Talent produces cafe culture

Espresso Theatre 2

 Margaret Abri Cafe, Digbeth

This second “Espresso Theatre” continued a very successful launch some months ago to showcase local talent keen to perform short new pieces of drama. Once again it did not disappoint.

First up was veteran performer, and doyenne of the local Drama scene, Jan Watts who performed a powerful monologue, “The Crown v's Knox Johnson” , the testimony of the eponymous Welsh woman's testimony in the dock.

Stuart Zola is a very fine dramatist, and actor. His piece “Morphine Wave” perfectly demonstrated how good writing can transcend the limitations and confines of any space. A critically ill man, lost in a morphine induced haze finds his wife, who had previously died of cancer, in an hallucinogenic limbo which explores his treatment of his wife and a reassessment of his own values as he confronts his own mortality. Wonderfully acted, and skilfully written, it was  worth the price of admission on its own.

Talented dramatist and actor, Jane Campion-Hoye,  formerly of London ,has recently made Birmingham her home. London's loss is definitely Birmingham's gain and Jane , who has had work performed in New York, took time out from her work with local Theatre Company “Community Vibe” to perform perform a beguiling monologue entitled “Telephone”. There was not a person in the house who did not believe that there really was someone on the other end of the line. 

The Greek Myths are fertile ground for drama ,and Lorna Meehan of the Rogue Play Theatre Company offered a delightful twist on the Dionysian myths, an entertaining monologue in four parts. Her sharp eye for interesting detail and self-effacing delivery is always a delight.

Talking Head's “Psycho Killer” introduced the next piece, “Goldfish” ,by Gary Longden. It opens with the memorable line, “I want to execute a goldfish – but I want to know if its legal?” Which rather sets the tone for this off-beat piece of black comedy performed by Gary and Jane Campion- Hoye. The theme of murderous non human beings was then taken still further by Dom and Olly Forrester whose monologue “Four Days Left” centred on the premise of a savage Killer Moth more fearsome than any pit bull playing out its short life cycle.

The evening was closed by another fine piece written by Jan Watts, and performed by amongst others Stuart Zola, entitled “Second Coming”. Soon to be performed in New Zealand it imagined the modern day coming of John the Baptist in a clever, witty and wry piece which rounded up a very enjoyable, successful, and eclectic evening's entertainment. 04-06-10.

Kay Dents

Poetry @ The Margaret Abri Cafe, Cheapside, Digbeth

This monthly event clashed with Election Night, meaning that it was either going to be deserted, as people voted, or watched the news, or was to be  full of Election refugees. Fortunately it was the latter. Pleasingly, poetry at the Cafe continues to develop with regular performers now being augmented with visitors from further and further afield. The mix of the relaxed cafe ambience, free entry and an attentive crowd is working. Regulars like Sam Hunt, Jean Davison, Martin Gibberd and Stuart  Flavill were all on fine form, but this time it was the new performers who caught the eye, and ear.

Dave Brown had travelled all the way from Barnsley in Yorkshire, and his trip was very worthwhile, for  his debut Midlands appearance. Physically a large, brooding figure, his poetry mixed pathos, pain and humour in an engaging “bare knuckle” style. “Haitian Adoption”, and “Aid” both shone from a strong set.Coventry offered  two new debut performers  responding to the Cafe's growing reputation.

First up was  Jon Morley two distinct, and very different pieces, “From The Spanish Gypsy” and “The Silver Age”. His slight, beguiling persona wove magic with the former poem, an intensely lyrical work which almost begged to have musical accompaniment. Second , was Anthony Owen whose resonant, punchy work took in “Forgiveness”,

“ The Still Wheel” “One of Us”, “Water” and “Scent of a Sun”, the first of which used a haunting, whispered call and response device which worked brilliantly.The next session is Thursday  3rd June at 8.30pm. All welcome. 06-05-10.
Gary Longden

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Jadis Shadows Touring Company completed their successful tour The Revengers Tragedy in November 2009. Director and actor James Tudor took time out to talk to Behind The Arras's Gary Longden.

Q. The Revenger's Tragedy was written more than 400 years ago, what made you want to produce it?

JT- I was first introduced to Revenger's while studying theatre at university. I remember being intrigued from my very first read. Despite its Jacobean setting I found it remarkably fresh and modern in genre. I found its incredibly dark humour refreshing and enjoyed the fun it poked at now iconic images; for example Vindice with the skull of Gloriana mirroring Hamlet with that of Yorick  . . .  I was also cast in a great production of the piece which always helps you discover the heart of a play.

