However, my real love is writing: making up characters and putting them in difficult situations to see how they cope. I am about half way through another novel. I would be further, but I had to make major alterations, when I realised I actually had two narratives that I was trying to compress into one novel. The reworked version explores family relationships, like my other novels, but this time within the context of family duty/expectations versus personal fulfilment. With modern culture’s emphasis on achieving one’s dreams, and that if someone wants something badly enough, it will happen, the novel’s considers the effects on relationships when goals are pushed to an extreme. Its working title is ‘Phoenix’.
If you want to know more about Lindsay, or perhaps find some information on her other publications and future plans, you can access her personal website by clicking here. Don't forget to head over to Books and E-Books to read our review of 'The Piano Player's Son' today.
Written by: Charlotte Barnes
Published: 3 June 2014
Author Interview: Jenny Thomson, Author of the Die Hard For Girls series, talks writing, editing, and future plans!
If you're a regular Mad Hatter Reviews reader then you'll know how much we love tracking down authors and having a natter with them about their latest work. So when Jenny Thomson, author of the hit Die Hard for Girls series, sent us over the latest instalment in her ball-busting series of crime novels, we couldn't resist the opportunity to sit her down and have a chat about what we can expect from her in the future...
Your current novels pack quite the punch in terms of girl power! What was the reason behind creating the women in these books?
For too long, far too many female characters in fiction have been there merely as love interests or damsels in distress, but there's a strong appetite out there for more realistic, tough women. Strong women like the ones we watch in TV shows like Wentworth, 24 and The Walking Dead, who are simply not being adequately represented in fiction. That's why I thought it was time for some Die Hard for Girls.
Now I know we reviewed your first instalment, and as of today we've reviewed your second (which you can read by clicking here), so people might be familiar with the books already, but for anyone who isn't, how would you describe them?
The Die Hard for Girls books are aimed at readers who like to read about tough women who will stand up for what they believe in. They can be violent, but they will always be entertaining and the violence isn't just random. Usually it's the bad guys (and gals) getting their comeuppance.
Did you have a target audience in mind when you were writing the series?
Not really, I wanted to create pure escapist fiction, with strong women characters, that people would enjoy reading where the action wouldn't let up. I wanted to write the books I wanted to read that simply weren't there.
Although my target audience was women, I'm delighted that so many men have written to me saying they love the books too.
Am I right in thinking that there are three books in this series, which means another one is yet to be released?
There are three so far. I'm working on the third. It's called Don't Come for Me and will be a full length novel (the other two books are shorter reads). I'm almost finished writing it. The book opens with Nancy Kerr, the main character in the Die Hard for Girls books, coming out of the bathroom to find her boyfriend Tommy gone and a bloody knife on the floor. Then the police arrive and think she's done it...
There's lots of twists that have surprised even me.
Are you working on anything else in between the Die Hard for Girls books?
I wrote a zombie novel called Dead Bastards that's set in Scotland for an eBook only publisher. It's sold very well, so I'm going to be bringing it out as a paperback myself in October with additional text and an alternative ending. I've had a few offers from publishers, but I'd like to do this one myself. I even have a fantastic cover designer lined up.
Dead Bastards is different from other zombie books that can be quite bleak. There's a lot of humour in it. You don't get many laughs in The Walking Dead or zombie films unless it's Shaun of the Dead.
And, finally, when can we expect a new novel from you? I know you've just released the second Die Hard book, but is there anything else on the horizon before the end of the year?
How Kirsty Gets Her Kicks, about a one-legged Glasgow barmaid on the run with a gangster's cash and gun, will be published by critically acclaimed American publisher Snubnose Press at the end of this year, so I'm pretty excited about that. I got some great feedback from Stephen King's publisher. He turned it down, but Snubnose Press loved it.
I'm also editing the first book in a series of Detective in a Coma novels. It's called Vile City and won an award. The books are about DI Duncan Waddell who solves crimes with the help of his police friend Stevie Campbell who's in a coma. Nobody else can hear him, but Waddell who begins to wonder if he's going crazy.
Well, there you have it! It seems that it will be a busy year for Jenny and her off-the-wall fiction, with many potential projects emerging in the new year as well. If you want to keep an eye on Jenny's writing, then you can find up-to-date information about her projects by clicking here; you can also check out more information on the Die Hard for Girls series by clicking here. Make sure you head over to our Books & E-books section today for our review of the latest instalment of the series!
Written by: Charlotte Barnes
Published: 30 May 2014
Your current novels pack quite the punch in terms of girl power! What was the reason behind creating the women in these books?
For too long, far too many female characters in fiction have been there merely as love interests or damsels in distress, but there's a strong appetite out there for more realistic, tough women. Strong women like the ones we watch in TV shows like Wentworth, 24 and The Walking Dead, who are simply not being adequately represented in fiction. That's why I thought it was time for some Die Hard for Girls.
Now I know we reviewed your first instalment, and as of today we've reviewed your second (which you can read by clicking here), so people might be familiar with the books already, but for anyone who isn't, how would you describe them?
The Die Hard for Girls books are aimed at readers who like to read about tough women who will stand up for what they believe in. They can be violent, but they will always be entertaining and the violence isn't just random. Usually it's the bad guys (and gals) getting their comeuppance.
Did you have a target audience in mind when you were writing the series?
Not really, I wanted to create pure escapist fiction, with strong women characters, that people would enjoy reading where the action wouldn't let up. I wanted to write the books I wanted to read that simply weren't there.
Although my target audience was women, I'm delighted that so many men have written to me saying they love the books too.
Am I right in thinking that there are three books in this series, which means another one is yet to be released?
There are three so far. I'm working on the third. It's called Don't Come for Me and will be a full length novel (the other two books are shorter reads). I'm almost finished writing it. The book opens with Nancy Kerr, the main character in the Die Hard for Girls books, coming out of the bathroom to find her boyfriend Tommy gone and a bloody knife on the floor. Then the police arrive and think she's done it...
There's lots of twists that have surprised even me.
Are you working on anything else in between the Die Hard for Girls books?
I wrote a zombie novel called Dead Bastards that's set in Scotland for an eBook only publisher. It's sold very well, so I'm going to be bringing it out as a paperback myself in October with additional text and an alternative ending. I've had a few offers from publishers, but I'd like to do this one myself. I even have a fantastic cover designer lined up.
Dead Bastards is different from other zombie books that can be quite bleak. There's a lot of humour in it. You don't get many laughs in The Walking Dead or zombie films unless it's Shaun of the Dead.
And, finally, when can we expect a new novel from you? I know you've just released the second Die Hard book, but is there anything else on the horizon before the end of the year?
How Kirsty Gets Her Kicks, about a one-legged Glasgow barmaid on the run with a gangster's cash and gun, will be published by critically acclaimed American publisher Snubnose Press at the end of this year, so I'm pretty excited about that. I got some great feedback from Stephen King's publisher. He turned it down, but Snubnose Press loved it.
I'm also editing the first book in a series of Detective in a Coma novels. It's called Vile City and won an award. The books are about DI Duncan Waddell who solves crimes with the help of his police friend Stevie Campbell who's in a coma. Nobody else can hear him, but Waddell who begins to wonder if he's going crazy.
Well, there you have it! It seems that it will be a busy year for Jenny and her off-the-wall fiction, with many potential projects emerging in the new year as well. If you want to keep an eye on Jenny's writing, then you can find up-to-date information about her projects by clicking here; you can also check out more information on the Die Hard for Girls series by clicking here. Make sure you head over to our Books & E-books section today for our review of the latest instalment of the series!
Written by: Charlotte Barnes
Published: 30 May 2014
We're Stealing Holly, from The Jericho Tavern in Oxford, To hear about their Exciting Summer Events!
The Jericho Tavern, one of the best venues Oxford has to boast of, has been making an even bigger name for itself in recent months, after some pretty hefty changes! The venue has always been well-known for its live performances, catering to musicians, bands, solo artists, and many others. However, over the past few months they seem to have taken the local area by storm; revamping their status as a top music venue, the Jericho is now branching out into all manner of live performances and is slowly but surely releasing a promising line-up of events for this Summer. So we grabbed Holly, the person behind all these exciting gigs, to find out what we can expect from the pub over the Summer months...
So for people who haven't had the pleasure of visiting Jericho, what can they expect?
The Jericho is a pub that keeps things pretty simple. Great food, even better atmosphere. Upstairs is the music venue that has played host to artists such as Radiohead, The Foals, Supergrass, Pulp, Mumford and Sons, Ben Howard and Laura Marling to name a few. Typically, the venue has staged mostly indie stuff but there's a constant crave for diversity so since taking it over I've really tried to tap into that. For example, I've just finished planning a burlesque night with Mercury Flame, an incredible artist who took London by storm and since moving to Oxford seems to have surged interest here, too. She's hugely talented. I love burlesque and a select few performances peaked interest in the past so tinkering with the set up and really honing in on what people love most has been the root of success with this one. An open mic is still in creation set to launch late June. And of course, we keep an incredible range of artists and bands in circulation. For me, I love introducing new stuff but never steering from what works and what people know The Jericho for most.
Is it just local artists that you guys are looking for, or are you happy to branch out further?
Not just local artists, no. In a few months I get to drop some pretty big names that are gracing our stage (or returning after a length of time!) in the summer which is really exciting. I think it is so important to support local artists, though. I have had the pleasure of meeting some of the greatest bands I've ever heard who have never really been given a shot. Some places get caught up on the pretentiousness of what music and performance can be. I remember some of my friends with immense talent never getting a chance to progress or meet with the right people because they weren't given a 'yes'.
And what music are you into at Jericho? Are we talking sultry acoustic guitars, or rock and roll?
In terms of music style I love versatility. There's a few bands who have played for us that are polar opposites from what played the night before. I love acoustic stuff or anything with a gritty baseline. But I also love jazz, punk rock. If there's someone singing something with passion it resonates really well for me. I don't really like stuff that's a little scream-y. It doesn't do it for me.
How do bands and/or artists go about booking a slot with you guys?
To book- I've only had the venue for a couple of months so it's all a little basic. In some ways, I think that's good. We will have a website exclusively for the venue in place soon as well as a circulated newsletter and mailing list. Until then, people should email jerichoevents@gmail.com. And include some track samples, links to a Soundcloud or some YouTube videos so I can grasp an idea of what they're about.
And what lies ahead for Jericho?
The Jericho was a fantastic hub of talent in 90s. Its history is.impressive. Still remains one of the best venues in Oxford. I took it over two months ago after previous management disbanded. I'm passionate about great music and want to elevate it to its prestigious roots once again!
So there you have it! If you're in Oxford this Summer then it sounds like The Jericho Tavern is definitely the place to be; or, if you're looking to travel for a special night out, this place should definitely be on your list, too! I know we'll be making a trip there at some point in the near future.
For more information on this amazing little venue, you can check out their official website by clicking here. And you can keep up to date with their upcoming gigs by following them on Twitter and giving them a 'like' on Facebook!
Written by: Charlotte Barnes
Published: 23 May 2014
So for people who haven't had the pleasure of visiting Jericho, what can they expect?
The Jericho is a pub that keeps things pretty simple. Great food, even better atmosphere. Upstairs is the music venue that has played host to artists such as Radiohead, The Foals, Supergrass, Pulp, Mumford and Sons, Ben Howard and Laura Marling to name a few. Typically, the venue has staged mostly indie stuff but there's a constant crave for diversity so since taking it over I've really tried to tap into that. For example, I've just finished planning a burlesque night with Mercury Flame, an incredible artist who took London by storm and since moving to Oxford seems to have surged interest here, too. She's hugely talented. I love burlesque and a select few performances peaked interest in the past so tinkering with the set up and really honing in on what people love most has been the root of success with this one. An open mic is still in creation set to launch late June. And of course, we keep an incredible range of artists and bands in circulation. For me, I love introducing new stuff but never steering from what works and what people know The Jericho for most.
Is it just local artists that you guys are looking for, or are you happy to branch out further?
Not just local artists, no. In a few months I get to drop some pretty big names that are gracing our stage (or returning after a length of time!) in the summer which is really exciting. I think it is so important to support local artists, though. I have had the pleasure of meeting some of the greatest bands I've ever heard who have never really been given a shot. Some places get caught up on the pretentiousness of what music and performance can be. I remember some of my friends with immense talent never getting a chance to progress or meet with the right people because they weren't given a 'yes'.
And what music are you into at Jericho? Are we talking sultry acoustic guitars, or rock and roll?
In terms of music style I love versatility. There's a few bands who have played for us that are polar opposites from what played the night before. I love acoustic stuff or anything with a gritty baseline. But I also love jazz, punk rock. If there's someone singing something with passion it resonates really well for me. I don't really like stuff that's a little scream-y. It doesn't do it for me.
How do bands and/or artists go about booking a slot with you guys?
To book- I've only had the venue for a couple of months so it's all a little basic. In some ways, I think that's good. We will have a website exclusively for the venue in place soon as well as a circulated newsletter and mailing list. Until then, people should email jerichoevents@gmail.com. And include some track samples, links to a Soundcloud or some YouTube videos so I can grasp an idea of what they're about.
And what lies ahead for Jericho?
The Jericho was a fantastic hub of talent in 90s. Its history is.impressive. Still remains one of the best venues in Oxford. I took it over two months ago after previous management disbanded. I'm passionate about great music and want to elevate it to its prestigious roots once again!
So there you have it! If you're in Oxford this Summer then it sounds like The Jericho Tavern is definitely the place to be; or, if you're looking to travel for a special night out, this place should definitely be on your list, too! I know we'll be making a trip there at some point in the near future.
For more information on this amazing little venue, you can check out their official website by clicking here. And you can keep up to date with their upcoming gigs by following them on Twitter and giving them a 'like' on Facebook!
Written by: Charlotte Barnes
Published: 23 May 2014
Reports Confirm that Elena Baltacha has Passed away, Aged 30, from Liver Cancer
It is with heavy hearts that we find ourselves bringing you yet another article that reports on the death of a much-loved star. The internet has been flooded with reports over the last twelve hours confirming the passing of British tennis star, Elena Baltacha, and we are all deeply saddened by the news.
Baltacha has been a top-ranking star in her game for many years now, impressing crowds and winning fans between the years of 2002 and 2012. She was a popular member of Great Britian’s Fed Cup Team for 11 years and won an outstanding 11 International Tennis Federation singles over the course of her career. Let us not forget that all of this was achieved despite many injuries over the course of her career, and her ongoing battle with primary sclerosing cholangitis, a condition effecting the liver.
The young sportswoman recently announced her retirement from the game and aimed to begin her life with new husband, and previous coach, Nino Severino. However, it was shortly after this that Baltacha was diagnosed with liver cancer (in January 2014) which was, unfortunately, the disease that led to her passing.
Baltacha was a talented and thoughtful individual, and the sporting world will miss her presence. Our thoughts and love go out to her family at this troubling time.
Written by: Charlotte Barnes
Published: 5 May 2014
Baltacha has been a top-ranking star in her game for many years now, impressing crowds and winning fans between the years of 2002 and 2012. She was a popular member of Great Britian’s Fed Cup Team for 11 years and won an outstanding 11 International Tennis Federation singles over the course of her career. Let us not forget that all of this was achieved despite many injuries over the course of her career, and her ongoing battle with primary sclerosing cholangitis, a condition effecting the liver.
The young sportswoman recently announced her retirement from the game and aimed to begin her life with new husband, and previous coach, Nino Severino. However, it was shortly after this that Baltacha was diagnosed with liver cancer (in January 2014) which was, unfortunately, the disease that led to her passing.
Baltacha was a talented and thoughtful individual, and the sporting world will miss her presence. Our thoughts and love go out to her family at this troubling time.
Written by: Charlotte Barnes
Published: 5 May 2014
Acting Legend, Bob Hoskins, Passes away aged 71
Yesterday, we at Mad Hatter Reviews heard of the sad passing of a stalwart within the British acting community, who had made his success as an actor that could be as versatile as the very best of them.
Bob Hoskins, who people will remember in films such as Mona Lisa, Mermaids, Hook, and Who Framed Roger Rabbit, passed away, having contracted pneumonia at the age of 71, with his agent, Clair Dobbs, making an official statement. He was also famous for the “it’s good to talk” catchphrase for British Telecom adverts during the late 1980s and 1990s .
