6th August 2016

Leicester’s Cosmopolitan Carnival


Coming up in August

Cosmopolitan Arts presents – Leicester’s Cosmopolitan Carnival
on Saturday 27th August 2016 – from 2.00 pm to 9.30 pm
Leicester City Centre: Jubilee Square, High Street, Clock Tower, Humberstone Gate and BBC Radio Leicester.

The Cosmopolitan Carnival arts festival is taking over the city centre hosting an impressive line up of live music, dance and art.

Calvin Jeffrey in 2010 Photograph: by Harjinder Ohbi
Calvin Jeffrey in 2010
Photograph: by Harjinder Ohbi

BBC Radio Leicester’s Kevin Ncube and Toni Finney, will compere the main stage in Jubilee Square. Artists include Leicester’s very own The Brandy Thieves, national awarding winning rapper Curtis Clacey, The Orator, UG and the world’s best DJ Jon 1st DMC will be performing an exciting collaboration, rhythmic Afrobeats by Afro-Kubanza, rising soulful star Dominique Brody will be singing, Jesse Wright will wow the crowd with her amazing voice, “Britain’s Got Reggae” stars from across the country will be performing.

London-based band Code Ninety will inject to pop music element to the stage, soothing gospel music from Kaine Mass Choir and the fabulous Illusive Quartet will perform stylish jazz.

A range of free arts workshops will be available including Chinese calligraphy, origami and dragon making and lantern making plus much more.

There will also be a grand finale performance “Cosmocular” in Jubilee Square 8.30pm – 9.30pm, conceived, project managed and artistically directed by Amanda Leandro of Cosmopolitan Arts. This dazzling performance will involve a fantastic large-scale film projection piece by Amanda Leandro, French and English pyrotechnic performances by Pyrox and Select Dance, beautiful lanterns and giant puppets from Same Sky, an amazing live music performance created by Lead Composer & Music Director Richard Everitt and Co-composed by John Berkavitch, Carol Leeming and Miranda Booth.

Astounding spoken word from Leicester’s best wordsmith  John Berkavitch and spectacular vocals from Carol Leeming, of which both have specially written new pieces of work for this performance.

The ensemble includes the best musicians from Leicester: Will Todd from By The Rivers will be playing bass, the highly acclaimed pianist Mike Sole, skillful drummer Malcolm D’Sa, well known jazz saxophonist Marcus Joseph, heavenly harp by Miranda Booth, exceptional tabla by Hari Trivedi and awesome trumpet by Julie Maxwell.

This dazzling and spectacular performance is a unique one off experience, showcasing Leicester’s most talented artists along side national and international artists, this is one not to be missed!

There will be a stage at the Clock Tower compered by well known comedienne Kirsty Munro, hosting a vast array of cultural music, comedy and spoken word, including: Euphoria a seven piece Chinese folk group, Hari Trivedi will perform amazing Tabla and Sitar music, Ian Hall and Lindsay Warnes-Carroll will bring side splitting comedy to the event, The Orator Rhetoric Literary Society Poetry will be present wonderful spoken word, from London AOA will perform a unique blend of hip-hop enthused songs, Billy and Jody’s acoustic experience will inject some fun to the event, Calvin Jeffrey and Deven Stuart will both sing songs that will lift people’s spirits and Mr Shay livens up the crowd with some MC’ing.

Andrea Kenny of The Brandy Thieves at Simon Says... 2015 Photo: Kevin Gaughan
Andrea Kenny of The Brandy Thieves at Simon Says… 2015
Photo: Kevin Gaughan

On the High Street there will be an exciting blend of activities and performances, including an amazing dance performance area hosting every imaginable genre of dance. There will be a humorous street theatre performance, African drumming workshop and activities from Talent Match.

On Humberstone Gate there will be a funky open top bus stage with live reggae and acoustic music and a range of free arts activities, hosted by “The Drinks Bus” and “Britain’s Got Reggae”. There will an art gallery in BBC Radio Leicester and lots of free arts workshops including a DJ master class with Jon 1st, DMC World Champion 2013.

This exciting FREE event has something for everyone and is one not to be missed.



Saturday 6th August 2016

Leicester Caribbean Carnival


The annual Caribbean carnival took place today in Leicester.

Leicester Caribbean Carnival 2016
Leicester Caribbean Carnival 2016

Blessed with hot sunshine throughout the day, the event attracted hundreds of thousands of people to see the process and enjoy the music and food on Victoria Park.