Q. Pre–Shakespeare plays are rarely performed these days, how did you go about making it accessible to a modern audience?

JT- Revenger's was, in fact, written/produced after Shakespeare's plays had originally been produced. The taste during the Jacobean period (James I) was for much darker, ironically witty pieces such as The Duchess of Mali- The plays become more cutting and with a grittier edge. In regards to creating a piece which would be viewed as accessible to a contemporary audience I began with taking the text and after absorbing myself in inspiration from modern culture (The Cook, The Thief, His Wife, Her lover,‘Hostel and Reservoir Dogs to name a few) I set to a good few months of working the script. I tightened the plot, as the play does have sprawling feel to it when viewed by a modern eye. I also looked to the language and imagery; at times I felt that there was textual imagery which would hold little or no resonance to a reader/viewer today and so replaced it with a more contemporary theme. Working with the cast was also vital in the process- moving them away from viewing the play as a classic text (although I ensured they understood the historical grounding of the piece) and towards them seeing it as something more immediate and relevant to today's society. This was achieved through a series of workshops and ‘inspiration' sessions where a great deal of discussion and improvisation was used.   

Q. The authorship of this play continues to be disputed, and over a period of 400 years the text will inevitably be revised, which version did you choose to use, and why?

JT- I find the fact that the play is of unconfirmed authorship fascinating… Everyone loves a mystery! During the rehearsal period though I avoided the Tourneur/Middleton authorship debate as I felt it would distract from the contemporary statements we were building within the piece.  

As I worked an adaptation on the text I had the luxury of working with several differing versions of the text and then reworking my own piece with the most accessible from each. At times it felt like a richly patterned jig saw puzzle- confusing at times but deeply satisfying.     

Q. I noticed that part of Act One, scene two, was cut (from my version!). Why did you do so? And did you make any other cuts?

JT- There was indeed various cuts to the original text due to the reasons I stated before. The tightening of the plot and economy of themes were both major considerations. Also, of course, running time had to be taken into account (another main point in regards to its accessibility today). There were, in fact, several sections written by myself as a bridge in the action, or to heighten a theme I felt was underplayed in the original text… I hope that the result created a coherent, fluid whole! As yet we have had no comment on these ‘new' sections, in fact they appear to have gone unnoticed which I hope shows that they blended well into the original text- A major compliment!!!

Q.Is the production evolving as the tour unfolds?

JT- Every production should be organic, especially a piece which tours from differing venue to venue. The cast have all fully embraced their characters and it is fascinating to witness their characterisations deepen as the performances continue. It can be something as simple as a new subtle nuance to a line which unlocks an unseen truth behind its understanding and you think ‘My God! That's fantastic!'  

Q. The play is laced with bisexuality, incest, murder, revenge and lust. Seneca is regarded by some as the Godfather of this genre, Tarantino a modern film exponent, and Shakespeare the Artistic apogee. Where does this work sit for you in the great canon of Revenge Tragedy?

JT- Whoooh, well I myself feel that the piece is an evolution, a development in the genre. It holds its foundation in the English ‘Revenge Tragedy' tradition yet is looking forwards using sources such as Tarantino as its contemporary inspiration.  

Q. The costuming came from different eras, how did you make your choices?

JT- It was a major part of our designs development in us looking to various ‘cult' periods of fashion and exploring the emotional responses they evoked and how they tied with the themes of the play. It was a process which ended with the final designs worn on stage. A short list of; twisted Edwardian styling meeting the London's 1980's club scene, 1950's chick meeting 1940's pinup and Chicago gangster meeting military goth were all finalised design key words… Each characters styling developed individually from these.    

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Q. Extensive use was made of a contemporary soundtrack, what influenced your choice?

JT- Experimentation! During the early period of rehearsals we worked with various pieces of contemporary music which we felt would benefit the mood of the play and for individual character. We then selected the tracks which we felt truly highlighted the moments in the piece from which we wanted an emphasis on a recalled emotion from our audiences. This led to a varied, yet deeply evocative mix developed through the working of the piece.     

Q. A combination of the stage restrictions of certain venues, and budget have resulted in minimal stage sets. What challenges did that set for you?