Born in Bury St Edmunds on October 26th, 1942, he started his acting journey back in 1969 at the Unity Theatre, which was based in Camden until its demise by fire in 1975, having been given a role in a production there after just being roped in whilst drinking at the bar.
His performances on TV and the silver screen predominantly showed him in Cockney or gangster-orientated roles, but some of his performances showed that being the straight guy in a film could provide such comedy gold, including the role as cop-turned-private investigator Eddie Valliant.
He also won Golden Globes and BAFTAs for Best Actor Performances, as well as the prestigious Prix d'interprétation masculine for his role as George in Mona Lisa, which showed his versatility as an actor and how real his acting was from many aspects. He also received an Emmy award at the 2010 International Emmys for the role that saw his return to our television screens in Jimmy McGovern’s The Street, where he played the local publican that stood up to the local gangster.
His inevitable retirement in August of 2012 was due to battling Parkinson’s disease, which has also affected many high-profile actors and sports personalities, such as Muhammed Ali and Michael. J. Fox. Hoskins’ rough and ready style of acting brought through the realism that he portrayed in characters throughout his career.
The British acting community has lost one of its finest and well-loved members, who scared us and made us laugh, sometimes at once. Farewell, Bob, you’ll be missed.
Written by: Alex Goldschmidt
Published: 1 May 2014
Bob Hoskins, who people will remember in films such as Mona Lisa, Mermaids, Hook, and Who Framed Roger Rabbit, passed away, having contracted pneumonia at the age of 71, with his agent, Clair Dobbs, making an official statement. He was also famous for the “it’s good to talk” catchphrase for British Telecom adverts during the late 1980s and 1990s .
Born in Bury St Edmunds on October 26th, 1942, he started his acting journey back in 1969 at the Unity Theatre, which was based in Camden until its demise by fire in 1975, having been given a role in a production there after just being roped in whilst drinking at the bar.
His performances on TV and the silver screen predominantly showed him in Cockney or gangster-orientated roles, but some of his performances showed that being the straight guy in a film could provide such comedy gold, including the role as cop-turned-private investigator Eddie Valliant.
He also won Golden Globes and BAFTAs for Best Actor Performances, as well as the prestigious Prix d'interprétation masculine for his role as George in Mona Lisa, which showed his versatility as an actor and how real his acting was from many aspects. He also received an Emmy award at the 2010 International Emmys for the role that saw his return to our television screens in Jimmy McGovern’s The Street, where he played the local publican that stood up to the local gangster.
His inevitable retirement in August of 2012 was due to battling Parkinson’s disease, which has also affected many high-profile actors and sports personalities, such as Muhammed Ali and Michael. J. Fox. Hoskins’ rough and ready style of acting brought through the realism that he portrayed in characters throughout his career.
The British acting community has lost one of its finest and well-loved members, who scared us and made us laugh, sometimes at once. Farewell, Bob, you’ll be missed.
Written by: Alex Goldschmidt
Published: 1 May 2014
Fans Lose a hero, and the World Loses Its Ultimate Warrior
Saturday 5th April 2014, 18 years after his last appearance for the WWE, The Ultimate Warrior returned to take his place in the prestigious Hall of Fame. Sunday 6th April 2014, again, 18 years after his last appearance at Wrestlemania and 24 years after winning the WWF World championship from Hulk Hogan, The Ultimate Warrior returned and stood centre stage as the Hall of Fame congregated mid-way through the pay per view.
Monday 7th April 2014, The Ultimate Warrior would return to Raw for what sadly would be the final time. Tuesday 8th April 2014, my childhood hero would sadly and tragically pass away after collapsing in front of his wife on the way to his car.
It is with great sadness and regret that the words I type about my fallen idol are not of how amazing he looked at the Hall of Fame, how many goose bumps I felt after hearing his entrance music on the grandest stage in wrestling Wrestlemania 30, or how grand and awesome it was to see Jim Hellwig in full Ultimate Warrior attire on Raw Monday night, but how I feel about his passing on and the memories he leaves behind for not just myself, but millions of fans and fellow wrestlers the world over.
Over the years the Warrior has had his share of controversy. From certain people in the wrestling world berating him for being pushed ahead of ‘other’ wrestlers, to how he could have to nerve to walk away from the business that made him a millionaire and in essence return but only on his terms. For this reason alone I can honestly say I have nothing but respect for the man. But personally, it is more than that...
Way back in 1990, at Wrestlemania 6, I watched The Ultimate Warrior for the first time, and he captured the title from Hulk Hogan. The face paint, the tassels on his arms, the amazingly lush colours on his ring attire stood out from the bland red and yellow of Hulk Hogan; from then on I was a fan. I collected everything with the words Ultimate Warrior on it: cups, sticker albums, figures, the foam Intercontinental Belt. Next to Gary Numan, he was my second idol.
A figure that transcended the norm and stole hearts of his little Warriors across the globe. He would however leave after Summerslam 1991, very abruptly.
In 1992 I was taken to a live event in Orlando, Florida just after the Warrior returned at Wrestlemania 8. Another event I watched live and can remember screaming like a school girl when the Warriors music hit at the end to save Hulk Hogan. My hero had returned, if only for a little while, as he would leave once again just before Survivor Series 1992.
Across his many returns to the WWE I always came back to watch him, regardless of the feuds he was put into.
I awoke on the morning of April 9th 2014 to find several text messages and various tweets from friends informing me of the death of The Ultimate Warrior. I found myself cold, sad, angry, upset, let down, hurt and worst of all, betrayed. The world took my childhood hero from me after giving me a brief glimpse of him once again. But maybe, just maybe, Jim Hellwig knew he was about to leave us. His speeches at the Hall of Fame and Raw indicate the end of life and the end of an era. This is a quote from Raw this Monday:
"No WWE talent becomes a legend on their own," he told the crowd. "Every man's heart one day beats its final beat. His lungs breathe their final breath. And if what that man did in his life makes the blood pulse through the body of others and makes them believe deeper in something that's larger than life, then his essence, his spirit, will be immortalized by the storytellers -- by the loyalty, by the memory of those who honor him, and make the running the man did live forever.
"I am the Ultimate Warrior, you are the Ultimate Warrior fans and the spirit of the Ultimate Warrior will run forever."
From 1987 to present day The Ultimate Warrior's presence has always been felt; the pulsating entrance music and violent shaking of the ropes mesmerised millions, and spawned a generation of new wrestlers much like Ric Flair, Bruno Sammartino, Dusty Rhodes and Hulk Hogan did before him. For Jim Hellwig he put everything he had into creating a character people could love, and he succeeded on every level.
As the headline states, the fans lost a hero and the wrestling world lost an Ultimate Warrior, and the world collectively mourns this loss, however his family has lost much much more than that. They have lost a father, a husband, a friend, a confidant, a lover and a support throughout their lives. My deepest condolences go out to the Hellwig family at this terrible time.
I’d like to end this article with the following line, with tears in my eyes: Heroes come and go, but Warriors are eternal.
Written by: Phil Brown
Published: 10 April 2014
Monday 7th April 2014, The Ultimate Warrior would return to Raw for what sadly would be the final time. Tuesday 8th April 2014, my childhood hero would sadly and tragically pass away after collapsing in front of his wife on the way to his car.
It is with great sadness and regret that the words I type about my fallen idol are not of how amazing he looked at the Hall of Fame, how many goose bumps I felt after hearing his entrance music on the grandest stage in wrestling Wrestlemania 30, or how grand and awesome it was to see Jim Hellwig in full Ultimate Warrior attire on Raw Monday night, but how I feel about his passing on and the memories he leaves behind for not just myself, but millions of fans and fellow wrestlers the world over.
Over the years the Warrior has had his share of controversy. From certain people in the wrestling world berating him for being pushed ahead of ‘other’ wrestlers, to how he could have to nerve to walk away from the business that made him a millionaire and in essence return but only on his terms. For this reason alone I can honestly say I have nothing but respect for the man. But personally, it is more than that...
Way back in 1990, at Wrestlemania 6, I watched The Ultimate Warrior for the first time, and he captured the title from Hulk Hogan. The face paint, the tassels on his arms, the amazingly lush colours on his ring attire stood out from the bland red and yellow of Hulk Hogan; from then on I was a fan. I collected everything with the words Ultimate Warrior on it: cups, sticker albums, figures, the foam Intercontinental Belt. Next to Gary Numan, he was my second idol.
A figure that transcended the norm and stole hearts of his little Warriors across the globe. He would however leave after Summerslam 1991, very abruptly.
In 1992 I was taken to a live event in Orlando, Florida just after the Warrior returned at Wrestlemania 8. Another event I watched live and can remember screaming like a school girl when the Warriors music hit at the end to save Hulk Hogan. My hero had returned, if only for a little while, as he would leave once again just before Survivor Series 1992.
Across his many returns to the WWE I always came back to watch him, regardless of the feuds he was put into.
I awoke on the morning of April 9th 2014 to find several text messages and various tweets from friends informing me of the death of The Ultimate Warrior. I found myself cold, sad, angry, upset, let down, hurt and worst of all, betrayed. The world took my childhood hero from me after giving me a brief glimpse of him once again. But maybe, just maybe, Jim Hellwig knew he was about to leave us. His speeches at the Hall of Fame and Raw indicate the end of life and the end of an era. This is a quote from Raw this Monday:
"No WWE talent becomes a legend on their own," he told the crowd. "Every man's heart one day beats its final beat. His lungs breathe their final breath. And if what that man did in his life makes the blood pulse through the body of others and makes them believe deeper in something that's larger than life, then his essence, his spirit, will be immortalized by the storytellers -- by the loyalty, by the memory of those who honor him, and make the running the man did live forever.
"I am the Ultimate Warrior, you are the Ultimate Warrior fans and the spirit of the Ultimate Warrior will run forever."
From 1987 to present day The Ultimate Warrior's presence has always been felt; the pulsating entrance music and violent shaking of the ropes mesmerised millions, and spawned a generation of new wrestlers much like Ric Flair, Bruno Sammartino, Dusty Rhodes and Hulk Hogan did before him. For Jim Hellwig he put everything he had into creating a character people could love, and he succeeded on every level.
As the headline states, the fans lost a hero and the wrestling world lost an Ultimate Warrior, and the world collectively mourns this loss, however his family has lost much much more than that. They have lost a father, a husband, a friend, a confidant, a lover and a support throughout their lives. My deepest condolences go out to the Hellwig family at this terrible time.
I’d like to end this article with the following line, with tears in my eyes: Heroes come and go, but Warriors are eternal.
Written by: Phil Brown
Published: 10 April 2014
Body Doubles and CGI Effects Used to Complete Fast & Furious Production
Following on from the unexpected passing of Paul Walker late last year, Fast & Furious fans everywhere have been asking questions about the impact this will have over the future of the franchise. Perhaps, more specifically, what impact this will have over the seventh instalment, which was due to be released this year. Walker was in the middle of filming this latest feature when he was involved in a fatal car crash, which halted production.
It was quickly announced that time would be taken to allow for both the cast and crew to grieve, and also to allow the writers of this latest film to rewrite the plot to accommodate this change in circumstances. While things have been relatively quiet in terms of new information on this, it seems there are now rumours flying around that Paul Walker’s character, Brian O’Connor, will appear in more scenes than originally anticipated, thanks to the use of body doubles and CGI effects.
Reports have revealed that an important scene towards the end of the film, involving Walker, will still be filmed, with four actors - resembling the physical appearance of the original actor - stepping in to assist with the filming, and computer programmes incorporating Walker’s face and voice into the scenes also.
It has also been announced recently that the character Brian O’Connor will not be killed off, but will be retired instead.
Filming for this instalment is due to resume in the near future, with a revised release date of April 10th 2015.
Written by: Charlotte Barnes
Published: 25 March 2014
It was quickly announced that time would be taken to allow for both the cast and crew to grieve, and also to allow the writers of this latest film to rewrite the plot to accommodate this change in circumstances. While things have been relatively quiet in terms of new information on this, it seems there are now rumours flying around that Paul Walker’s character, Brian O’Connor, will appear in more scenes than originally anticipated, thanks to the use of body doubles and CGI effects.
Reports have revealed that an important scene towards the end of the film, involving Walker, will still be filmed, with four actors - resembling the physical appearance of the original actor - stepping in to assist with the filming, and computer programmes incorporating Walker’s face and voice into the scenes also.
It has also been announced recently that the character Brian O’Connor will not be killed off, but will be retired instead.
Filming for this instalment is due to resume in the near future, with a revised release date of April 10th 2015.
Written by: Charlotte Barnes
Published: 25 March 2014
Who Should Hermione Really Have Married?
We've all read the Harry Potter novels and if not, we've all seen the films and if not even that, we've all heard of it. There's always been some dispute between fans of the series over who Harry and Hermione should have ended up with romantically. At the end of the series (SPOILER ALERT), Harry is married to Ginny, Ron's younger sister, whilst Hermione is married to Ron. Simple enough, right?
Not really. Fans have wanted Harry and Hermione, Hermione and Draco, Harry and Luna, Harry and Cho, Hermione and Victor Krum, Draco and an apple he uses in the sixth film to test a magical wardrobe. There have been a lot of pairings that have come alive in fan fiction but now word from Rowling herself has arrived.
She claims, in an interview, that she started the series off with Ron and Hermione in mind but as the series developed, she realised that Hermione was suited more towards Harry, which can be seen in their relationship together. However, she held on to her belief that Hermione and Ron were going to be together and forged ahead with it anyway, despite what she had written.
The end result? A bunch of fans that are happy this has been said and a whole lot that are annoyed Ron got the short end of the stick again. And a whole bunch of invigorated fan fiction writers that are busy churning out story after story of Hermione cheating on Ron with Harry! Stay tuned for more information (and outrage) as this develops.
Written by: Kasim Kaey
Published: 7 February 2014
Not really. Fans have wanted Harry and Hermione, Hermione and Draco, Harry and Luna, Harry and Cho, Hermione and Victor Krum, Draco and an apple he uses in the sixth film to test a magical wardrobe. There have been a lot of pairings that have come alive in fan fiction but now word from Rowling herself has arrived.
She claims, in an interview, that she started the series off with Ron and Hermione in mind but as the series developed, she realised that Hermione was suited more towards Harry, which can be seen in their relationship together. However, she held on to her belief that Hermione and Ron were going to be together and forged ahead with it anyway, despite what she had written.
The end result? A bunch of fans that are happy this has been said and a whole lot that are annoyed Ron got the short end of the stick again. And a whole bunch of invigorated fan fiction writers that are busy churning out story after story of Hermione cheating on Ron with Harry! Stay tuned for more information (and outrage) as this develops.
Written by: Kasim Kaey
Published: 7 February 2014
Christmas Special: The Time Of The Doctor!
And so we reach the end of another Doctor. After seeing Matt Smith in the role since 2010 it's time for him to hand over the reigns to Peter Capaldi. Needless to say, he went out with a bang.
Christmas saw a culmination of all of the ongoing plots from the eleventh Doctor's era as all of his enemies unite to investigate a mysterious signal coming from the seemingly-normal planet. The Doctor, being the Doctor, manages to get there first and is surprised to find that it is the planet Trenzalore, the place where he is said to die...
Previous Christmas specials have always had trouble balancing the Christmas aspect with the core science-fiction theme of the show, with some episodes being set at Christmas for no reason other than it's going to be broadcast on Christmas Day, or focusing too much on Christmas at the sake of plot. Fortunately The Time of The Doctor managed to weave the two together well for the most part, with the winter-themed village of Christmas giving a suitably festive feel to an otherwise dramatic episode. The scenes with Clara's family still stuck out like a sore thumb, but fortunately they were brief.
While The Time of the Doctor tied up all of the loose ends, I felt it was a bit rushed in places, yet overly long in others. It was a shame that the previous story arc about the Silence was explained in just a few lines, as well as the fact that for the most part we have to rely on montage to give the impression of a long time passing by. The episode could have benefitted from being longer, or perhaps being a multi-parter like David Tenannt's final story, The End of Time. The story simply had too much to tell in just an hour. More disappointingly, the regeneration scene managed to be both too long and too quick at the same time, with Smith's Doctor looking back on his life and then suddenly being Peter Capaldi in a split second just doesn't work all that well for me and it could have been done better.