Dancers in the carnival procession, 2016
Dancers in the carnival procession, 2016

The procession started from Victoria park just after 2 pm.

DJ on one of the floats in the carnival procession, 2016
DJ on one of the floats in the carnival procession, 2016

A large number of floats played music for the dancers who followed behind.

Costume in the carnival procession, 2016
Costume in the carnival procession, 2016

Many of the dancers had large costumes support with wheeled frames

Large costume in the carnival procession, 2016
Large costume in the carnival procession, 2016

Many of these costumes would have taken many hours to prepare and assemble.

Dancer in the carnival procession, 2016
Dancer in the carnival procession, 2016

The procession took about two hours to weave its way through the streets of the city centre.

Costume in the carnival procession, 2016
Costume in the carnival procession, 2016

Throughout the whole of their journey along the route, the dancers had to keep moving in time with the music.

Dancers in the carnival procession, 2016
Dancers in the carnival procession, 2016

Dance troupes had come from all over the country, from towns and cities as far away as Leeds.

Thousands of local people lined the streets, together with many who had come to Leicester to see this event from all over the UK and parts of Europe.

Dancers in the carnival procession, 2016
Dancers in the carnival procession, 2016

After the procession, thousands of people gathered on Victoria park for the entertainment and to enjoy the many food stalls that served West Indian food.

Tickets were required to enter the event held on Victoria park.

On the day of the event ticket booths were open at all four entrances at Victoria Park from 9am.

Advance prices were:

Age 13-59 at £2
Age 5-12 at £1
Under 5 and 60+ free

On the day prices were:

Age 13-59 at £3
Age 5-12 at £1
Under 5 and 60+ free

Pinafore at Curve

21st July 2016

Review: Her Majesty’s Ship Pinafore

by Sophie Antunes

Our Rating: *****

I am very grateful that I got the chance to end my extremely long absence from the theatre, by attending the opening performance of HMS Pinafore, on Thursday 21st July; a truly memorable performance!

At first I was quite anxious, that I wouldn’t be able to appreciate the context and irony of the show, to the fullest extent, which was heightened by the much older audience I could see around me. Yet, I still thoroughly enjoyed myself and was rather amused by the comical performances from the male cast.

HMS Pinafore at Curve, July 21st 2016
HMS Pinafore at Curve, July 21st 2016

The realism of the performance was spot on, due to small actions, such as: torches used for light, cigarettes being smoked, actors changing on stage and the brotherhood displayed by the cast, which allowed us to accurately witness the lifestyle of World War II sailors.

Also, the vocals which filled the room, were very impressive and I was stunned by the variety of notes sung, melodically, by the male actors, who were even able to impressively imitate women for the show. I felt, that I further enjoyed the show due to the music and vocals, which helped to heighten the atmosphere and emotions being presented and in turn brought the whole show to life.

Personally, I loved this theatrical experience and would encourage fans of Opera, as well as people who are interested in history and class struggles, to hurry and watch this performance!

You will laugh, be immersed in breath-taking vocals, and emotionally connect with the talented male actors of the show, who are able to push aside gender barriers to create a performance of intimacy, presenting social injustice in our British class system. HMS Pinafore has helped me to fall in love with theatre again, and I can’t wait to return.



28th April 2016

Review: Our Day Out

A Curve & De Montfort University co-production
Lyrics by Willy Russell
Directed by Julia Thomas

Our rating: ***

A musical written by Willy Russell in 1977.

A delightful entertainment that brought the vitality of youth to the studio of Curve.

Tonight’s show brought together the huge artistic skills of Curve with the energy and enthusiasm of the students of DMU in what was the sixth annual co-production marking the established collaboration between Leicester’s flagship theatre and one of the city’s two internationally renown Universities. Tonight cast included first, second and final years students from DMU.

The story is set in a Leicester school. Teacher Mrs Kay’s take her ‘Progress Class’ (teenagers who have been excluded from mainstream classes) on a coach trip to Skegness. Deputy Head, Mr Briggs, joins them on the coach. Their destination is the castle at Lincoln but along the way they make various stops – at the café, the zoo, the beach and the funfair. The trip proves to be a succession of problems for the teaching stuff. At the cafe they steal all the sweets; at the zoo they try to steal the animals. At the seaside, one of the teenagers threatens to jump off a cliff. They get back to Leicester having had a marvellous day out but the trip opened up tensions within the teaching staff and laid bare the difficult lives that the group of disadvantaged children faced both at home and at school. Two of the girls in the group perform a routine several times in which they reprise what they feel about the whole thing: It’s boring. For teacher Mrs Kay it is a chance for the kids to get an experience they otherwise would never get; for  Deputy Head, Mr Briggs the errant group represents a constant threat as he constantly shouts at them to behave themselves. Like Blood Brothers the show highlights the lot of working class youth, its bleakness and hopelessness and the irrelevance of education to their lives. It does however have moments of poignancy and tenderness as well as flashes of humour that lighten the gloom. Willy Russell used to be a teacher and so had experiences of field trips. Russell is best-known for Educating Rita, Shirley Valentine, Blood Brothers and Our Day Out went to on become a firm favourite with audiences and with youth theatre groups.