JT- Rather than seeing the restrictions as a challenge we saw the necessary simplicity as something to be embraced to the pieces advantage. I had full intention for the playing area to be a simple arena for the characters to take full focus from the start, much as would have been witnessed at the pieces original performance at the Globe, and for simple practicality I wished for a space which would aid continuity and fluidity to the plot. Rather than adding to a performance of this genre heavy setting can, in fact, seriously detract. We drew our design from the symbolic rather than the literal with a stark use of colour and space throughout.

Q. Which are your favourite quotes from this play?

JT-- Oh, well the most obvious, for me, is when Vindici wheels in the corpse of his murdered fiancé in preparation of seducing the lecherous Duke with it.

  “Are you not now charmed, brother, at her beauty? Have I not fitted that royal letch with a quaint piece of rarest beauty? Age and bare bone ever allied in grace and charm . . .” very dark but also filled with macabre wit!  

Q. Which part was the most fun to play?

JT- Well, for myself playing Lussurioso I would have to say the two extremities of reaction I have towards Vindice throughout the play. The big homoerotic romp when I first meet him was brilliant to rehearse and is always great fun to play. Also my anger at him later on is a great opportunity to truly ‘let go'… Poor Ben (our Vindice) he really does get a bit of a beating throughout the performance!

Q. Was it difficult to remember the often arcane language and phrasing?

JT- Not at all, in fact we found that once you had discovered the inner rhythm of your character's speech and unlocked the subtle humour of your lines it sunk in swiftly. The hardest moments came when the text took you to moments of ironic repetition- that could get a tad confusing.

Q. Your next production is I Am Camera by John Van Druten. What can you tell us about it? And when and where will it be performed?

JT- “I Am a Camera” is a fantastic piece. Most people recognize it as being the play on which the musical ‘Cabaret' is based although in fact the play is a dramatic adaptation of an earlier, semi biographical, novella called ‘Sally Bowles' by Christopher Isherwood. It captures the transitional, collapsing society that was Berlin in the early 1930's beautifully with great humorous insight into Isherwood's characters. We will be touring the piece next year- dates and venues to be confirmed.

Q.  What is the history of Jadis Shadows, and what plans do you have for the future beyond I Am Camera?

JT-- Jadis Shadows was established two years ago with the aid of a national lottery grant. It held the aims of bringing theatre, especially classical theatre, to a new diversity of audience, promote accessibility and to extend knowledge of lesser known pieces within the community. As for the future, well, we fully intend to extend our tour range, work on some exciting projects (already in the pipe line) and to reach and engage as many new audience members as possible!

Many thanks James and good luck for the future with Jadis Shadows.


Gary Longden 

Espresso Sized Theatre

Margaret Abi Community Cafe, Digbeth

The inaugural night of “Theatre in a Cafe” in central Birmingham exceeded organiser Stuart Rox's highest expectations as a full house enjoyed a diverse evening of five productions. Typically 15 minutes long, some were performed script in hand, others rehearsed and with costumes and props. An admission fee which included a drink and a cake made for a contented and relaxed evening which was presented by Jan Watts.

“Lovely Lady Liberty”, by Rachel Taylor, with Lorna Meehan as “Jenny”, and Louise Stokes as “Stella”, was a strong opener. Set as Stella is celebrating leaving for a new life in New York, her friend Jenny does not share her joy. A wistful story of friendship, dreams and girly angst, it was a bit like the girls from “Friends” getting together for a chat. Sharply written, and very well acted, it set the tone for the rest of the evening.

“The Providence Cafe”, by Jan Watts was all black humour as the dishes, served in this remote American Diner in the hot steamy south turned out to be not quite what was expected . Produced rehearsed, and in costume, actresses Rosie Pocklington as “Evvy” and Jane Perry as “Justine” excelled with superb deep south accents.

“Jimmy Lightning” by Stuart Zola was perhaps the most striking performance of the evening. “Jimmy” , played by Zola, is a washed up, faded seventies rock star who wants a chat with “Melissa”, played by Jane Parry. He sees no problem in drugging , crippling and gagging her to effect this! Rehearsed, and with props, it was a compelling, and very funny drama.

“The Reverend Sherri Angel's Top Ten Tips for a Long Lasting Las Vegas Marriage” by Rachel Sambrook delivered what it promised. Presented as a monologue by the author , it was cute, and well observed.