That said, I thought the main plot of the episode to be both gripping and dramatic with what we did see of the attacks on Christmas being suitably tense. Orla Brandy was very impressive as Tasha Lem, playing the part very convincingly as someone who is an old friend of the Doctor despite not being seen before. Scenes like the confrontation with the Daleks and wooden Cyberman were well-written as well.
Matt Smith was definitely the star of the show here, playing the Doctor in his darkest moments yet refusing to give up perfectly. Jenna Coleman continues to impress as Clara and it will be interesting to see how the chemistry between Clara and the Doctor changes following his regeneration.
In the end, despite pacing problems, I actually enjoyed this episode quite a lot. 2014 will be the beginning of yet another new era of Doctor Who as Peter Capaldi takes over. It's just a shame that what we saw of him in this episode wasn't really enough to wet our appetites.
Written by: Ed Wilkins
Published: 31 December 2013
Christmas saw a culmination of all of the ongoing plots from the eleventh Doctor's era as all of his enemies unite to investigate a mysterious signal coming from the seemingly-normal planet. The Doctor, being the Doctor, manages to get there first and is surprised to find that it is the planet Trenzalore, the place where he is said to die...
Previous Christmas specials have always had trouble balancing the Christmas aspect with the core science-fiction theme of the show, with some episodes being set at Christmas for no reason other than it's going to be broadcast on Christmas Day, or focusing too much on Christmas at the sake of plot. Fortunately The Time of The Doctor managed to weave the two together well for the most part, with the winter-themed village of Christmas giving a suitably festive feel to an otherwise dramatic episode. The scenes with Clara's family still stuck out like a sore thumb, but fortunately they were brief.
While The Time of the Doctor tied up all of the loose ends, I felt it was a bit rushed in places, yet overly long in others. It was a shame that the previous story arc about the Silence was explained in just a few lines, as well as the fact that for the most part we have to rely on montage to give the impression of a long time passing by. The episode could have benefitted from being longer, or perhaps being a multi-parter like David Tenannt's final story, The End of Time. The story simply had too much to tell in just an hour. More disappointingly, the regeneration scene managed to be both too long and too quick at the same time, with Smith's Doctor looking back on his life and then suddenly being Peter Capaldi in a split second just doesn't work all that well for me and it could have been done better.
That said, I thought the main plot of the episode to be both gripping and dramatic with what we did see of the attacks on Christmas being suitably tense. Orla Brandy was very impressive as Tasha Lem, playing the part very convincingly as someone who is an old friend of the Doctor despite not being seen before. Scenes like the confrontation with the Daleks and wooden Cyberman were well-written as well.
Matt Smith was definitely the star of the show here, playing the Doctor in his darkest moments yet refusing to give up perfectly. Jenna Coleman continues to impress as Clara and it will be interesting to see how the chemistry between Clara and the Doctor changes following his regeneration.
In the end, despite pacing problems, I actually enjoyed this episode quite a lot. 2014 will be the beginning of yet another new era of Doctor Who as Peter Capaldi takes over. It's just a shame that what we saw of him in this episode wasn't really enough to wet our appetites.
Written by: Ed Wilkins
Published: 31 December 2013
The Hobbit: The Desolation of Smaug - How Does Jackson's Vision Compare to Tolkien's Creation?
The second film of the Hobbit movie trilogy is as cinematically thrilling as the first, and Peter Jackson's interpretation is just as controversial with fans, super-fans and the totally indifferent, as it always is. Extending a short novel into three very long films necessitates the addition of much detail and, to Jackson's credit, he has included appendices and imagined scenes that would likely have taken place somewhere in Tolkien's dimension. There is no great offence in adding appendices, particularly if it means Jackson can create some of his most impressive fight scenes. And I will happily disregard canon if it means airtime for two of the most entertaining and inspiring characters in The Hobbit movies: Radagast and Tauriel.
The unTolkien-like elf Tauriel is a complete invention, and she is a welcome addition to a masculine cast of unwashed dwarves, eccentric wizards and ugly orcs. Tauriel, (Evangeline Lilly) is a kick-ass elf - she defies her elf king, flirts with dwarves and kills tonnes of orcs. A captain in Thranduil's kingdom, she helps to capture the dwarves but eventually she follows them to aid their quest, recognizing that all races must stand together against the evil that threatens all of Middle Earth. The screenplay writers decided to create a she-elf to bring the female energy to an all-male cast; a sad reminder of the box-ticking culture of Hollywood.
The batty wizard Radagast, who houses birds under his hat, accompanies Gandalf on his investigation into the activities of the Necromancer, or Lord Sauron as we have come to know him. Radagast exists in the fringes of Tolkien but Jackson has given him soul. He is loveable and a bit bonkers, and makes Gandalf seem less of a lone ranger.
Mirkwood is classic Jackson gloom and typical of his iconic Middle Earth; here the dwarves escape from giant spiders only to fall into the hands of the Wood-elves, who imprison them. Orlando Bloom reprises his role as Legolas, the son of the King of the Woodland Realm, an elf named Thranduil, played by Lee Pace, whom we saw briefly in An Unexpected Journey - he was the elf riding the elk. Legolas's role is another addition, but it’s conceivable that the dwarves and Bilbo encountered him in his homeland. Hostility between the races continues to grow, as Thorin criticizes Thranduil for his unwillingness to join the defence against Smaug. Thorin's resentment of the elves' apparent passivity festers into a determined prejudice, showing how Thorin's stubbornness often jeopardizes the quest.
The dwarves escape from Thranduil's kingdom in barrels, another of Bilbo's cunning plans. They violently bob downriver towards Lake-town, chased by both orcs and elves, arrows flying in all directions, Legolas hopping amusingly along on the heads on some very displeased dwarves. The barrel ride barely resembles Tolkien’s, but it is nevertheless a fantastic scene, involving a three-way fight between orcs, elves and dwarves. Half action, half comedy routine, this is one of the best scenes so far.
Bilbo's search for the Arkenstone when the company eventually reaches the Lonely Mountain is complicated by the presence of the dragon, Smaug, who is reluctant to part with his stolen gold. Smaug is a digital creation to threaten Gollum's crown, and is voiced by another great British actor, Benedict Cumberbatch, and brought to digi-life by the real wizards of Weta. After another long fight scene, in which the dwarves and Bilbo enact a bizarre and unsuccessful scheme to burn Smaug to death in molten gold, (Jackson's invention, one that doesn’t really work), Smaug eventually departs, promising vengeance and heading for Lake-town, and leaving us anxious for the third and final film, and the Battle of Five Armies.
Martin Freeman is woefully underused in this film, but he is afforded some brilliant scenes. He provides the human voice amongst the epic saga talk of the kings and wizards of Middle Earth. Freeman's Bilbo is so true to the book, and his brilliantly subtle acting provides the audience with a point of entry into this strange, fantasy world because Bilbo, too, often looks baffled and lost. Bilbo's interaction with Smaug demonstrates all the reasons why Martin Freeman is so deserving of this role: Bilbo is humble, brave, bold and bumbling, all at the same time, and Freeman will endear Bilbo to a new generation.
Tolkien merely hinted at the great evil that lies in store for Middle Earth, yet Jackson seems to be creating a prequel to his own masterpiece. The film shows the beginning of Bilbo's growing attachment to the Ring, and all the danger it entails. Jackson has transformed the modest narrative style of Tolkien’s book into an epic tale; some of the humour and quaintness has been lost, but much has been gained, too. The ultimate irony, here, is that Jackson's tendency to always look to the epic, the biggest, the most dramatic conflicts with Tolkien’s moral: that there is value to be found in even the smallest and most insignificant of creatures.
Written by: Clarissa Hopkins
Published: 18 December 2013
The unTolkien-like elf Tauriel is a complete invention, and she is a welcome addition to a masculine cast of unwashed dwarves, eccentric wizards and ugly orcs. Tauriel, (Evangeline Lilly) is a kick-ass elf - she defies her elf king, flirts with dwarves and kills tonnes of orcs. A captain in Thranduil's kingdom, she helps to capture the dwarves but eventually she follows them to aid their quest, recognizing that all races must stand together against the evil that threatens all of Middle Earth. The screenplay writers decided to create a she-elf to bring the female energy to an all-male cast; a sad reminder of the box-ticking culture of Hollywood.
The batty wizard Radagast, who houses birds under his hat, accompanies Gandalf on his investigation into the activities of the Necromancer, or Lord Sauron as we have come to know him. Radagast exists in the fringes of Tolkien but Jackson has given him soul. He is loveable and a bit bonkers, and makes Gandalf seem less of a lone ranger.
Mirkwood is classic Jackson gloom and typical of his iconic Middle Earth; here the dwarves escape from giant spiders only to fall into the hands of the Wood-elves, who imprison them. Orlando Bloom reprises his role as Legolas, the son of the King of the Woodland Realm, an elf named Thranduil, played by Lee Pace, whom we saw briefly in An Unexpected Journey - he was the elf riding the elk. Legolas's role is another addition, but it’s conceivable that the dwarves and Bilbo encountered him in his homeland. Hostility between the races continues to grow, as Thorin criticizes Thranduil for his unwillingness to join the defence against Smaug. Thorin's resentment of the elves' apparent passivity festers into a determined prejudice, showing how Thorin's stubbornness often jeopardizes the quest.
The dwarves escape from Thranduil's kingdom in barrels, another of Bilbo's cunning plans. They violently bob downriver towards Lake-town, chased by both orcs and elves, arrows flying in all directions, Legolas hopping amusingly along on the heads on some very displeased dwarves. The barrel ride barely resembles Tolkien’s, but it is nevertheless a fantastic scene, involving a three-way fight between orcs, elves and dwarves. Half action, half comedy routine, this is one of the best scenes so far.
Bilbo's search for the Arkenstone when the company eventually reaches the Lonely Mountain is complicated by the presence of the dragon, Smaug, who is reluctant to part with his stolen gold. Smaug is a digital creation to threaten Gollum's crown, and is voiced by another great British actor, Benedict Cumberbatch, and brought to digi-life by the real wizards of Weta. After another long fight scene, in which the dwarves and Bilbo enact a bizarre and unsuccessful scheme to burn Smaug to death in molten gold, (Jackson's invention, one that doesn’t really work), Smaug eventually departs, promising vengeance and heading for Lake-town, and leaving us anxious for the third and final film, and the Battle of Five Armies.
Martin Freeman is woefully underused in this film, but he is afforded some brilliant scenes. He provides the human voice amongst the epic saga talk of the kings and wizards of Middle Earth. Freeman's Bilbo is so true to the book, and his brilliantly subtle acting provides the audience with a point of entry into this strange, fantasy world because Bilbo, too, often looks baffled and lost. Bilbo's interaction with Smaug demonstrates all the reasons why Martin Freeman is so deserving of this role: Bilbo is humble, brave, bold and bumbling, all at the same time, and Freeman will endear Bilbo to a new generation.
Tolkien merely hinted at the great evil that lies in store for Middle Earth, yet Jackson seems to be creating a prequel to his own masterpiece. The film shows the beginning of Bilbo's growing attachment to the Ring, and all the danger it entails. Jackson has transformed the modest narrative style of Tolkien’s book into an epic tale; some of the humour and quaintness has been lost, but much has been gained, too. The ultimate irony, here, is that Jackson's tendency to always look to the epic, the biggest, the most dramatic conflicts with Tolkien’s moral: that there is value to be found in even the smallest and most insignificant of creatures.
Written by: Clarissa Hopkins
Published: 18 December 2013
Gig Review: L Festive Takes Birmingham by Storm!
Firstly, allow me to apologise for our lateness in reporting back to you on this amazing event but frankly, it’s taken us a few days to recover! Last weekend, the Mad Hatter Reviews team - or at least a couple of members of it - packed their bags for Birmingham and headed to the infamous L Festive for a day of author readings, hilarious workshops and live music. Oh, and booze, of course!
The events were kicked off with readings from some marvellous authors! Appearances from Kiki Archer, Clare Ashton and Angie Peach seemed to put everyone in a good mood with their raucous readings that covered everything from the raunchy to the downright hilarious. The morning’s literature events consisted of not only these readings, but also a question and answer session run by the aforementioned authors followed by three mini-workshops to discuss things such as plots and publishing. A true gem for anyone who is interested literature!
L Festive offered a midway Solos Lunch, hosted by Planet London, to give festival-goers even more of a chance to mingle! Although, I secretly think this was engineered to put a lining on everyone’s stomach before the drinking antics kicked off later in the afternoon.
From 3:30pm onwards, we were treated to an array of acoustic music which put everyone in a brilliant mood! The likes of Promise, Beth Prior and Faye Bagley - and many others - were scattered throughout the evening, punctuated by things such as a Solos quiz and the L Fest awards as a follow-on from the main festival which happened earlier this year. The DJ appearances soon kicked in and honestly, I think it’s all a blur for most people after that…
Although I do have a distinct memory of the whole room going WILD when Macklemore’s Same Love started belting through the speakers!
Honestly, it was just a wonderful event. Cindy, the face behind the festival, and all of her crew members deserve a massive pat on the back for putting together such a brilliant day and night for everyone who attended. I’ve heard reports that hangovers have even stretched into the early part of this week, which is surely a glowing recommendation in itself for just how much fun was had last Saturday! Definitely an event worth marking in your diary for next year.
Written by: Charlotte Barnes
Published: 4 December 2013
The events were kicked off with readings from some marvellous authors! Appearances from Kiki Archer, Clare Ashton and Angie Peach seemed to put everyone in a good mood with their raucous readings that covered everything from the raunchy to the downright hilarious. The morning’s literature events consisted of not only these readings, but also a question and answer session run by the aforementioned authors followed by three mini-workshops to discuss things such as plots and publishing. A true gem for anyone who is interested literature!
L Festive offered a midway Solos Lunch, hosted by Planet London, to give festival-goers even more of a chance to mingle! Although, I secretly think this was engineered to put a lining on everyone’s stomach before the drinking antics kicked off later in the afternoon.
From 3:30pm onwards, we were treated to an array of acoustic music which put everyone in a brilliant mood! The likes of Promise, Beth Prior and Faye Bagley - and many others - were scattered throughout the evening, punctuated by things such as a Solos quiz and the L Fest awards as a follow-on from the main festival which happened earlier this year. The DJ appearances soon kicked in and honestly, I think it’s all a blur for most people after that…
Although I do have a distinct memory of the whole room going WILD when Macklemore’s Same Love started belting through the speakers!
Honestly, it was just a wonderful event. Cindy, the face behind the festival, and all of her crew members deserve a massive pat on the back for putting together such a brilliant day and night for everyone who attended. I’ve heard reports that hangovers have even stretched into the early part of this week, which is surely a glowing recommendation in itself for just how much fun was had last Saturday! Definitely an event worth marking in your diary for next year.
Written by: Charlotte Barnes
Published: 4 December 2013
Fast And Furious Loses a Founding Member of Its Family
The circle of life is sometimes cruel, as the tragic news coming out of Southern California is that Paul Walker, who was synonymous with the Fast and Furious film series playing Brian O’Connor, has perished in a tragic accident along with a passenger in Santa Clarita, just outside of Los Angeles at 3.30pm Pacific Time.
The 40-year-old, who was at a car show to help raise support for the typhoon relief effort, appeared to be travelling in a Porsche, which lost control and struck a tree, causing it to explode and consume all occupants upon impact.
Paul was part of the founding band of actors that brought the sub-culture of modified cars and underground street racing to the mainstream, and has been a part of the series that has evolved over time to how we currently see it now, which has its fair share of action and drama along the way, and has helped to build a $2.4billion franchise over the last 12 years.
During his movie career, you may remember the film Varsity Blues, where he played a hometown hero high school quarterback, which was on the silver screen before he played the character we know and love today. This teen heartthrob favourite was a man that enjoyed life and the thrill of speed, with the fact that he was currently filming Fast and Furious 7, which could now be postponed whilst the cast and crew mourn for their fallen family member at this time.