The cast did an excellent job, singing, dancing and acting with real commitment and enthusiasm. It was interesting that the plot has been transposed to Leicester from its original setting in Liverpool and the stage set was decidedly simple. The young cast brought the production to life and gave a vibrant performance that captivated the audience.
Our Day Out runs at Curve from 28th to 30th April 2016.


Bodyguard review

The Bodyguard review

by Melissa O’Biern

Straight from the West-End to the East-End – East Midland’s DeMontfort Hall, that is – this is a concert, a movie and a musical, all rolled in to one. And it is with us for eleven days only. Showing from 15th-26th March before moving onto its next leg.

The Bodyguard with Alexandra Burke, 2016
The Bodyguard with Alexandra Burke, 2016

This stage adaptation of 1992s movie The Bodyguard just about has it all. Pyrotechnics envelope the stage seconds into the performance and the explosions do not stop there. Three-time Brit nominee and X Factor winner of 2008 Alexandra Burke as Rachel Marron greets the audience with a performance worthy of a Grammy as she provides the voice of Whitney, delivered with the energy of Beyonce, and it certainly sets the scene for the rest of the two-hour performance.

Alexandra Burke in The Bodyguard 2016
Alexandra Burke in The Bodyguard 2016

The story of Rachel Marron and Frank Farmer, based on the 1992 Warner Bros Screenplay by Lawrence Kasdan, is told beautifully, moved along by a sweet and nostalgic current of sixteen Whitney Houstin mega-hits, including One Moment in Time, Queen of the Night and I Have Nothing – all, of course, given the kiss of life by Burke’s contemporary and soulful delivery.
Global superstar diva Marron ‘s life is endangered by a crazed stalker convinced that they are meant to be together. Concerned for her well-being, her manager hires Secret Service Agent Frank Farmer (played by Stuart Reid), a no-nonsense, dry-humoured Bodyguard, renowned for his good work, to wrap her in the thick cotton wool that she requires. A man of business, versus a woman of freedom, and she initially resists his attempts to keep her safe – that is, until she falls in love with him.
Running parallel to this love story is the close yet fractured relationship between two Marron sisters, which becomes more apparent as the performance goes on. Nicki Marron (Melissa James) is modest ignored and slightly bitter, yet passive. Rachel is strong-willed and at the centre of the Universe. They seem to be on opposite ends of the spectrum, however they both have one thing in common – they both develop an ever-increasing interest in the Bodyguard. Is it to fill the overwhelming voids of emptiness that they are both feeling? The breath-taking duet of Run to You, delivered by the talented stars, may suggest so.
As the production rounds itself up to a finish, you can sense the almost unbearable anticipation of Houston’s most famous hit I Will Always Love You – and it does not disappoint. The Oscar aspiring Marron shines bright dressed head to toe in an Oscar trophy-esque gown, possibly mirroring her long-running Oscar ambitions which were a clear theme within the performance.
A very up-tempo and equally emotive performance delivered by Burke truly showcases her to have the full package – a singer, a dancer and an actress, displaying impressive choreography without even missing a note. This will be sure to leave you begging to ‘Dance With Somebody’.

See also:

Our review of Green Day’s American Idiot.

Our review of Breakfast at Tiffany’s.

Religious theatre

25th March 2016

Leicester @ The Cross

Good Friday and Christians gathered in Humberstone, in Leicester city centre, for a celebration of Easter, the Christian festival that marks the death and resurrection of Jesus Christ.

The audience in Humberstone Gate on Good Friday
The audience in Humberstone Gate on Good Friday

It was a bright sunny morning at Humberstone Gate began to fill with people. A large stage had been assembled at the Charles Street end of the wide pedestrian concourse.

Rap artist Jonezy singing on stage on Good Friday
Rap artist Jonezy singing on stage on Good Friday

On stage was a full live band and enormous puppets took part in the enactment of various parts of the easter story.

An actor playing Christ on the cross
An actor playing Christ on the cross

In a dramatic scene, an actor, playing the part of Jesus, was raised on the stage to portray the crucifixion.

Singer David Lewis leading the musical praise
Singer David Lewis leading the musical praise

The crowd was invited to join in with singing led by local musician David Lewis who had written a song especially for this event. David also sings with the local band Once Vagrant Souls.

Jonezy is a hip-hop artist from Loughborough
Jonezy is a hip-hop artist from Loughborough

A lively and inspriational performance was given by local artist Jonezy, the hip-hop singer from Loughborough who is well known in Leicester.

The acting Bishop of Leicester
The acting Bishop of Leicester

The act of worship was opened with prayers from the acting bishop of Leicester, the Rt Revd John Holbrook.

A welcome address was given by the Archdeacon of Leicester, Revd Dr Tim Stratford.

The crucifixion is portrayed on stage
The crucifixion is portrayed on stage

Scenes from the Easter story were enacted by giant puppets, making it easy for people to see what was happened from a long distance away.

A dramatic moment in the event was when an actor, playing Jesus, was hoisted up on stage, on a large wooden cross.

Public performances of the Easter story have been taking place in Leicester since the middle ages.

Getting the message across with the help of a large screen
Getting the message across with the help of a large screen

The whole of Humberstone Gate was filled with people, on this bright Friday morning and the local radio station was there to provide a live report.

Sheets were handed giving the words of the songs enabling people to join in with the singing, led by local musician David Lewis and backed by a substantial live band.

One of the highlights of the event was a performance by local hip-hop artist Jonezy, who performed several of his own songs, with plenty of zeal and energy.  This proved to be a hit with the crowd, for people of all ages but especially for the youngsters who were there.

On stage, actors and puppeteers portrayed scenes from the easter story including palm Sunday and the Crucifixion.

The event was organised on an inter-demoninational basis, drawing in members of the Anglican and Methodist faith traditions.

Jonezy performed his song I’m Alive, a positive vibe affirmation of the way he feels and a testimony to his Christian faith.

See more about this event on Music in Leicester magazine.


American Idiot

24th March 2016

American Idiot Review
Curve Studio

Our rating: *****

Music by Green Day
Lyrics by Billie Joe Armstrong
Director and Choreographer Racky Plews

Fifteen years ago I was watching Billy Joe Armstrong and his punk band Green Day performing live at The Reading Festival. I have been loving their music ever since. The audience in Curve Studio theatre tonight also loved it; they gave the performers a standing ovation at the end of the show. It was one of the best musical events I have seen at Curve, or anywhere else for that matter.

So many things stood out for me in this show: all the cast members danced, sang and acted and played guitars; in fact in one scene they are all on stage playing guitars – en masse. You won’t see that again in a musical in a long time. The cast were very ably supported by a live band; some of the band guitarists were on stage, on a platform above the main performance area. The three principals sang songs accompanying themselves on guitars.

Green Day's American Idiot runs at Curve from 19th March. Picture from 2015 London production. Photo: Darren Bell.
Green Day’s American Idiot runs at Curve from 19th March.
Picture from 2015 London production.
Photo: Darren Bell.

The moment that stole the show for me was Matt Thorpe singing Boulevard Of Broken Dreams; the Green Day song that has a special resonance for me; I quoted from the lyrics in my novel The Trench, were its sentiments epitomised what rock bands often seem to feel about working in live music. Not what the song is about but hey it seemed to fit anyway.

I walk a lonely road
The only one that I have ever known
Don’t know where it goes
But it’s home to me and I walk alone

American Idiot is a punk rock opera; its roots could be said to lie in the rich soil of Tommy, The Rocky Horror Show, West Side Story, Jesus Christ Superstar and various other productions that have broken the mould of musical theatre over the past few decades. Green Day’s album of the same name was released in 2004, the musical being premiered in 2009 at The Berkeley Repertory Theatre prior to the show moving on to Broadway.

Tonight’s show at Curve’s Studio was absolutely marvellous. The standing ovation given by the audience at the final curtain was well deserved. The singing was fantastic, the dance was massively good, the acting amazing and the whole show a complete sensation.

American Idiot was exciting, colourful, dramatic, engrossing, poignant, enjoyable… no shortage of adjectives to describe how good it was. The show opens with the cast singing and dancing to American Idiot, the hit title song Green Day’s album of 2004. A number that fizzed with unbridled vitality.