The film, which was scheduled for release in July 2014, was featuring the likes of Kurt Russell, Jason Statham, Dwayne “The Rock” Johnson and Vin Diesel, but will have to continue on without a dear and loved friend. The actor’s publicist confirmed to America’s NBC News that Walker did perish in the accident, with both occupants being declared dead at the scene.
Shortly after the news was confirmed, this was the official statement via the actor’s official Facebook page: “It is with a truly heavy heart that we must confirm that Paul Walker passed away today in a tragic car accident while attending a charity event for his organization Reach Out Worldwide. He was a passenger in a friend's car, in which both lost their lives. We appreciate your patience, as we too are stunned and saddened beyond belief by this news. Thank you for keeping his family and friends in your prayers during this very difficult time. We will do our best to keep you apprised on where to send condolences. - #TeamPW”
Mad Hatter Reviews sends its sincerest condolences to Paul’s family, friends and daughter Meadow at this sad time. May he Rest In Peace…
Written by: Alex Goldschmidt
Published: 1 December 2013
The 40-year-old, who was at a car show to help raise support for the typhoon relief effort, appeared to be travelling in a Porsche, which lost control and struck a tree, causing it to explode and consume all occupants upon impact.
Paul was part of the founding band of actors that brought the sub-culture of modified cars and underground street racing to the mainstream, and has been a part of the series that has evolved over time to how we currently see it now, which has its fair share of action and drama along the way, and has helped to build a $2.4billion franchise over the last 12 years.
During his movie career, you may remember the film Varsity Blues, where he played a hometown hero high school quarterback, which was on the silver screen before he played the character we know and love today. This teen heartthrob favourite was a man that enjoyed life and the thrill of speed, with the fact that he was currently filming Fast and Furious 7, which could now be postponed whilst the cast and crew mourn for their fallen family member at this time.
The film, which was scheduled for release in July 2014, was featuring the likes of Kurt Russell, Jason Statham, Dwayne “The Rock” Johnson and Vin Diesel, but will have to continue on without a dear and loved friend. The actor’s publicist confirmed to America’s NBC News that Walker did perish in the accident, with both occupants being declared dead at the scene.
Shortly after the news was confirmed, this was the official statement via the actor’s official Facebook page: “It is with a truly heavy heart that we must confirm that Paul Walker passed away today in a tragic car accident while attending a charity event for his organization Reach Out Worldwide. He was a passenger in a friend's car, in which both lost their lives. We appreciate your patience, as we too are stunned and saddened beyond belief by this news. Thank you for keeping his family and friends in your prayers during this very difficult time. We will do our best to keep you apprised on where to send condolences. - #TeamPW”
Mad Hatter Reviews sends its sincerest condolences to Paul’s family, friends and daughter Meadow at this sad time. May he Rest In Peace…
Written by: Alex Goldschmidt
Published: 1 December 2013
The L Festive Countdown Begins!
The countdown to the third L Festive is on! Saturday 30th November is quickly approaching and you're running out of time to grab yourself a day jam packed with fun at the veritable bargain of £20 (£25 on the day)!
Some of you may be wondering what exactly is L Festive? It's the one day seasonal counterpart to L Fest, an annual summertime festival which you can read more about by clicking here. Briefly put, it's a unique celebration of predominately lesbian culture and community. It's expertly run and has sufficient variety to ensure everyone can kick back, relax, socialise, attend authors workshops (reserve your spot on the subsequent link), watch live music, dance or party hard; essentially, what ever is your idea of a good night, L Festive will cater to it! Read more on the options here if you don't believe me!
If you are flying solo, and err on the side of shyness, you may think that L Festive is not for you, I just want to say, this was me a few months ago. That's about the time that I was umm-ing and arr-ing about attending my first L Fest. In the end, I went for it and clearly I don't regret it, otherwise I wouldn't be going to L Festive now would I?! The great thing about L Festive is that they recognise that not everyone is in a couple or in a group of friends attending. So they are putting on ice breakers like a Solo's Lunch, £10 for 2 courses, and a chance to meet other people (reserve your spot via the L Festive link above), speed dating for friends and maybe more, a quiz... the list goes on!
Just to be clear, you don't have to be a lesbian to attend. L Festive is catered towards women having a great day and night out (if it's like L Fest, then men are allowed as guests of women).
L Festive is is taking place over 2 venues:
10.00 - 14.30 The Loft Lounge. Wynner House, Bromsgrove Street, Birmingham, B5 6RG
15:00 – 22:00 Nightingale Club. Essex House Kent St, Birmingham, West Midlands B5 6RD
Your ticket gets you into both venues and all events (apart from a few that you need to book onto in advance), it also gets you discounts at other venues (check the website for more details). So really, what are you waiting for?! Grab your ticket, start your countdown and come join the festive fun!
Written by: Michelle Bradford
Published: 28 November 2013
Some of you may be wondering what exactly is L Festive? It's the one day seasonal counterpart to L Fest, an annual summertime festival which you can read more about by clicking here. Briefly put, it's a unique celebration of predominately lesbian culture and community. It's expertly run and has sufficient variety to ensure everyone can kick back, relax, socialise, attend authors workshops (reserve your spot on the subsequent link), watch live music, dance or party hard; essentially, what ever is your idea of a good night, L Festive will cater to it! Read more on the options here if you don't believe me!
If you are flying solo, and err on the side of shyness, you may think that L Festive is not for you, I just want to say, this was me a few months ago. That's about the time that I was umm-ing and arr-ing about attending my first L Fest. In the end, I went for it and clearly I don't regret it, otherwise I wouldn't be going to L Festive now would I?! The great thing about L Festive is that they recognise that not everyone is in a couple or in a group of friends attending. So they are putting on ice breakers like a Solo's Lunch, £10 for 2 courses, and a chance to meet other people (reserve your spot via the L Festive link above), speed dating for friends and maybe more, a quiz... the list goes on!
Just to be clear, you don't have to be a lesbian to attend. L Festive is catered towards women having a great day and night out (if it's like L Fest, then men are allowed as guests of women).
L Festive is is taking place over 2 venues:
10.00 - 14.30 The Loft Lounge. Wynner House, Bromsgrove Street, Birmingham, B5 6RG
15:00 – 22:00 Nightingale Club. Essex House Kent St, Birmingham, West Midlands B5 6RD
Your ticket gets you into both venues and all events (apart from a few that you need to book onto in advance), it also gets you discounts at other venues (check the website for more details). So really, what are you waiting for?! Grab your ticket, start your countdown and come join the festive fun!
Written by: Michelle Bradford
Published: 28 November 2013
Gig Review: Greg Davies @ Civic Hall, Wolverhampton
Last Saturday, my sister and I ventured out to the wilds of Wolverhampton to see the infamous Greg Davies perform his stand-up. It was dark, it was cold, it was a 40 mile drive, and my God, it was totally worth it.
We were treated to a surprise warm-up act, which prompted groans of disappointment and annoyance from the audience, who were blissfully ignorant that this would be happening. Warm-up acts are notoriously pants, you know it, I know it, I think the acts themselves probably know it. However, it’s worth noting down the name Barry Castagnola because he was absolutely marvellous last Saturday! On he strolled, reeling out a long line of jokes that covered everything from divorce to the cringe-worthy Dudley accent that had the room is hysterics. A wonderful comedian in his own right, and certainly worth a Google search if you’re looking for someone knew to have a laugh with.
So we were warmed up, we were ready, and then on came the man himself, Davies, for what was - I’m not even over-exaggerating - an hour and a half of non-stop laughter!
The tour is running under the title The Back of My Mum’s Head, so there was naturally a ridiculous amount of jokes located around the topic of family life. The recurring idea ‘it’s not normal love’ (the lack of a comma is deliberate, don’t panic) spiralled joke after joke about Davies’ relationship with his parents, and his hilarious time spent tormenting his sister, that has clearly contributed massively to his overall comedy genius. Davies’ comedy also spanned health, following on from a rather brazen entrance involving a shrunken tshirt, which was certainly a brilliant start to the show!
A check-list, consisting of things such as audience participation and a bit of role play, was revealed in the opening half an hour and I can confirm that all boxes were well and truly ticked! Proving that he is much more than an ex-teacher who can crack a joke, Davies threw himself up there with the best of them last Saturday and is now undoubtedly a Mad Hatter Reviews favourite from the world of comedy. If you’ve got tickets to see the tour, brace yourself, because you are in for a treat; if you’ve missed this one then folks, you need to keep your eyes peeled for Davies’ next comedy appearance because this certainly isn’t one to miss.
With witty one-liners, amusing anecdotes and even a soundscape - that’s right, a soundscape! - the show really does have something that everyone will find hilarious, wrapped up in a little sing-song at the end!
Written by: Charlotte Barnes
Published: 27 November 2013
We were treated to a surprise warm-up act, which prompted groans of disappointment and annoyance from the audience, who were blissfully ignorant that this would be happening. Warm-up acts are notoriously pants, you know it, I know it, I think the acts themselves probably know it. However, it’s worth noting down the name Barry Castagnola because he was absolutely marvellous last Saturday! On he strolled, reeling out a long line of jokes that covered everything from divorce to the cringe-worthy Dudley accent that had the room is hysterics. A wonderful comedian in his own right, and certainly worth a Google search if you’re looking for someone knew to have a laugh with.
So we were warmed up, we were ready, and then on came the man himself, Davies, for what was - I’m not even over-exaggerating - an hour and a half of non-stop laughter!
The tour is running under the title The Back of My Mum’s Head, so there was naturally a ridiculous amount of jokes located around the topic of family life. The recurring idea ‘it’s not normal love’ (the lack of a comma is deliberate, don’t panic) spiralled joke after joke about Davies’ relationship with his parents, and his hilarious time spent tormenting his sister, that has clearly contributed massively to his overall comedy genius. Davies’ comedy also spanned health, following on from a rather brazen entrance involving a shrunken tshirt, which was certainly a brilliant start to the show!
A check-list, consisting of things such as audience participation and a bit of role play, was revealed in the opening half an hour and I can confirm that all boxes were well and truly ticked! Proving that he is much more than an ex-teacher who can crack a joke, Davies threw himself up there with the best of them last Saturday and is now undoubtedly a Mad Hatter Reviews favourite from the world of comedy. If you’ve got tickets to see the tour, brace yourself, because you are in for a treat; if you’ve missed this one then folks, you need to keep your eyes peeled for Davies’ next comedy appearance because this certainly isn’t one to miss.
With witty one-liners, amusing anecdotes and even a soundscape - that’s right, a soundscape! - the show really does have something that everyone will find hilarious, wrapped up in a little sing-song at the end!
Written by: Charlotte Barnes
Published: 27 November 2013
Gig Review: Steeleye Span @ Everyman Theatre, Cheltenham
When you think of artistic collaborations, the names Terry Pratchett and Steeleye Span don't come across as a likely pairing. Nevertheless Steeleye Span have released an album based on his Winterspell series of books and are currently touring the album. I happened to see that they were on at the Everyman Theatre quite by chance and decided to check it out.
Following a wonderful but all too brief performance by supporting artist Chloe Bix, who showed her singing, guitar, violin and accordion abilities in just four songs, Steeleye Span treated the audience to a lovely evening of folk music.
Longrunners Maddy Prior (vocals), Peter Knight (violin, vocals), Rick Kemp (bass, vocals) and Liam Genockey (Drums) were in fine form, trading vocals and playing their instruments effortlessly. Maddy's powerful voice kept everybody captivated while Peter Knight found new and creative ways of playing his violin, playing fingerstyle on quite a few numbers and doing his best electric guitar impression on others. Rick Kemp played his trademark melodic and complex bass lines throughout as well as providing lead vocals for a few songs. Liam Genocky was also brilliant on the drums, being loud and wild one minute, than gently brushing the drums when required.
More recent additions Julian Littman (Guitar, piano, vocals) and Peter Zorn (Acoustic guitar, flute, saxophone) were both in fine form, with the former adding a slight rockiness to some songs with his guitar solos (even getting into a guitar/violin duel with Peter Knight on one occasion) and jumping on the keyboards for others. Peter Zorn also showcased his multi-instrument skills, pulling out flute, saxophone and even a whistle for certain songs to give them an added depth.
There was a mixture of songs played, with a heavy emphasis on their newly released Winterspell album mixed in with a few classic tracks like Thomas The Rhymer and bonny Black Hare, with the show standards All Around My Hat and the acapella Gaudete both present and correct. The band shone throughout, with particular highlights including the celtic-influenced instrumental The Dark Morris Tune that closed the first half and the quiet, melancholy We Shall wear Midnight.
Steeleye Span are only just getting started on their Winterspell tour, but with the recent announcement that the tour is to be Peter Knight's last with the band, it would be best to see them sooner rather than later as they reach the end of an era.
Written by: Ed Wilkins
Published: 24 October 2013
Following a wonderful but all too brief performance by supporting artist Chloe Bix, who showed her singing, guitar, violin and accordion abilities in just four songs, Steeleye Span treated the audience to a lovely evening of folk music.
Longrunners Maddy Prior (vocals), Peter Knight (violin, vocals), Rick Kemp (bass, vocals) and Liam Genockey (Drums) were in fine form, trading vocals and playing their instruments effortlessly. Maddy's powerful voice kept everybody captivated while Peter Knight found new and creative ways of playing his violin, playing fingerstyle on quite a few numbers and doing his best electric guitar impression on others. Rick Kemp played his trademark melodic and complex bass lines throughout as well as providing lead vocals for a few songs. Liam Genocky was also brilliant on the drums, being loud and wild one minute, than gently brushing the drums when required.
More recent additions Julian Littman (Guitar, piano, vocals) and Peter Zorn (Acoustic guitar, flute, saxophone) were both in fine form, with the former adding a slight rockiness to some songs with his guitar solos (even getting into a guitar/violin duel with Peter Knight on one occasion) and jumping on the keyboards for others. Peter Zorn also showcased his multi-instrument skills, pulling out flute, saxophone and even a whistle for certain songs to give them an added depth.
There was a mixture of songs played, with a heavy emphasis on their newly released Winterspell album mixed in with a few classic tracks like Thomas The Rhymer and bonny Black Hare, with the show standards All Around My Hat and the acapella Gaudete both present and correct. The band shone throughout, with particular highlights including the celtic-influenced instrumental The Dark Morris Tune that closed the first half and the quiet, melancholy We Shall wear Midnight.
Steeleye Span are only just getting started on their Winterspell tour, but with the recent announcement that the tour is to be Peter Knight's last with the band, it would be best to see them sooner rather than later as they reach the end of an era.
Written by: Ed Wilkins
Published: 24 October 2013
Star Wars Fans Go Crazy for Open Call for Actors!
It was recently announced that producers were putting out an open call for actors to take part in the upcoming Star Wars film, Star Wars: Episode VII. Now, it was pretty obvious from the get-go that this was going to cause a stir of excitement amongst fans of the franchise, but this morning, as queues were forming around Bristol, producers finally started to realise just what this opportunity means to fans…
Lucasfilm, the producers of the feature, announced that they would be looking for two actors for the production. A ‘street smart’ girl, aged somewhere her late teens, and a ‘smart capable’ man, of a slightly older age, are the roles they’re attempting to fill in their auditions!
Auditions will be taking place in both the United Kingdom and in Ireland, with today introducing the casting call to the city of Bristol! At Bristol‘s Alforni, where auditions began at 11am today (9 November), fans have been queuing since 4:30am this morning for their chance to impress producers.
Lizo Mzimba spoke to fans, on behalf of the BBC, who voiced their thoughts on the opportunity. Ben Millier described the auditions as ‘a massive deal’, explaining that ‘You can't not audition for this if you're in the age range, if you fit it, because it's just a big deal.’
What are your thoughts on the open casting call? Get in touch with us via our contact us form to tell us what you think!
Written by: Charlotte Barnes
Published: 9 November 2013
Lucasfilm, the producers of the feature, announced that they would be looking for two actors for the production. A ‘street smart’ girl, aged somewhere her late teens, and a ‘smart capable’ man, of a slightly older age, are the roles they’re attempting to fill in their auditions!