Well maybe I’m the faggot America.
I’m not a part of a redneck agenda.
Now everybody do the propaganda.
And sing along to the age of paranoia.

Everyone in the cast was good but Matt Thorpe (who played Johnny) was pretty amazing; Tunny (played by Alexis Gerred) was electric and Amelia Lily (as Whatsername) wonderful, Steve Rushton as Will, superb. The performance of the cast sizzled with energy. These guys really rocked out bringing it all to life on the stage.

We did not see the drummer Alex Marchisone until he came on stage for the curtain call right at the end. But the guitarists were visible for most of the show which was great because seeing them playing live gave the whole thing an extra resonance.

The show tells the story of three friends from a suburban area, following different journeys in search of their true selves. Through the songs they express their love, their rage and their struggles. The theme of the show includes a preoccupation with TV and a screen is lowered over the stage from time to time. The story line revolves around the lives of Johnny, Will and Tunny. Will’s girlfriend Heather becomes pregnant. Johnny wanders through the city streets pining for a woman he saw in a window. Tunny enlists for the army. Johnny starts to shoot heroin. Will feels trapped in life as a father with a baby and Tunny is shot while on active service.

American Idiot. Amelia Lily as Whatsername. From the 2015 London Production. Photo: Darren Bell.
American Idiot. Amelia Lily as Whatsername. From the 2015 London Production. Photo: Darren Bell.

Well there is a lot more to the story and I don’t want to spoil it for you; I just want you to see it. American Idiot is one of the best productions I have seen at Curve – and there have been a few of them. The show’s eight day run in Leicester is a great shame, for its brevity,   but it’s on tour and many other audiences in many other towns will want to see it. The show is moving on to several other cities in the UK between now and July.

Find out more about the show on the American Idiot website

American Idiot. Amelia Lily as Whatsername. From the 2015 London Production. Photo: Darren Bell.
American Idiot. Amelia Lily as Whatsername. From the 2015 London Production. Photo: Darren Bell.

See also:

Our coverage of Rent, the musical

Blood Brothers review

Rocky Horror Show review

Schools concert 2016

Saturday 5th March

Loughborough Endowed Schools spring concert
De Montfort Hall

Tonight’s programme would have been a challenge for a professional orchestra; but 400 school students gave a performance of which many professional choirs and orchestras would have been proud.

Students aged from nine to eighteen delivered an impressive selection of musical delights; in the first half works by Sibelius, Chaminade, Grandjany, Warlock, Karrick and Monti; then, in the second half, Mozart’s Requiem.

What we saw tonight was just how much music education has advanced over the past forty years. This country has no shortage of opportunities for young people to demonstrate their musical talent, from the National Youth Orchestra of Great Britain through to regional and city orchestras and in the choral sector The National Youth Choir, several for children and the many church-based groups and choral scholarships of our prestigious academic institutions. For young musicians there is much to aim for. What stands out is that, here in Leicestershire, we have a music tradition that clearly rates highly at a country-wide level.

Tonight’s programme began with Alla Marcia from the Karelia Suite by Jean Sibelius. This well-known piece is one of the great lollipops of the classical music repertoire. A delightful confection of jaunty melodies offers a good start to a programme, although, I suspect, the youthful musicians were not quick to warm up, as some of the playing tended to be somewhat plodding and lacked the vigour and sparkle that you would hear from more seasoned performers. Even so, the piece rolled off the stage with satisfying precision and commitment. Flautist Emilie Harlow joined the orchestra for Cécile Chaminade’s Concertino. Now in year 13 at Loughborough High School, Emilie has performed with the National Schools Symphony Orchestra and is a member of the National Youth Wind Orchestra. Emilie gave a delightful and engaging performance of the 1902 work by the French composer whose concertino is an examination piece for flute students. Few would contest that Harlow passed with flying colours.

The stage was rearranged for the next piece, performed by the 16 or so members of the string ensemble. Harp soloist Aoife Miralles joined them for Marcel Gandjany’s Aria in Classic Style giving a vibrant and charming delivery of this piece by the French-born American composer. This was followed by three movements from Peter Warlock’s Capriol Suite based on Renaissance dance tunes.