Auditions will be taking place in both the United Kingdom and in Ireland, with today introducing the casting call to the city of Bristol! At Bristol‘s Alforni, where auditions began at 11am today (9 November), fans have been queuing since 4:30am this morning for their chance to impress producers.
Lizo Mzimba spoke to fans, on behalf of the BBC, who voiced their thoughts on the opportunity. Ben Millier described the auditions as ‘a massive deal’, explaining that ‘You can't not audition for this if you're in the age range, if you fit it, because it's just a big deal.’
What are your thoughts on the open casting call? Get in touch with us via our contact us form to tell us what you think!
Written by: Charlotte Barnes
Published: 9 November 2013
Gig Review: Gary Numan @ The O2 Academy, Bristol
November 7th, 2013. The Venue: The 02 Academy in Bristol. The tour: Gary Numan Splinter tour.
That first line should send chills down your spine and the reason for that is simple: Gary Numan is back with another album and another tour! And yes, my friends, it is even better than the last.
Gary Numan returned to Bristol to kick off the UK part of his gigantic Splinter tour, and in my mind, he did exactly what he set out to do.
The set piece was focused mostly on the Splinter album with the usual classics such as Cars, Down in the Park and Are friends Electric thrown in to keep the passer by happy. Yet most of the people in this particular gig were people that have followed Gary since he rose to prominence in the late 70s with the above songs.
Although the stage was relatively smaller than the Jagged tour, this by no means slowed the pace of the gig! Behind Numan, his guitarist and bassist was a massive LED wall that had images perfectly representing certain songs. The opening segment showing Splinter being drawn was simply awesome and the crowd completely lapped it up!
There are many things you can say about Gary Numan but there is one thing you simply cannot deny. He is one the greatest showmen, EVER. Be it in Wembley in the 80s or the 02 in 2013, Mr Numan has quite simply done the impossible and moved with the times and gotten better and better as the years go by.
It cannot be a coincidence that Splinter has entered into the top 20 for the first time in 30 years. It is without a doubt one of Gary Numans masterpieces, and the show proved that he can still hold a crowd in the palm of his hand. To the outsider attending they may have been upset that Gary didn’t speak during the gig, this is no surprise. Gary wastes no time. Simply saying hello he proceeds to rock the place before saying thank you and goodbye. The marks of a true gentleman and someone who is truly grateful to his fan base.
The gig started with I Am Dust which lead to We Are Glass, Everything Comes To This was then followed by Films. It went on like this for the whole show; an equal balance of old and new. Merrily reworking old tunes to amazing melodies such as Down in the Park and Are Friends Electric becoming almost acoustic versions. But one highlight was the song Pure; the whole venue exploded when the chorus hit! Forget Cars. This is the new anthem, in Bristol at least, and rightly so. The track is amazing.
All the while Gary had everyone fixed to the stage. His lyrics almost majestically hypnotising the crowd, and his timing was as great as always.
It can be safely said that it is not the 80s anymore, and it is obvious that Gary Numan knows this. Rather than ending with one of his classics he left us with the last song from Splinter: My Last Day. A beautiful song in its own right, I feel it was a statement from Mr Numan to his fans and the world, stating that there is more to come. And more than likely it will simply get better and better!
Gary Numan used to have the Tubeway Army in his title. I think it’s safe to say that we fans are not Numanoids, but quite simply The Numan Army!
Written by: Phil Brown
Published: 8 November 2013
That first line should send chills down your spine and the reason for that is simple: Gary Numan is back with another album and another tour! And yes, my friends, it is even better than the last.
Gary Numan returned to Bristol to kick off the UK part of his gigantic Splinter tour, and in my mind, he did exactly what he set out to do.
The set piece was focused mostly on the Splinter album with the usual classics such as Cars, Down in the Park and Are friends Electric thrown in to keep the passer by happy. Yet most of the people in this particular gig were people that have followed Gary since he rose to prominence in the late 70s with the above songs.
Although the stage was relatively smaller than the Jagged tour, this by no means slowed the pace of the gig! Behind Numan, his guitarist and bassist was a massive LED wall that had images perfectly representing certain songs. The opening segment showing Splinter being drawn was simply awesome and the crowd completely lapped it up!
There are many things you can say about Gary Numan but there is one thing you simply cannot deny. He is one the greatest showmen, EVER. Be it in Wembley in the 80s or the 02 in 2013, Mr Numan has quite simply done the impossible and moved with the times and gotten better and better as the years go by.
It cannot be a coincidence that Splinter has entered into the top 20 for the first time in 30 years. It is without a doubt one of Gary Numans masterpieces, and the show proved that he can still hold a crowd in the palm of his hand. To the outsider attending they may have been upset that Gary didn’t speak during the gig, this is no surprise. Gary wastes no time. Simply saying hello he proceeds to rock the place before saying thank you and goodbye. The marks of a true gentleman and someone who is truly grateful to his fan base.
The gig started with I Am Dust which lead to We Are Glass, Everything Comes To This was then followed by Films. It went on like this for the whole show; an equal balance of old and new. Merrily reworking old tunes to amazing melodies such as Down in the Park and Are Friends Electric becoming almost acoustic versions. But one highlight was the song Pure; the whole venue exploded when the chorus hit! Forget Cars. This is the new anthem, in Bristol at least, and rightly so. The track is amazing.
All the while Gary had everyone fixed to the stage. His lyrics almost majestically hypnotising the crowd, and his timing was as great as always.
It can be safely said that it is not the 80s anymore, and it is obvious that Gary Numan knows this. Rather than ending with one of his classics he left us with the last song from Splinter: My Last Day. A beautiful song in its own right, I feel it was a statement from Mr Numan to his fans and the world, stating that there is more to come. And more than likely it will simply get better and better!
Gary Numan used to have the Tubeway Army in his title. I think it’s safe to say that we fans are not Numanoids, but quite simply The Numan Army!
Written by: Phil Brown
Published: 8 November 2013
Gig Review: Camel @ The Barbican, London
Image sourced from Wikipedia
Some concerts you go to simply because you'll enjoy the music and have a good time, but on other occasions you go because you realise that it will be special.
So what made seeing Camel so special? Well, the main reason is that it was their first tour in ten years and, more importantly, their first tour since frontman Andrew Latimer's recovery from a serious illness that left him unable to perform for several years.
Another reason was that they performed The Snow Goose - one of their best selling albums and widely considered to be one of the definitive progressive rock albums - in its entirety for the first time since 1975. In fact the Barbican show was the first one announced and it sold out so quickly that they added additional dates.
It was clear that the same feeling of excitement and anticipation was felt by every single one of the concert goers in the venue, to the extent that when Camel took to the stage there was a unanimous standing ovation before they had even started playing! The band thanked the audience with an amazing performance, starting off with the complete performance of The Snow Goose for the first half and a selection of old and new tracks for the second.
Andrew Latimer was clearly having the time of his life being back on stage again, playing phenomenal guitar work throughout the show as well as some beautiful flute work for some tracks as well. The rest of the band were in fine form too, with Colin Bass providing solid bass lines, vocals and keyboardists Guy LeBlanc and Jason Hart played the keyboards perfectly throughout, recreating the unique sound of Camel's songs perfectly while drummer Dens Clement provided drums throughout, as well as performing bass guitar on a couple of the quieter numbers.
Both The Snow Goose and other numbers, such as Lady Fantasy, Echoes and Song Within A Song sounded as fresh and unique as they did back in the seventies, as did the newer songs like Fox Hill and The Hour Candle.
Camel's current shows are sadly sold out, but with reassurances of both more live shows and possibly an album next year, it's safe to say that Camel are back and are here to stay.
Written by: Ed Wilkins
Published: 3 November 2013
So what made seeing Camel so special? Well, the main reason is that it was their first tour in ten years and, more importantly, their first tour since frontman Andrew Latimer's recovery from a serious illness that left him unable to perform for several years.
Another reason was that they performed The Snow Goose - one of their best selling albums and widely considered to be one of the definitive progressive rock albums - in its entirety for the first time since 1975. In fact the Barbican show was the first one announced and it sold out so quickly that they added additional dates.
It was clear that the same feeling of excitement and anticipation was felt by every single one of the concert goers in the venue, to the extent that when Camel took to the stage there was a unanimous standing ovation before they had even started playing! The band thanked the audience with an amazing performance, starting off with the complete performance of The Snow Goose for the first half and a selection of old and new tracks for the second.
Andrew Latimer was clearly having the time of his life being back on stage again, playing phenomenal guitar work throughout the show as well as some beautiful flute work for some tracks as well. The rest of the band were in fine form too, with Colin Bass providing solid bass lines, vocals and keyboardists Guy LeBlanc and Jason Hart played the keyboards perfectly throughout, recreating the unique sound of Camel's songs perfectly while drummer Dens Clement provided drums throughout, as well as performing bass guitar on a couple of the quieter numbers.
Both The Snow Goose and other numbers, such as Lady Fantasy, Echoes and Song Within A Song sounded as fresh and unique as they did back in the seventies, as did the newer songs like Fox Hill and The Hour Candle.
Camel's current shows are sadly sold out, but with reassurances of both more live shows and possibly an album next year, it's safe to say that Camel are back and are here to stay.
Written by: Ed Wilkins
Published: 3 November 2013
Remember, Remember The First Of Movember!
It is that time of year again, where men around the globe take part in an institution that started in 2003, as a few Australian friends decided to grow some moustaches, due to a conversation about what stylish fashions and trends from the past had not made its comeback. Men around the world will now be clean-shaven in readiness for the 1st of Movember, and will help to give advice about men’s health, with a hairy friend to help along the way.
Adam Garone now heads up the day-to-day operations of Movember, which supports men’s health, including causes such as mental health, prostate cancer and testicular cancer. He was one of the original 30 that set out to firstly help give prostate cancer the “kick up the arse” it needed in 2005, with the help of a couple of international Mo Bros, which included guys from Spain and some from right here in the UK.
The tagline is simple, purposeful and effective: “Changing the face of men’s health.”
In previous years a staggering £92 million pounds has been raised, meaning this is currently ranked in the top 100 best charities! As its ranks of Mo Bros and Mo Sistas help to keep the impact strong, with campaigns that change every year to help it keep refreshed to sustain further growth.
This year sees the “Generation Mo” hit the internet, with people spreading the word via social media, groups and workplaces, helping to raise even more money to help the research into men’s health and make it a better world for those affected.
Having partaken in last year’s “Movember and Sons” as my initial foray into growing a Mo, it was great to see the impact it had with friends, family and work colleagues and brought a lot of laughs along the way. But I was pretty proud of what I had achieved, as well as bringing a team together to help the cause.
The first rule of being a Mo Bro is making sure that you are clean shaven on the night before Movember begins, so everyone starts from a clean slate with no cheating. The more a Mo Bro and Mo Sista does to help reach achievable goals, the more they get back in return for their efforts for the hard work promoting just what Movember does to help those in need over 30 days of Mo-tastic efforts.
So if you want to help my cause, you can access my own Movember page by clicking here, where online donations are welcome, and you can all catch up on the progress I personally make over the next 30 days.
To find out more about Movember, and to sign up to help change men’s health for the greater good, visit their official website by clicking here.
Written by: Alex Goldschmidt
Published: 1 November 2013
Adam Garone now heads up the day-to-day operations of Movember, which supports men’s health, including causes such as mental health, prostate cancer and testicular cancer. He was one of the original 30 that set out to firstly help give prostate cancer the “kick up the arse” it needed in 2005, with the help of a couple of international Mo Bros, which included guys from Spain and some from right here in the UK.
The tagline is simple, purposeful and effective: “Changing the face of men’s health.”
In previous years a staggering £92 million pounds has been raised, meaning this is currently ranked in the top 100 best charities! As its ranks of Mo Bros and Mo Sistas help to keep the impact strong, with campaigns that change every year to help it keep refreshed to sustain further growth.
This year sees the “Generation Mo” hit the internet, with people spreading the word via social media, groups and workplaces, helping to raise even more money to help the research into men’s health and make it a better world for those affected.
Having partaken in last year’s “Movember and Sons” as my initial foray into growing a Mo, it was great to see the impact it had with friends, family and work colleagues and brought a lot of laughs along the way. But I was pretty proud of what I had achieved, as well as bringing a team together to help the cause.
The first rule of being a Mo Bro is making sure that you are clean shaven on the night before Movember begins, so everyone starts from a clean slate with no cheating. The more a Mo Bro and Mo Sista does to help reach achievable goals, the more they get back in return for their efforts for the hard work promoting just what Movember does to help those in need over 30 days of Mo-tastic efforts.
So if you want to help my cause, you can access my own Movember page by clicking here, where online donations are welcome, and you can all catch up on the progress I personally make over the next 30 days.
To find out more about Movember, and to sign up to help change men’s health for the greater good, visit their official website by clicking here.
Written by: Alex Goldschmidt
Published: 1 November 2013
Looking For A Challenge This November?
Here at Mad Hatter Reviews, we love a good challenge, and it doesn’t get more challenging than writing an entire novel in the space of ONE MONTH! It’s challenging, it’s stressful, it’s time-consuming and it’s intense… and I’m going to have a go at it.
The organisation NaNoWriMo, National Novel Writing Month, is dedicated to bringing writers together in an online environment, and in person on some occasions, to encourage productivity and creativity in the writing community. It’s a worldwide organisation that is available for any writer to join and immerse themselves in a friendly environment littered with like-minded people. To have an account on the website, which you can access by clicking here, you must be 13 or order BUT, if you’re a little shy of the age limit then fear not, because you also have the option of signing up to the site via their young person’s programme, which has a similar writing challenge. You can find all the details for that here.
It might seem like a daunting challenge to set yourself up for, but the organisers of this fabulous event are more supportive than you can imagine, as are the other writers you will be mixing with in this virtual environment. The website offers a range of support, from motivational emails and pep talks to get you through what will no doubt be a trying but creative month, to forums involving others taking part in the challenge, who will undoubtedly be sharing your troubles.
It’s a non-profit organisation that is simply devoted to increasing creativity in the world and personally, we can’t see anything wrong with that! You’re not obliged to finish the novel if the task becomes too difficult or daunting, or if you simply run out of time; the only thing you need to do is sign up and have a go, and hopefully have a few laughs, and a few decent ideas, along the way…
So if you feel like getting creative this November, why don’t you pop over the NaNoWriMo website, which you can access here, to get some more information on this exciting challenge! I’ll be writing throughout the month, and maybe even blogging about it, so if you decide you want to get involved, then get in touch with us via our Contact Us form to have a natter about your NaNoWriMo experience - we’d love to hear from you!
Written by: Charlotte Barnes
Published: 31 October 2013
The organisation NaNoWriMo, National Novel Writing Month, is dedicated to bringing writers together in an online environment, and in person on some occasions, to encourage productivity and creativity in the writing community. It’s a worldwide organisation that is available for any writer to join and immerse themselves in a friendly environment littered with like-minded people. To have an account on the website, which you can access by clicking here, you must be 13 or order BUT, if you’re a little shy of the age limit then fear not, because you also have the option of signing up to the site via their young person’s programme, which has a similar writing challenge. You can find all the details for that here.
It might seem like a daunting challenge to set yourself up for, but the organisers of this fabulous event are more supportive than you can imagine, as are the other writers you will be mixing with in this virtual environment. The website offers a range of support, from motivational emails and pep talks to get you through what will no doubt be a trying but creative month, to forums involving others taking part in the challenge, who will undoubtedly be sharing your troubles.
It’s a non-profit organisation that is simply devoted to increasing creativity in the world and personally, we can’t see anything wrong with that! You’re not obliged to finish the novel if the task becomes too difficult or daunting, or if you simply run out of time; the only thing you need to do is sign up and have a go, and hopefully have a few laughs, and a few decent ideas, along the way…
So if you feel like getting creative this November, why don’t you pop over the NaNoWriMo website, which you can access here, to get some more information on this exciting challenge! I’ll be writing throughout the month, and maybe even blogging about it, so if you decide you want to get involved, then get in touch with us via our Contact Us form to have a natter about your NaNoWriMo experience - we’d love to hear from you!
Written by: Charlotte Barnes
Published: 31 October 2013
Theatre Review: Hopelessly Devoted @ LGBT Centre, Birmingham
On Friday 25th October, I managed to get front row seats to see Hopelessly Devoted in the intimate setting of the LGBT Centre in Birmingham. This was the final date in the West Midlands tour, but a larger tour is planned for next year. This is the second play written by Kate Tempest, it was triggered from her experiences after she spent the day in a women's prison in London as her previous play was performed. Seeing the inmates responses resonated within her and got her thinking about what people are devoted to (for her; love and creativity), and how difficult it is to maintain those devotions if you're in a jail cell. After watching Hopelessly Devoted I'm really curious as to how inmates would react if this play was performed for them.
The play setting is sparsely simple; a white line demarcates a square on the floor. A couple of hard plastic chairs that remind me of school, a drum machine and some production equipment off to the side, plus two video cameras that are used intermittently to project images onto the back wall.
We are quickly introduced to two of the main characters of the play: Chess (Amanda Wilkin) and Serena (Gbemisola Ikumelo). Chess is in for a long stretch, she tries to keep her emotions buried deep. Her philosophy is that if you have nothing, you need nothing, whereas if you have something, you always want something more. Serena is in for less time and is keen to reignite Chess's hope. These two have a strong bond which is evident as they take it in turns to support each other through their insecurities, they sing and dance to buoy each other up, much to the greatly vocalised dismay of Doreen (a character we never meet, but who is voiced by Martina Laird), which regularly injects humour into the play and receives frequent chuckles from the audience.
Chess is chosen to participate in a one-on-one music collaboration with Silver (Martina Laird), Chess will only pass the course if she performs to other inmates at the end of twelve weeks; something she is very reluctant to do! Together they start writing songs, Chess grows in confidence and quickly learns to write heart felt lyrics to Silver's beats. Her bond with Silver and working on her music is the crutch Chess needs to cope after Serena gets parole.
I don't want to spell the play out, there are a few twists and turns along the way and really you should grab the chance to see it for yourself when it returns next year. The running time was 120 minutes, and I was utterly engrossed throughout. Lyrically strong, which perhaps should be expected from a poet / playwright and brought to life by Wilkin, Ikumelo and Laird. These actresses all have a wealth of experience under their belts and it showed throughout the play; whenever those ladies sang I got goosebumps! I have never seen such an excellently performed play on such a small scale before. Simply fabulous.
Written by: Michelle Bradford
Published: 27 October 2013
The play setting is sparsely simple; a white line demarcates a square on the floor. A couple of hard plastic chairs that remind me of school, a drum machine and some production equipment off to the side, plus two video cameras that are used intermittently to project images onto the back wall.
We are quickly introduced to two of the main characters of the play: Chess (Amanda Wilkin) and Serena (Gbemisola Ikumelo). Chess is in for a long stretch, she tries to keep her emotions buried deep. Her philosophy is that if you have nothing, you need nothing, whereas if you have something, you always want something more. Serena is in for less time and is keen to reignite Chess's hope. These two have a strong bond which is evident as they take it in turns to support each other through their insecurities, they sing and dance to buoy each other up, much to the greatly vocalised dismay of Doreen (a character we never meet, but who is voiced by Martina Laird), which regularly injects humour into the play and receives frequent chuckles from the audience.
Chess is chosen to participate in a one-on-one music collaboration with Silver (Martina Laird), Chess will only pass the course if she performs to other inmates at the end of twelve weeks; something she is very reluctant to do! Together they start writing songs, Chess grows in confidence and quickly learns to write heart felt lyrics to Silver's beats. Her bond with Silver and working on her music is the crutch Chess needs to cope after Serena gets parole.
I don't want to spell the play out, there are a few twists and turns along the way and really you should grab the chance to see it for yourself when it returns next year. The running time was 120 minutes, and I was utterly engrossed throughout. Lyrically strong, which perhaps should be expected from a poet / playwright and brought to life by Wilkin, Ikumelo and Laird. These actresses all have a wealth of experience under their belts and it showed throughout the play; whenever those ladies sang I got goosebumps! I have never seen such an excellently performed play on such a small scale before. Simply fabulous.
Written by: Michelle Bradford
Published: 27 October 2013
Art News: Banksy To Abandon Art Galleries
We recently reported to that the great and powerful Banksy was taking on the big apple that is New York City for an unofficial tour of the streets, as it were, where he would be hiding and revealing new artwork over the city. While this was exciting news for fans of the much-loved graffiti artist, it seemed an unwelcome addition to the streets according to New York officials who demanded the first piece be painted over just days after its creation.
While Banksy is taking his art overseas, it seems that the month long trip has thrown some things into perspective for the popular artist as he has now announced that he is considering ditching art galleries in favour of his artistic roots on the streets of cities.
During a recent talk with the Village Voice, Banksy explained: "I started painting on the street because it was the only venue that would give me a show."
He then went on to say, "Commercial success is a mark of failure for a graffiti artist… We're not supposed to be embraced in that way."
The interview, which was conducted via email in a bid to maintain the mystery surrounding the unknown artist, seemed to be littered with hints of regret about the level of success his artwork as reached over the years, with many famous names paying quite literally millions of pounds/dollars for his pieces. The tour around New York, which will, hopefully, show Banksy creating a piece on the streets for every day in October, is intended to take his artwork back to basics without being surrounded by commercial hype, but with Banksy’s status in the graffiti world constantly finding new heights to reach, how long will this low-key, street exhibit avoid official art galleries? Get in touch with us to share your thoughts!
Written by: Charlotte Barnes
Published: 10 October 2013
While Banksy is taking his art overseas, it seems that the month long trip has thrown some things into perspective for the popular artist as he has now announced that he is considering ditching art galleries in favour of his artistic roots on the streets of cities.
During a recent talk with the Village Voice, Banksy explained: "I started painting on the street because it was the only venue that would give me a show."
He then went on to say, "Commercial success is a mark of failure for a graffiti artist… We're not supposed to be embraced in that way."
The interview, which was conducted via email in a bid to maintain the mystery surrounding the unknown artist, seemed to be littered with hints of regret about the level of success his artwork as reached over the years, with many famous names paying quite literally millions of pounds/dollars for his pieces. The tour around New York, which will, hopefully, show Banksy creating a piece on the streets for every day in October, is intended to take his artwork back to basics without being surrounded by commercial hype, but with Banksy’s status in the graffiti world constantly finding new heights to reach, how long will this low-key, street exhibit avoid official art galleries? Get in touch with us to share your thoughts!
Written by: Charlotte Barnes
Published: 10 October 2013
Fellowes Pushes Artistic License Too Far With Rape Scene
It seems that while the world of television might like to shock its viewers from time to time, committed fans of the Downton Abbey series are claiming that creator of the series, Julian Fellowes, has pushed his artistic licence one notch too far with the latest shock from the hit series.
After recently withholding press copies of the latest episode, it soon became clear that the ITV show was going to deliver a shocking instalment that it wanted to keep from the public until the official airing. While many speculated that we would be waving goodbye to another much-loved character, it seems that no one was prepared for what Fellowes actually had in mind for last week’s episode…
The episode, which aired last weekend, revealed the shocking twist that fan favourite Anna May Bates, played by Joanne Froggatt, was to be attacked and then raped by the valet of a visiting guest. Since the episode aired, ITV has had a surprising 60 complaints about the content of the show.
Fans of the series took to the social networking site Twitter, after the episode, to voice their opinions; many branded the stunt as ‘sick’ and ‘sensationalist’, claiming that it wasn’t appropriate of necessary for the show. In response to these criticisms, Fellowes has said that he is sorry that fans felt he was taking things a step too far in his writing of the series; however, he then continued with, ‘If we'd wanted a sensational rape we could have stayed down in the kitchen with the camera during the whole thing and wrung it out.’
Fellowes, who claims that he is intrigued in seeing the impact that this sort of thing will have on people, both on the show and at home via the viewers, appears to be standing by his decision to include this controversial incident in the series. What are your thoughts on this Downton development?
Written by: Charlotte Barnes
Published: 9 October 2013
After recently withholding press copies of the latest episode, it soon became clear that the ITV show was going to deliver a shocking instalment that it wanted to keep from the public until the official airing. While many speculated that we would be waving goodbye to another much-loved character, it seems that no one was prepared for what Fellowes actually had in mind for last week’s episode…
The episode, which aired last weekend, revealed the shocking twist that fan favourite Anna May Bates, played by Joanne Froggatt, was to be attacked and then raped by the valet of a visiting guest. Since the episode aired, ITV has had a surprising 60 complaints about the content of the show.
Fans of the series took to the social networking site Twitter, after the episode, to voice their opinions; many branded the stunt as ‘sick’ and ‘sensationalist’, claiming that it wasn’t appropriate of necessary for the show. In response to these criticisms, Fellowes has said that he is sorry that fans felt he was taking things a step too far in his writing of the series; however, he then continued with, ‘If we'd wanted a sensational rape we could have stayed down in the kitchen with the camera during the whole thing and wrung it out.’
Fellowes, who claims that he is intrigued in seeing the impact that this sort of thing will have on people, both on the show and at home via the viewers, appears to be standing by his decision to include this controversial incident in the series. What are your thoughts on this Downton development?
Written by: Charlotte Barnes
Published: 9 October 2013
New Hope Hosts Fundraising Event @ Marr's Bar, Worcester
The nights are getting colder, the weather is getting wetter; so what better way to spend your weekend that down at the Marr’s Bar, in Worcester, listening to live music and having a beer (or seven), with some friendly faces! Last Saturday, the Marr’s Bar played host to a range of absolutely marvellous musicians in order to raise money for New Hope, a charity that helps disabled children, and their families and carers, in any and every way they possibly can.
The line-up for the evening included Wes Dance, Institutes, James Warner Prophecies and Jasper In The Company Of Others, and what a show these guys delivered!
Over the course of the evening we were treated to the musical delights of crazy talent from up and down the country, culminating in local lad Jasper taking to the stage with his outstandingly talented band mates to round the night off for everyone. The funky, happy, soul vibe seemed to get everyone in the room bouncing about on their feet (okay, the alcohol consumed by this point in the evening might have had something to do with it, too) and overall, I think it’s safe to say the night was a massive success. James Warner Prophecies, who I’ve seen once or twice before, were also amazing! On every occasion I see these guys, they’re always full of the beans and bringing the life and soul to wherever they’re performing, making them the perfect addition to any evening of live music.
Now I’ve got to admit, the point of this article isn’t just to big up all the artists that performed on Saturday - although they are all amazing, so you check out their music - the point is actually to get New Hope a little more attention, because, given the amazing work they do, they certainly deserve it.
This organisation is working hard, day in and day out, to make sure that disabled children and their families have a better quality of life and I cannot praise them enough for that! Last Saturday’s fundraiser event raised a staggering £791. 45, which is amazing, but I reckon with a little bit more publicity, we can add to that pot even more. You can find out more about this amazing organisation through their Facebook page, which you can access here, or by checking out their website at the following link: http://www.newhopeworcester.co.uk/
Dig deep, guys, this organisation deserves it.
Written by: Charlotte Barnes
Published: 30 September 2013
The line-up for the evening included Wes Dance, Institutes, James Warner Prophecies and Jasper In The Company Of Others, and what a show these guys delivered!
Over the course of the evening we were treated to the musical delights of crazy talent from up and down the country, culminating in local lad Jasper taking to the stage with his outstandingly talented band mates to round the night off for everyone. The funky, happy, soul vibe seemed to get everyone in the room bouncing about on their feet (okay, the alcohol consumed by this point in the evening might have had something to do with it, too) and overall, I think it’s safe to say the night was a massive success. James Warner Prophecies, who I’ve seen once or twice before, were also amazing! On every occasion I see these guys, they’re always full of the beans and bringing the life and soul to wherever they’re performing, making them the perfect addition to any evening of live music.
Now I’ve got to admit, the point of this article isn’t just to big up all the artists that performed on Saturday - although they are all amazing, so you check out their music - the point is actually to get New Hope a little more attention, because, given the amazing work they do, they certainly deserve it.
This organisation is working hard, day in and day out, to make sure that disabled children and their families have a better quality of life and I cannot praise them enough for that! Last Saturday’s fundraiser event raised a staggering £791. 45, which is amazing, but I reckon with a little bit more publicity, we can add to that pot even more. You can find out more about this amazing organisation through their Facebook page, which you can access here, or by checking out their website at the following link: http://www.newhopeworcester.co.uk/
Dig deep, guys, this organisation deserves it.
Written by: Charlotte Barnes
Published: 30 September 2013
Gig Review: Paramore @ Motorpoint Arena, Cardiff
On Saturday (21st September) thousands of Paramore fans queued outside the Motorpoint Arena (Formally the C.I.A) waiting to see the band perform the Cardiff leg of their self-titled UK arena tour! It’s been a few years since Paramore has done a UK tour, and, in fact, this is the first tour they have done here since the Farro brothers left the band.
You could feel the excitement of all the fans from the moment you stepped into the queue. The doors opened at 6:30pm and the excited fans began to pile in to the Arena! Opening acts Eliza and the Bear and Charli XCX, who features on Icona Pop’s hit song of the Summer I Love it, had the crowd pumped from the very beginning of their sets.
When it was finally time for Paramore to come on stage they had everyone screaming their names, opening with their song Grow Up. The band then played for a further two hours keeping the crowd fired up alternating between songs from their self-titled album and previous albums Riot! and Brand New Eyes, This seemed to keep both their new fan base and fans who have followed them from the very beginning satisfied. Lead singer Hayley Williams was absolutely fantastic interacting with the crowd in between songs and at the half way point she even made one fan’s dream come true when she called him up on stage to sing Misery Business with her.
The concert was closed with an encore of Still Into You. When the concert finished the crowed was filled with murmurs of how amazing the concert was and how cool Hayley appeared to be in this comeback tour. It was a amazing concert with one of the best atmospheres I have ever experienced at a gig and I would definitely recommend going to see them on their next UK tour!
Written by: Grace Williams
Published: 23 September 2013
You could feel the excitement of all the fans from the moment you stepped into the queue. The doors opened at 6:30pm and the excited fans began to pile in to the Arena! Opening acts Eliza and the Bear and Charli XCX, who features on Icona Pop’s hit song of the Summer I Love it, had the crowd pumped from the very beginning of their sets.
When it was finally time for Paramore to come on stage they had everyone screaming their names, opening with their song Grow Up. The band then played for a further two hours keeping the crowd fired up alternating between songs from their self-titled album and previous albums Riot! and Brand New Eyes, This seemed to keep both their new fan base and fans who have followed them from the very beginning satisfied. Lead singer Hayley Williams was absolutely fantastic interacting with the crowd in between songs and at the half way point she even made one fan’s dream come true when she called him up on stage to sing Misery Business with her.
The concert was closed with an encore of Still Into You. When the concert finished the crowed was filled with murmurs of how amazing the concert was and how cool Hayley appeared to be in this comeback tour. It was a amazing concert with one of the best atmospheres I have ever experienced at a gig and I would definitely recommend going to see them on their next UK tour!
Written by: Grace Williams
Published: 23 September 2013
Theatre Review: Alchemy @ The Cheltenham Playhouse
The Cheltenham Playhouse is packed and I'm sat near the front; in the orchestra pit the group of rock musicians sit, ready to begin. The lights dim and two figures stride onto the stage. The opening night of Alchemy has begun!
The production is written by Pendragon keyboardist Clive Nolan, who also adapted the book She into a progressive rock musical that was performed at the Playhouse a few years ago. Alchemy is a progressive rock-themed musical set during the Victorian Age and tells the tale of Samuel King and his race against time as he tries to stop Lord Henry Jagman from unlocking the darkest secrets of Alchemy. I had been following Alchemy's production and had enjoyed She when I saw it in Cheltenham, so when it finally arrived I was very eager to see the story unfold!
So was the show worth the wait? Of course it was! From beginning to end each of the actors played their part with great gusto and emotion. Unlike previous musical productions that I have seen that have the formula of keeping spoken parts and songs separate, Alchemy had a constant backing from the musicians and was almost entirely sung by the cast, similar to how She was performed.