The items on tonight’s agenda were introduced by compère Peter Sargeant who talked about the music while the stage was re-organised for the various groupings of the first half. After the string ensemble had left the Symphonic Wind Band came to the stage, comprising flutes, oboes, clarinets, bassoons, saxophones, trumpets, horns, trombones, euphonium, tuba and percussionists. They began with Brant Karrick’s Memor Vita! A poignant piece written in memory of a boy who died of cancer at the age of 14. In it, some of the musicians sing acapella, part of a song – How Can I Keep From Singing – unusual if not unique for a wind ensemble but they all sang beautifully. This lively celebration of life is full of vibrant rhythms and engaging tunes. The combination of wind and brass produced plenty of ear-pleasing harmonies.

More stage adjustments saw a range of percussion instruments taking centre stage in readiness for the arrival of Jake Baum for Monti’s Czardas arranged by Gert Bomhof. The rich and exhilarating rhythms of Hungarian dance music were vividly and dexterously brought to life by Baum on the xylophone, marimba, vibraphone and glockenspiel. Some might remember selections from this piece in Lady Gaga’s song Alejandro. The melodies we heard were memorable; tunes we have often heard before. In the fastly-paced Friska, Baum was able to show off his considerable talent as a percussionist. The piece illicted sustained applause and ended the first half of tonight’s programme.

Wolfgang Amadeus Mozart Painting by Barbara Krafft
Wolfgang Amadeus Mozart
Painting by Barbara Krafft

The story behind Mozart’s Requiem will be remembered by some from the film Amadeus (1984) directed by Milos Forman, written by Peter Shaffer and starring Tom Hulce. In it we saw the 35 year-old composer, on his death bed, dictating the score of his Requiem to Salieri, his life-long rival. Terminally ill, the young composer died before he could complete what many would say was his greatest masterpiece, a work shrouded in myth and fable not least those manufactured by the playwright Alexander Pushkin and the composer Rimsky-Korsakov. Started in 1791, but never finished by Mozart, The Requiem Mass in D minor was conducted, in tonight’s performance, by Richard West with soloists Isabel Bridgeman (soprano), Joanne Edworthy (mezzo-soprano), David Morris (tenor) and Nicholas Crawley (bass-baritone). On stage all tiers of the choir stalls were filled with the members of the LES singers, serried ranks of children and youths supplemented by adult singers.

This great work of musical genius is a daunting challenge for experienced choirs and orchestras; to see it performed by a group of school children and students is astonishing and to hear it performed with eloquence and fully-powered solemnity is nothing short of stupendous. The whole evening was highly enjoyable and impressive but to take on the Requiem and deliver it with considerable ability is quite an achievement. The LES brought together their choir, Chesterton Cantamus and Burton Choristers, Loughborough Singers, and LHS’s year 7 singers. The Introitus and Kyrie won over the sizeable audience and then the Dies Irae. With its urgency and feverish string parts, the forces required from the choral parts are challenging, to create that sense of dread needed by this incredible piece of musical brilliance. Just as the Rex Tremendae calls for considerable resoluteness and stature to capture its feeling of majesty and awe. Tonight the huge forces marshalled in the DMH were magnificent and the concert was inspiring.

I was very pleased that the LES invited me tonight; being there was not just very enjoyable but revealed how far musical education has come (since I was at school) and what a wealth of talent there is in Leicestershire. A lot of my time is spent watching teenage musicians playing guitars and singing pop and rock songs; so, to see those of a similar age-group playing orchestral instruments and being part of a choral tradition was an exhilarating change to my usual routine. What tonight did for me is to re-affirm that our county has a deep fund of skills and abilities in its younger population than is acknowledged or recognised at national level; not as much as it deserves to be.

Post scriptum

The LES Music School has added to its reputation for excellence the accolade of being an All-Steinway partner, one of only 175 establishments worldwide and of 22 in the UK (only 13 of which are independent schools.)

Find out more about LES Music School.

See also:

Our review of Lord of the Flies at Curve.

News about music in 2016.


Thursday 25th February

Outings – review

Curve, studio theatre
Outings 25th and 26th February
The world’s first show based on true-life coming out stories
by Thomas Hescott and Matthew Baldin
Our rating: *****

Reviewed by Trevor Locke

Moving, funny, disturbing but wholly insightful

On stage tonight were Andrew Doyle, Caroline Lennon, Hardeep Singh Kohli and Camille Ucan.

Camille Ucan appeared in Outings, February 25
Camille Ucan appeared in Outings, February 25

The phrase ‘coming out’ has embedded itself in the British language. Originally it meant ‘coming out of the closet’, a phrase coined in America in the 1960s. Tonight the four actors read a series of stories, collected and edited by Thomas Hescott and Matthew Baldwin, originating in the lesbian, gay, bisexual and transgender communities. The show began at the Edinburgh Fringe in 2014 and most of the stories were submitted to a couple of websites run by the editors. These stories reflect the life experiences of men and women from around the world as they reveal their sexual orientations to their family, friends and work colleagues.