The songs were both catchy and memorable, with every cast member in fine form. Several of the cast feature on the soundtrack CD, such as Agnieszka Swita (Amelia Darvas), David Clifford (William Clifford), Victoria Bolley (Eva Bonaduce), Chris Lewis (Thomas Anzeray) and Clive Nolan himself as Samuel King. They all stepped into the roles and acted out their parts perfectly. Joining them were several local actors such as Paul Blower (Milosh), Ross Andrews (Joseph Farrell) and Verity Smith (Jane Muncey) and many more, too numerous to mention, who also put in fine performances.
The music performed throughout the show was also fantastic, performed by by Mark Westwood (Guitar), Scott Hingham (Drums), Claudio Mombero (Keyboards) and Kylan Amos (Bass Guitar) who gave a strong backing for the actors to sing over. All of this served to tell the compelling story of Alchemy. The audience certainly enjoyed themselves; I could see a few people dancing to the music at various points in the show and a roar of applause greeted the cast as they came on to give their bows at the end!
Another aspect I enjoyed was the set pieces throughout the show, which managed to convey each scene's setting well. Whether it was at the gallows, in a tavern or on board a ship at sea, it felt like I was really there. I would have to say that the most impressive one would have to be the grand finale with its… well, spoilers!
Alchemy is currently being performed in Cheltenham, although most of the shows are now sold out. Hopefully it will be coming back as it is a terrific show that could definitely transition well to larger venues. And if you are one of those with a ticket for the upcoming shows, you're in for a treat!
Written by: Ed Wilkins
Published: 7 September 2013
The production is written by Pendragon keyboardist Clive Nolan, who also adapted the book She into a progressive rock musical that was performed at the Playhouse a few years ago. Alchemy is a progressive rock-themed musical set during the Victorian Age and tells the tale of Samuel King and his race against time as he tries to stop Lord Henry Jagman from unlocking the darkest secrets of Alchemy. I had been following Alchemy's production and had enjoyed She when I saw it in Cheltenham, so when it finally arrived I was very eager to see the story unfold!
So was the show worth the wait? Of course it was! From beginning to end each of the actors played their part with great gusto and emotion. Unlike previous musical productions that I have seen that have the formula of keeping spoken parts and songs separate, Alchemy had a constant backing from the musicians and was almost entirely sung by the cast, similar to how She was performed.
The songs were both catchy and memorable, with every cast member in fine form. Several of the cast feature on the soundtrack CD, such as Agnieszka Swita (Amelia Darvas), David Clifford (William Clifford), Victoria Bolley (Eva Bonaduce), Chris Lewis (Thomas Anzeray) and Clive Nolan himself as Samuel King. They all stepped into the roles and acted out their parts perfectly. Joining them were several local actors such as Paul Blower (Milosh), Ross Andrews (Joseph Farrell) and Verity Smith (Jane Muncey) and many more, too numerous to mention, who also put in fine performances.
The music performed throughout the show was also fantastic, performed by by Mark Westwood (Guitar), Scott Hingham (Drums), Claudio Mombero (Keyboards) and Kylan Amos (Bass Guitar) who gave a strong backing for the actors to sing over. All of this served to tell the compelling story of Alchemy. The audience certainly enjoyed themselves; I could see a few people dancing to the music at various points in the show and a roar of applause greeted the cast as they came on to give their bows at the end!
Another aspect I enjoyed was the set pieces throughout the show, which managed to convey each scene's setting well. Whether it was at the gallows, in a tavern or on board a ship at sea, it felt like I was really there. I would have to say that the most impressive one would have to be the grand finale with its… well, spoilers!
Alchemy is currently being performed in Cheltenham, although most of the shows are now sold out. Hopefully it will be coming back as it is a terrific show that could definitely transition well to larger venues. And if you are one of those with a ticket for the upcoming shows, you're in for a treat!
Written by: Ed Wilkins
Published: 7 September 2013
Festival Review: The highlights of Reading Festival!
Friday:
Skindred
Skindred are one of those bands that have a great reputation for live shows, the things you hear are just crazy and the front man Benji is supposed to be a natural. I didn't really know what to expect from such a show; an amateur Skindred enthusiast like myself only knowing two songs I thought I’d be bored in about ten minutes...how wrong I was.
Even though my knowledge of songs was limited, the songs they put out were bouncy and electric and got the whole crowd together in a sea of familiarity. The lead singer addressed the crowd as two parts 'gladiators' and 'warriors' and kept insulting the latter, which was quite amusing. Their new song Kill The Power was a big hit on an audience that wasn't just Skindred fans! This performance was definitely a highlight of the whole festival!
Bring me the horizon
Having been on both sides of the Bring Me the Horizon argument on whether they're good or not, I was excited about seeing them. Their latest effort, Sempiternal, was a great offering compared to their lack lustre older songs but sadly their show fell short.
I'm sure it won't come as a shock to say that the rest of the band played perfectly and are actually a talented bunch, but the less than desirable lead singer Oliver Sykes really isn't as great as he would make you think! His screaming was shoddy and his personality doesn't exactly come across as welcoming. 'Kill each other,' he chants as pits engage.
Frank Turner
'Who'd have thought, that after all, something as simple as rock and roll would save us all'
How ironic that Frank Turner preaches rock and roll when 30 minutes earlier he'd had his mum come out to tell us all how he wasn't feeling well and he shouldn't be playing Reading. Rock and roll, Frank.
Mr Turner came out in classic Kurt Kobain fashion in a wheelchair and started to sing Four Simple Words, but once it kicked in he jumped out of the wheelchair and began to bounce about, redeeming some rock and roll status!
It's worth noting that because of recent back problems Frank could sadly not play the guitar but thankfully it didn't affect his voice. A highlight of his set was seeing a whole field of people sing 'there is no God' for Glory Halelujah. The lack of a guitar didn't stop him giving a massive performance and showing everyone that he deserved this spot!
System of a Down
The excitement for this band had been building ever since they were announced; the legendary System of a Down were playing Reading and Leeds, something that hadn't happened since 2003! Admittedly they were subbing, but who cares, they were here!
Kicking off with Aerials they already showed they were old but still had what it takes to captivate an audience with their amazing tunes and with a back catalogue as amazing as theirs it was easy to pull off a great show. Obviously they played the hits BYOB, Chop Suey and Hypnotize, but they also bought out a few random tracks such as Needles and Deer Dance. Not much audience participation was needed from these guys, they come on and do their thing and that's all they need to do.
Every song from the metal veterans was a sing along for the audience and a true spectacle for dedicated System of a Down fans. The set ended with Toxcicity and Sugar. System of a Down left the stage and everyone was left to wait for Green Day who sadly couldn't compare to what everyone had just seen…
Green Day
Not that Green Day didn't put on a good show, they did, but I can't help but feel that System of a Down out did them and that people would be a lot more bothered about the pop punk heroes if they'd not done a secret set last year.
99 Revolutions kicked off proceedings and from there we were treated to the classics Holiday and Boulevard of Broken Dreams. Billie Joe announces that 2014 is the 10th anniversary of Dookie and to celebrate they were going to play it in full. This might be okay for a gig but for a festival crowd it just seems like one self indulgence too far. The front circle might have loved it but everyone else were clueless if they didn't worship the album.
Ending with Minority, American Idiot and Jesus of Suburbia before Billie Joe came out with his acoustic for the classic Time of your Life, this show featured everything that a Green Day set should: a random fan coming on stage, a tshirt gun, a toilet roll gun and Billie Joe's insane personality, but nothing different from when we’ve seen before and poor in comparison to System of a Down. Take note Melvin Benn.
Skindred
Skindred are one of those bands that have a great reputation for live shows, the things you hear are just crazy and the front man Benji is supposed to be a natural. I didn't really know what to expect from such a show; an amateur Skindred enthusiast like myself only knowing two songs I thought I’d be bored in about ten minutes...how wrong I was.
Even though my knowledge of songs was limited, the songs they put out were bouncy and electric and got the whole crowd together in a sea of familiarity. The lead singer addressed the crowd as two parts 'gladiators' and 'warriors' and kept insulting the latter, which was quite amusing. Their new song Kill The Power was a big hit on an audience that wasn't just Skindred fans! This performance was definitely a highlight of the whole festival!
Bring me the horizon
Having been on both sides of the Bring Me the Horizon argument on whether they're good or not, I was excited about seeing them. Their latest effort, Sempiternal, was a great offering compared to their lack lustre older songs but sadly their show fell short.
I'm sure it won't come as a shock to say that the rest of the band played perfectly and are actually a talented bunch, but the less than desirable lead singer Oliver Sykes really isn't as great as he would make you think! His screaming was shoddy and his personality doesn't exactly come across as welcoming. 'Kill each other,' he chants as pits engage.
Frank Turner
'Who'd have thought, that after all, something as simple as rock and roll would save us all'
How ironic that Frank Turner preaches rock and roll when 30 minutes earlier he'd had his mum come out to tell us all how he wasn't feeling well and he shouldn't be playing Reading. Rock and roll, Frank.
Mr Turner came out in classic Kurt Kobain fashion in a wheelchair and started to sing Four Simple Words, but once it kicked in he jumped out of the wheelchair and began to bounce about, redeeming some rock and roll status!
It's worth noting that because of recent back problems Frank could sadly not play the guitar but thankfully it didn't affect his voice. A highlight of his set was seeing a whole field of people sing 'there is no God' for Glory Halelujah. The lack of a guitar didn't stop him giving a massive performance and showing everyone that he deserved this spot!
System of a Down
The excitement for this band had been building ever since they were announced; the legendary System of a Down were playing Reading and Leeds, something that hadn't happened since 2003! Admittedly they were subbing, but who cares, they were here!
Kicking off with Aerials they already showed they were old but still had what it takes to captivate an audience with their amazing tunes and with a back catalogue as amazing as theirs it was easy to pull off a great show. Obviously they played the hits BYOB, Chop Suey and Hypnotize, but they also bought out a few random tracks such as Needles and Deer Dance. Not much audience participation was needed from these guys, they come on and do their thing and that's all they need to do.
Every song from the metal veterans was a sing along for the audience and a true spectacle for dedicated System of a Down fans. The set ended with Toxcicity and Sugar. System of a Down left the stage and everyone was left to wait for Green Day who sadly couldn't compare to what everyone had just seen…
Green Day
Not that Green Day didn't put on a good show, they did, but I can't help but feel that System of a Down out did them and that people would be a lot more bothered about the pop punk heroes if they'd not done a secret set last year.
99 Revolutions kicked off proceedings and from there we were treated to the classics Holiday and Boulevard of Broken Dreams. Billie Joe announces that 2014 is the 10th anniversary of Dookie and to celebrate they were going to play it in full. This might be okay for a gig but for a festival crowd it just seems like one self indulgence too far. The front circle might have loved it but everyone else were clueless if they didn't worship the album.
Ending with Minority, American Idiot and Jesus of Suburbia before Billie Joe came out with his acoustic for the classic Time of your Life, this show featured everything that a Green Day set should: a random fan coming on stage, a tshirt gun, a toilet roll gun and Billie Joe's insane personality, but nothing different from when we’ve seen before and poor in comparison to System of a Down. Take note Melvin Benn.
Image from NME
Saturday:
Mallory Knox
Rising stars of 2013 Mallory Knox took to the main stage first thing on Saturday morning, a feat that they had more than earned over the course of 2013, their debut album Signals has been a huge hit and live they're just a damn good act!
With songs that are already classics like Death Rattle and Wake Up it was so easy to see why this group of lads drew in such a huge crowd. The lead singer talked about how he went to Reading last year and would have never dreamed to be on main stage. Lighthouse finished their set in style and showed that these boys are only going up from here.
Deaf Havana
It's taken a while for Deaf Havana to get where they are but they have finally made it. Their debut album, Fools and Worthless Liars, was a huge success and opened them up to endless possibilities and, with their next album around the corner this Reading show was bound to be amazing!
Kicking off with new song Mildred was quite a bold move but it immediately paid off for them. Delving into Mostly I'm a Bore before reverting back to new content in the form of Boston Square it seemed like Deaf Havana had this audience in the palm of their hands.
Admittedly this was the point where the rain really hit hard and people flooded into tents but it gave them a bigger audience and allowed people to see this talented bunch for what they are.
Mode Step
One of the best things about festivals is new music you can discover and this act was one of those moments. Nothing else was on, too early for food, sitting having a beer and you say 'let's go and see this act', well, thank God it was Modestep.
Pyrotechnics fused with hip hop and electro beats with a guitarist that looks like he should be a lot higher than what he is. Yes, this is what Modestep was about! The music they made was incredible and got the whole tent bouncing. Ending with Sunlight really got the crowd even more on their side, a great find at a great festival.
Chase and Status
The amount of Abecrombie and Fitch, Jack Jones and Obey clothes had easily quadrupled on the Saturday at Reading, that could be because A: Chase and Status were playing and B: One of the biggest names in hip hop was also playing. Still, we couldn't let this bring us down; onwards to Chase and Status!
Starting with No Problem was instantly a hit with the massive audience that they had attracted and before long Reading had turned into a huge rave being conducted by a hype man and two men behind decks.
With a fourteen song set list these guys really paved the way for Eminem coming up next. Let You Go, Hypest Hype and a Plan B-less End Credits were definitely the highlights of this amazing performance!
Eminem
Back in March when the lineup for Reading and Leeds was announced Eminem was the first act to be announced and the internet pretty much blew up; both Eminem and Reading were trending for three days and people were astounded that they'd got such a massive act.
The lights went down and Eminem came out singing his newest track Survival followed by Won't Back Down. Obviously the legendary rapper has been around for years so he had to really delve into his history and play a variety of tracks that included Kill You, White America, 3AM and Cleaning Out My Closet.
As Eminem played I heard people leave and say he was 'shit because he wasn't finishing songs', well when you've got five albums and all the songs on those albums are about 5-7 minutes long (and pretty much all of your songs are classics!) then of course you're only going to hear a verse here and a verse there...Eminem knows what he's doing.
A treat for all the Bad Meets Evil fans was in store as well as Royce Da 5'9 joined Eminem to sing Fastlane and the crowd pleasing Lighters (you know, that one with Bruno Mars!). Another surprise was Dido coming along to help Eminem with Stan, which was a blast of nostalgia for committed fans.
Eminem played a staggering 28 song set which also included Till I collapse, Sing for the Moment and ended on Lose Yourself.
Mallory Knox
Rising stars of 2013 Mallory Knox took to the main stage first thing on Saturday morning, a feat that they had more than earned over the course of 2013, their debut album Signals has been a huge hit and live they're just a damn good act!
With songs that are already classics like Death Rattle and Wake Up it was so easy to see why this group of lads drew in such a huge crowd. The lead singer talked about how he went to Reading last year and would have never dreamed to be on main stage. Lighthouse finished their set in style and showed that these boys are only going up from here.
Deaf Havana
It's taken a while for Deaf Havana to get where they are but they have finally made it. Their debut album, Fools and Worthless Liars, was a huge success and opened them up to endless possibilities and, with their next album around the corner this Reading show was bound to be amazing!
Kicking off with new song Mildred was quite a bold move but it immediately paid off for them. Delving into Mostly I'm a Bore before reverting back to new content in the form of Boston Square it seemed like Deaf Havana had this audience in the palm of their hands.
Admittedly this was the point where the rain really hit hard and people flooded into tents but it gave them a bigger audience and allowed people to see this talented bunch for what they are.
Mode Step
One of the best things about festivals is new music you can discover and this act was one of those moments. Nothing else was on, too early for food, sitting having a beer and you say 'let's go and see this act', well, thank God it was Modestep.
Pyrotechnics fused with hip hop and electro beats with a guitarist that looks like he should be a lot higher than what he is. Yes, this is what Modestep was about! The music they made was incredible and got the whole tent bouncing. Ending with Sunlight really got the crowd even more on their side, a great find at a great festival.
Chase and Status
The amount of Abecrombie and Fitch, Jack Jones and Obey clothes had easily quadrupled on the Saturday at Reading, that could be because A: Chase and Status were playing and B: One of the biggest names in hip hop was also playing. Still, we couldn't let this bring us down; onwards to Chase and Status!
Starting with No Problem was instantly a hit with the massive audience that they had attracted and before long Reading had turned into a huge rave being conducted by a hype man and two men behind decks.