Moving, funny and sometimes disturbing, these stories tell us a lot about the world we live in and the people who react to the confessions of those nearest to them. The 20 or so stories are vibrant, compelling and highly revealing; they lay bare not just the personal accounts of the people who came out but the reactions of the mothers, fathers, brothers, sons, daughters, work mates and others to whom they ‘came out.’ That tells us a lot about our society; it exposes who we are and how we behave towards others, especially those we love or are supposed to love.

Adrew Doyle appeared in Outings, February 25
Adrew Doyle appeared in Outings, February 25

Outings is not a play; the four people on stage tonight did a vastly good job at acting (rather than just reading the scripts) bringing each of the characters to life and making them into real people by giving them credible voices. Neither was it a documentary or a lecture. Many kinds of individuals came across in the stories: women, men, young, old… they all told of what they did to reveal their sexual orientation to those around them, the reactions they got from others and the impact of their revelations on their lives and those of their nearest and dearest.

Most of the stories were monologues, except where two or more of the actors enhanced the story by acting out moments of dialogue. It was cleverly done and the two hours of drama and comedy never had a dull moment; it was always gripping, sometimes tear-jerking, now and then side-splittingly funny but always insightful and moving.

Our four actors had a real knack of bringing the story-tellers to life and giving them colour and presence. The stories hopped from man to woman, from teenager to older married man, to someone born into the ‘wrong’ body, to a straight woman who had married a gay man, to a footballer who had to battle with a homophobic sport, to a teacher who told a class of eight year olds that he was gay… if you did not know these were true stories you would be forgiven for thinking they had all been made up. Truth is stranger than fiction.

The media has, in recent years, presented us with several high-profile coming out events: swimmer Tom Daley, footballer Justin Fashnu, rugby player Gareth Thomas, Apple boss Tim Cook, actress Ellen Page, Prison Break star Wentworth Miller, the list goes on and on. Tonight’s stories were not about celebrities;they were from ordinary, sometimes extraordinary, people living humdrum lives in a variety of situations. What tonight’s show does remarkably well is to reflect back to ‘straight’ people how they deal with coming out. Society has a lot to learn.

Outings is at Curve on 25th and 26th February.


LordofTheFlies at Curve

Lord Of The Flies – review

Curve, main theatre
Lord of The Flies runs from 8th February to 13th February

A play adapted for the stage by Nigel Williams from the novel by William Golding.
Directed by Timothy Sheader
Our rating: ****

Reviewed by Trevor Locke

A gripping and imaginative production.

Lord of the Flies. Ralph and Piggy. Photo: Johan Persson.
Lord of the Flies. Ralph and Piggy.
Photo: Johan Persson.

Reading the programme notes for tonight’s play was almost as entertaining as the show itself. In The nature of being human, Professor Tanya Byron takes ‘a deeper look at what this story tells us us about the nature of being human.’ The said academic is a consultant in child and adolescent mental health, writer and presenter on TV shows. Her piece, in the programme, was absorbing. It got me thinking about the plays, books and films that have portrayed teenage violence since William Golding’s novel was published in 1954 and Peter Brook’s film of the book came out in 1963. I would not want to suggest that this play is about teenage violence – it portrays much more than that – but several films came to mind as I read Byron’s contribution. I remembered attending a conference of youth justice workers at which SCUM was screened. Alan Clarke’s dark portrayal of life in a British borstal, released in 1983, was a seminal moment for me, at that time, as well as for the 200 or so social workers and probation officers with whom I watched the film. What stuck in my mind was the scene in which the Borstal inmates riot in the dining hall breaking up the furniture in a collective frenzy of teenage violence. Bear in mind that the old Borstals were based on English public schools and their regimes of character-building and devotion to rules and discipline.

LORD OF THE FLIES by Golding, , Author - William Golding, Director - Timothy Sheader, Co-Director - Liam Steel, Designer - Jon Bausor, Regent's Park Open Air Theatre, 2011, Credit: Johan Persson/
LORD OF THE FLIES by Golding, , Author – William Golding, Director – Timothy Sheader, Co-Director – Liam Steel, Designer – Jon Bausor, Regent’s Park Open Air Theatre, 2011, Credit: Johan Persson/

As I continued to read, other films came into my mind: Lindsay Anderson’s IF which satirised the life of English public schools, Brighton Rock by Graham Green, a story of teenage sociopaths, hoodlums and the battles brought by Rockers against Mods, The Outsiders, Francis Ford Coppola’s 1983 classic about tough working class teens and their rivals from the wealthier side of town. In fact, I even saw parallels with West Side Story, Romeo and Juliet and Rebel Without a Cause.

LORD OF THE FLIES by Golding, , Author - William Golding, Director - Timothy Sheader, Co-Director - Liam Steel, Designer - Jon Bausor, Regent's Park Open Air Theatre, 2011, Credit: Johan Persson/
LORD OF THE FLIES by Golding, , Author – William Golding, Director – Timothy Sheader, Co-Director – Liam Steel, Designer – Jon Bausor, Regent’s Park Open Air Theatre, 2011, Credit: Johan Persson/

Many art forms since the 50s and 60s have dwelt on the nature of young male behaviour and seen it in dark terms of violence and aggression. To Professor Byron, tonight’s play is about ‘human nature’ despite the fact that the characters are all male and all young (in the book they are preadolescent, 6 to 12) and there are no female characters in the play. Tonight’s cast was made up of actors who looked to be in their late teens or early 20s with the exception of Perceval ( a role played tonight by David Evans). Ever since the Brixton Riots of the 1980s, teenagers and young adults have been demonised in the news and popular culture, which might explain why Golding’s 1954 novel has such an enduring appeal.

Ralph in Lord of The Flies. Photo: Johan Persson.
Ralph in Lord of The Flies.
Photo: Johan Persson.

Like a lot of very successful books and dramas, Lord of the Flies can be interpreted in a number of ways and certainly its plot operates on many levels. It is ostensibly about a group of English public school boys who are marooned on a desert island after their air-plane crashes. It shows how the thin veneer of their upper class upbringing and civilisation is destroyed as they resort to savagery, tribalism, murder and bloodsports. In and beneath that, the plot is about leadership, morality and power, portraying the tense dialectic of group dynamics with individuality. You might see the plot as a struggle for survival, and yes it does show that, or what happens to well brought-up boys when the reins of adult supervision are removed.

LORD OF THE FLIES by Golding, , Author - William Golding, Director - Timothy Sheader, Co-Director - Liam Steel, Designer - Jon Bausor, Regent's Park Open Air Theatre, 2011, Credit: Johan Persson/
LORD OF THE FLIES by Golding, , Author – William Golding, Director – Timothy Sheader, Co-Director – Liam Steel, Designer – Jon Bausor, Regent’s Park Open Air Theatre, 2011, Credit: Johan Persson/

Tonight’s production at Curve was dominated by the set design of Jon Bausor. The plot takes place on a desert island sometimes on the beach (near to the remains of the crashed aircraft), sometimes on the top of a hill (Castle Rock) and at times in a forest. Putting all that on to a small stage was bound to be a challenge. As with many recent productions, the same set remains in place throughout the two acts. The action – of which there is plenty – takes place around, in and on the various parts of the fuselage of the tail of the crashed plane. It is a set which requires the audience to use its imagination.

The cast of young male actors imbued the production with plenty of energy and when not acting their roles were choreographed into a series of dance-like moves, moments when some of them were frozen while the dialogue took place elsewhere and the kind of running, jumping, climbing and leaping about that only a young athletic ensemble could achieve. Nigel Williams’s adaptation of the Golding novel tells the story and unravels the plot (however you want to interpret it) whilst grappling with the logistics of life in a forested desert island with a beach and a hill. Reading Nick Smurthwaite’s programme note ‘Trouble in Paradise‘, I particularly valued his paragraph:

My experience showed me that the only falsification in Golding’s fable is the length of time the descent into savagery takes. His action takes about three months. I believe that if the cork of continued adult presence were removed from the bottle, complete catastrophe could occur within one long weekend.

He is quoting the words of Peter Brook, the director or the 1963 film, in which he took a group of untrained young actors to make the film on an island in Puerto Rico. When Golding sent his book to the publishers, the plot began with an atomic explosion which brought down the boys’ plane and led to the long the long delay to their rescue.

In that respect, Lord of the Flies is an allegory of the shallowness of civilisation generally and of mankind’s descent into savagery when law and order are removed; if that is how you want to see it, then both the book, the film and the play deserve a place alongside Romeo and Juliet and West Side Story.

A production from Regent’s Park Theatre Ltd.

See also:

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