With a fourteen song set list these guys really paved the way for Eminem coming up next. Let You Go, Hypest Hype and a Plan B-less End Credits were definitely the highlights of this amazing performance!
Eminem
Back in March when the lineup for Reading and Leeds was announced Eminem was the first act to be announced and the internet pretty much blew up; both Eminem and Reading were trending for three days and people were astounded that they'd got such a massive act.
The lights went down and Eminem came out singing his newest track Survival followed by Won't Back Down. Obviously the legendary rapper has been around for years so he had to really delve into his history and play a variety of tracks that included Kill You, White America, 3AM and Cleaning Out My Closet.
As Eminem played I heard people leave and say he was 'shit because he wasn't finishing songs', well when you've got five albums and all the songs on those albums are about 5-7 minutes long (and pretty much all of your songs are classics!) then of course you're only going to hear a verse here and a verse there...Eminem knows what he's doing.
A treat for all the Bad Meets Evil fans was in store as well as Royce Da 5'9 joined Eminem to sing Fastlane and the crowd pleasing Lighters (you know, that one with Bruno Mars!). Another surprise was Dido coming along to help Eminem with Stan, which was a blast of nostalgia for committed fans.
Eminem played a staggering 28 song set which also included Till I collapse, Sing for the Moment and ended on Lose Yourself.
Image from BBC
Sunday:
Editors
I’m from Coventry, mere minutes away from Birmingham on a train, so it's really a travesty that since Editor's conception in 2002 in my neighbouring city it's taken me eleven years to see them! Still, age proves nothing with these guys.
Dishing out a list of hits the size of your arm in the form of Munich and Smoker's Outside the Hospital Door, the great thing about Editors was the break it took from the rest of the bands that day. They didn't need to make it clear that they wanted people to bounce or jump or anything like that, they played and they knew that people loved it.
Ending with the awesome Papillon Editors really secured their place on the main stage that day and showed bands that just music can go a long way!
Fall Out Boy
So after the initial screaming stopped back in March when I realised that Fall Out Boy were in fact 'back', and they were playing Reading festival, I was instantly filled with a nervous feeling. I've seen Fall Out Boy three times before and they weren't exactly amazing; they've always put out amazing songs but when it came to live performances they were always just standard.
However when that music died and Thriller started up I knew that this was a new and improved Fall Out Boy! Patrick Stump's vocals have improved vastly, probably due to his solo work and their new album that dropped this year [Save Rock and Roll]. As well as playing their classics Sugar We're Going Down, Dance Dance and This Ain't a Scene they also played their new material.
When they said they were bringing a special guest out to sing the next song my heart was in my throat as I thought it might be the mighty Elton John but sadly I was let down. To my disappointment Foxes (who?) came out to sing Just One Yesterday but it was still good! Phoenix, Alone Together and My Songs Know What You Did In The Dark were the new tracks to be played, and they were played well!
Ending with the classic Saturday from the album Take this to Your Grave, they proved that doubtful rumours can be put to bed: Fall Out Boy are 100% back.
Biffy Clyro
This is a feat that Scottish trio Biffy Clyro have been striving towards for nine years; a festival that they have worked from the bottom upwards to finally achieve headlining status and after all that work they weren't exactly going to half arse it were they?
Kicking off the set with Different People, this song had a small gradual introduction but then pounded into some classic Biffy riffs which instantly had the crowd on their feet and living in the moment.
When Biffy were announced as a headliner there was so many doubts about whether they could pull it off and to those people I say: shut up, these guys had it in the bag from the word go! Pyrotechnics were used for Golden Rule and Simon Neil held a flare for the anthem Who's Got a Match.
Basically these guys went on stage to prove to everyone they had what it takes!
The best thing about Biffy is their history of songs is awesome and tonight they pulled them all out and dusted them off. Bubbles, Saturday Superhouse, Many of Horror…
They ended the set with the spectacular Mountains along with some fireworks to really bring the point home that Reading had indeed finished, and everyone left feeling more than satisfied with that finale!
Written by: Richard Ounsworth
Published: 31 August 2013
Editors
I’m from Coventry, mere minutes away from Birmingham on a train, so it's really a travesty that since Editor's conception in 2002 in my neighbouring city it's taken me eleven years to see them! Still, age proves nothing with these guys.
Dishing out a list of hits the size of your arm in the form of Munich and Smoker's Outside the Hospital Door, the great thing about Editors was the break it took from the rest of the bands that day. They didn't need to make it clear that they wanted people to bounce or jump or anything like that, they played and they knew that people loved it.
Ending with the awesome Papillon Editors really secured their place on the main stage that day and showed bands that just music can go a long way!
Fall Out Boy
So after the initial screaming stopped back in March when I realised that Fall Out Boy were in fact 'back', and they were playing Reading festival, I was instantly filled with a nervous feeling. I've seen Fall Out Boy three times before and they weren't exactly amazing; they've always put out amazing songs but when it came to live performances they were always just standard.
However when that music died and Thriller started up I knew that this was a new and improved Fall Out Boy! Patrick Stump's vocals have improved vastly, probably due to his solo work and their new album that dropped this year [Save Rock and Roll]. As well as playing their classics Sugar We're Going Down, Dance Dance and This Ain't a Scene they also played their new material.
When they said they were bringing a special guest out to sing the next song my heart was in my throat as I thought it might be the mighty Elton John but sadly I was let down. To my disappointment Foxes (who?) came out to sing Just One Yesterday but it was still good! Phoenix, Alone Together and My Songs Know What You Did In The Dark were the new tracks to be played, and they were played well!
Ending with the classic Saturday from the album Take this to Your Grave, they proved that doubtful rumours can be put to bed: Fall Out Boy are 100% back.
Biffy Clyro
This is a feat that Scottish trio Biffy Clyro have been striving towards for nine years; a festival that they have worked from the bottom upwards to finally achieve headlining status and after all that work they weren't exactly going to half arse it were they?
Kicking off the set with Different People, this song had a small gradual introduction but then pounded into some classic Biffy riffs which instantly had the crowd on their feet and living in the moment.
When Biffy were announced as a headliner there was so many doubts about whether they could pull it off and to those people I say: shut up, these guys had it in the bag from the word go! Pyrotechnics were used for Golden Rule and Simon Neil held a flare for the anthem Who's Got a Match.
Basically these guys went on stage to prove to everyone they had what it takes!
The best thing about Biffy is their history of songs is awesome and tonight they pulled them all out and dusted them off. Bubbles, Saturday Superhouse, Many of Horror…
They ended the set with the spectacular Mountains along with some fireworks to really bring the point home that Reading had indeed finished, and everyone left feeling more than satisfied with that finale!
Written by: Richard Ounsworth
Published: 31 August 2013
Festival Review: Worcester Beer, Cider & perry Festival @ Worcester Racecourse, 8th - 10th August 2013
When most people hear the word ‘festival’, their mind immediately flashes to images of uncomfortable camping, muddy fields and sleepless nights, all of which you’ll regret two days after the delights have finished. I suppose that’s the beauty of the Worcester Beer, Cider & Perry Festival: you can go along, drink a ridiculous amount of wonderful alcohol, listen to decent music, and then stumble home to your comfortable bed at the end of it (or stumble into town to hunt for more alcohol, depending on how brave you’re feeling).
Now, as we’re so committed to bringing you brilliant reviews, we were there when the doors opened on the first evening, with our pint glasses and tokens at the ready…
The festivities started at 5pm on Worcester Racecourse which, for anyone who isn’t local to the area, is walking distance from Foregate Street train station and is also extremely easy to find. After paying the reasonable entry fee of £5, and grabbing our souvenir glasses that are given to you upon entry, we whipped out our programmes and immediately began plotting which ciders and such like we would devote our attention to. The festival, which works in tokens (which you purchase along with your entry ticket), has prices plastered everywhere for their impressive array of beer, cider, perry, fruit and grape wines and flavoured alcohol apple juice. Generally speaking, you’re looking at £1.50 for half a pint and £3 for a full one, although there are exceptions to this.
Over the course of the evening we developed a divide and conquer attitude; half of us lingered around the cider section while other, braver members of the group, decided to venture into the land of 10% beer. There really is something for everyone here, and after extensive research, at least three of us decided that Janet’s Jungle Juice was definitely for us!
The alcoholic antics were accompanied by an array of brilliant musicians such as Jasper In The Company Of Others and Liberty Lies, who were playing up until 11pm in the music tent. Fear not though, this wasn’t a special event thrown on for the first evening; the festival, over the course of the next two days, will play host to an array of musical talent that will get you in the foot-tapping mood! If you’re thinking of heading there this weekend, which we completely recommend you do, you can check out the rest of the bands lined up to perform by clicking here.
Now, whoever is behind this festival obviously has their head screwed on because, not only do they have a ridiculous amount of alcohol for you to binge yourselves on, but they also have a food tent for you to soak it all up with! They offer everything from Crusty Cobs to Curry Corner and believe me, after four hours drinking real ale, that food tent will be a welcome sight for your eyes and your stomach.
Honestly, try as we might, we can’t fault this little festival. It was a brilliant night out and I think if our livers could take another beating, then we’d probably be there again today! The festival, which is running for another two days, opened its doors again at 11am this morning and will be open until 11pm this evening; entry before 5pm is £5 and entry afterwards is £8 - still a brilliant price for access to all of these goodies. Saturday sees the festival open from 11am until 11pm with a £5 entry fee all day - so get yourselves down there! Throw some money at the smiley, helpful and may I say, very informative volunteers that make this festival possible, and try some of the delights that Worcester has to offer. And fear not, if for any reason you have tokens left at the end of the evening, you can always get them converted back into pounds and pennies before you leave.
So what are you waiting for? Grab your drinking buddies and head down to Worcester Racecourse before stocks start running low.
Written by: Charlotte Barnes
Published: 9 August 2013
Now, as we’re so committed to bringing you brilliant reviews, we were there when the doors opened on the first evening, with our pint glasses and tokens at the ready…
The festivities started at 5pm on Worcester Racecourse which, for anyone who isn’t local to the area, is walking distance from Foregate Street train station and is also extremely easy to find. After paying the reasonable entry fee of £5, and grabbing our souvenir glasses that are given to you upon entry, we whipped out our programmes and immediately began plotting which ciders and such like we would devote our attention to. The festival, which works in tokens (which you purchase along with your entry ticket), has prices plastered everywhere for their impressive array of beer, cider, perry, fruit and grape wines and flavoured alcohol apple juice. Generally speaking, you’re looking at £1.50 for half a pint and £3 for a full one, although there are exceptions to this.
Over the course of the evening we developed a divide and conquer attitude; half of us lingered around the cider section while other, braver members of the group, decided to venture into the land of 10% beer. There really is something for everyone here, and after extensive research, at least three of us decided that Janet’s Jungle Juice was definitely for us!
The alcoholic antics were accompanied by an array of brilliant musicians such as Jasper In The Company Of Others and Liberty Lies, who were playing up until 11pm in the music tent. Fear not though, this wasn’t a special event thrown on for the first evening; the festival, over the course of the next two days, will play host to an array of musical talent that will get you in the foot-tapping mood! If you’re thinking of heading there this weekend, which we completely recommend you do, you can check out the rest of the bands lined up to perform by clicking here.
Now, whoever is behind this festival obviously has their head screwed on because, not only do they have a ridiculous amount of alcohol for you to binge yourselves on, but they also have a food tent for you to soak it all up with! They offer everything from Crusty Cobs to Curry Corner and believe me, after four hours drinking real ale, that food tent will be a welcome sight for your eyes and your stomach.
Honestly, try as we might, we can’t fault this little festival. It was a brilliant night out and I think if our livers could take another beating, then we’d probably be there again today! The festival, which is running for another two days, opened its doors again at 11am this morning and will be open until 11pm this evening; entry before 5pm is £5 and entry afterwards is £8 - still a brilliant price for access to all of these goodies. Saturday sees the festival open from 11am until 11pm with a £5 entry fee all day - so get yourselves down there! Throw some money at the smiley, helpful and may I say, very informative volunteers that make this festival possible, and try some of the delights that Worcester has to offer. And fear not, if for any reason you have tokens left at the end of the evening, you can always get them converted back into pounds and pennies before you leave.
So what are you waiting for? Grab your drinking buddies and head down to Worcester Racecourse before stocks start running low.
Written by: Charlotte Barnes
Published: 9 August 2013
Gig Review: It's A Beautiful Day @ Wotton Hall, Gloucester (06/08/13)
When you live in a place like Gloucestershire with no big venues, sometimes the most unexpected bands announce dates there. So you can imagine my surprise when one of my favourite bands, It's A Beautiful Day, announced a UK tour that just happened to include Gloucester! This was a chance of a lifetime and I couldn't get a ticket fast enough.
Fronted by husband and wife, David (Violin, vocals) and Linda LaFlamme (vocals), the rest of the line-up consisted of Rob Espinosa on guitar, Steve Browning on bass and Matt Wheatley on drums. The band, unfortunately, were in a minor car accident on the way to the venue which meant they swapped sets with the support band, but this did not deter them from performing a blistering set of classic tunes.
The band were incredibly tight on stage and sounded great. I've always been a fan of violins in rock music and the band did not disappoint on that front, with David La Flamme's violin and Rob Espinosa's guitar weaving together expertly, either duelling with each other or playing the same riff and creating a very unique sound. David and Linda's vocals were also fantastic to hear. It's A Beautiful Day are one of the few rock bands I know of who have more than one singer and it was great seeing how they worked together on stage, at times harmonising beautifully and at others being a vocal tag team.
Linda also sang the lead Who's Gonna Love Me, which was a great showcase for her powerful voice. Rob Espinosa, when he wasn't playing or duelling with David's violin, played great riffs and solos throughout, while both Steve Browning and Matt Wheatley provided a strong backing throughout.
It was a great evening with an excellent selection of songs, kicking things off with the wonderful Don and Dewey, an instrumental track from their second album. It got the energy flowing and really displayed the band's instrumental skills. Signature song White Bird sounded just as lovely live as it does on the album. Another highlight was the instrumental Bombay Calling, greatly expanded from the original album version with every one of the instrumentalists getting a solo. I was also pleasantly surprised to hear Girl With No Eyes, one of my favourite songs by the band that I hadn't been expecting.
It's A Beautiful Day are currently touring the UK and do so every couple of years. Check them out sometime - you won't be disappointed.
Written by: Ed Wilkins
Published: 8 August 2013
Fronted by husband and wife, David (Violin, vocals) and Linda LaFlamme (vocals), the rest of the line-up consisted of Rob Espinosa on guitar, Steve Browning on bass and Matt Wheatley on drums. The band, unfortunately, were in a minor car accident on the way to the venue which meant they swapped sets with the support band, but this did not deter them from performing a blistering set of classic tunes.
The band were incredibly tight on stage and sounded great. I've always been a fan of violins in rock music and the band did not disappoint on that front, with David La Flamme's violin and Rob Espinosa's guitar weaving together expertly, either duelling with each other or playing the same riff and creating a very unique sound. David and Linda's vocals were also fantastic to hear. It's A Beautiful Day are one of the few rock bands I know of who have more than one singer and it was great seeing how they worked together on stage, at times harmonising beautifully and at others being a vocal tag team.
Linda also sang the lead Who's Gonna Love Me, which was a great showcase for her powerful voice. Rob Espinosa, when he wasn't playing or duelling with David's violin, played great riffs and solos throughout, while both Steve Browning and Matt Wheatley provided a strong backing throughout.
It was a great evening with an excellent selection of songs, kicking things off with the wonderful Don and Dewey, an instrumental track from their second album. It got the energy flowing and really displayed the band's instrumental skills. Signature song White Bird sounded just as lovely live as it does on the album. Another highlight was the instrumental Bombay Calling, greatly expanded from the original album version with every one of the instrumentalists getting a solo. I was also pleasantly surprised to hear Girl With No Eyes, one of my favourite songs by the band that I hadn't been expecting.
It's A Beautiful Day are currently touring the UK and do so every couple of years. Check them out sometime - you won't be disappointed.
Written by: Ed Wilkins
Published: 8 August 2013