“The Long Engagement”, by Jan Watts, offered a light observation of two American tourists, played by Rosie Pocklington and Jane Perry who visit Birmigham Art Gallery and are intrigued by the eponymous painting.

An appreciative audience left well satisfied with both the diversity, and quality, of the evening which is set to be reprised in January. 26-11-09

Gary Longden 

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Rhymes

Custard Factory, Digbeth , Birmingham

A remarkable evening of high quality Performance Poetry in the Mixing Bowl Theatre at the Custard factory. The comfortable theatre setting provided both comfort to the audience, and credibility to the proceedings. Host for the evening was Lorna Meehan who combined an assured, authoritative air as MC with some excellent personal readings to link performers.

First up was Brendan Hawthorne, a veteran of the deindustrialisation of the Black Country, combining humour, pathos and wry observation in compelling form setting the standard very high for the rest to follow.

Shrewdly,  Jacqui Rowe was placed second on the Bill, with a very different proposition. Her work focussed on her     “re-envisioning” of the work of 19^th Century French poet Apollinaire who is credited with both coining the phrase “surrealist” and writing the first surrealistic works. Brave, different and challenging, it was a bold introduction into unknown territory for many of the audience.

Louis Campbell is a man with a carefully crafted image – Isaac Hayes, circa “Shaft”, and we got a wonderful, lyrical, “ street” set to match. His final two pieces were spoken with a sparse musical backbeat, which was particularly effective.

Closing  was newly crowned Birmingham Poet Laureate Adrian Jackson whose work was fey, light, accessible and enjoyed by all.

The final night in the Rhymes series is on Thursday December 17^th will take the form of a Poetry Slam where all who have performed during the year have been invited return to compete in a knock out night of fun which promises to be quite an event.

26-11-09 

Gary Longden

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REVIEW

Sunday  Xpress

 Adam  'n Eve pub,  Bradford St, Digbeth, Birmingham

A TYPICALLY eclectic  band of performers, a combination of seasoned troubadours and newcomers entertained a appreciative audience on Sunday. Performance Poetry was performed by Sam Hunt, Shirley, James Kennedy and MC Brendan Higgins. The Trolley Dollies delivered a very humorous set with Louise Stokes delivering one of her short plays. Tim Bom entertained with his unique brand of Musical Comedy, whilst Lizzie Smith and Dorm provided the music. The latter, sadly, refrained from his party piece of a Hendrix style immolation of his guitar. The next Sunday Xpress is on Sunday 15th November, same time, same place.

 www.myspace.com/wroteunder

18-10-2009

Lichfield Literature festival
Inaugural Open Mic Event For Authors
Methodist Hall, Wade St, Lichfield

This inaugural event was also part of Lichfield Director Richard Hawley's swansong as Lichfield Festival Director after five years at the helm. He leaves to take up a place on a prestigious Arts Leadership programme to be succeeded by Fiona Stuart, previously Festival Director for Chorlton Arts in Manchester. She should notice the difference.
Playwrights, prose authors and Poets were invited to attend, and they came in such numbers that the event overran its schedule by half an hour.
This time, the Poets found their shorter, punchier more accessible material, perfectly suited to the occasion. A large group from the Lichfield poets impressed with Janet Jenkins excelling with her diverse readings. The standard required to deliver prose, and engage an audience for 15 minutes is high, and the authors struggled in this regard.
An unqualified success, hopefully Fiona Stuart will build upon the firm foundations laid this year.

Gary Longden

10-10-09

BBC National Poetry Slam Finals
Birmingham Conservatoire

The Finals of the National Poetry Slam were held in the Adrian Boult Hall and played to an impressive audience of over 450, fully vindicating the decision to bring this event to Birmingham. Sponsored by the BBC, and recorded for broadcast by Radio 4, the competition was won by Manchester Urban Poet, Ben Miller. Frustratingly his best work, a wonderfully sleazy poetic pastiche ,entitled "S&M Food", was delivered as a winners encore and was not broadcast.
There was only one female finalist, from London, who, wracked by nerves, failed to progress to the second stage. Of the rest a young Adonis, Kit Lambert, had the females in the audience salivating as he reflected on romance over a cheese fondue. But the remainder fell some way short of finalist material.
Master of Ceremonies was ex Birmingham Poet Laureate, Dreadlock Alien, who combined an easy charm with a complete inability to remember the required content of his introductions, a shortcoming compounded by his refusal to write anything down. Slam Poetry has come a long way in recent years and is now merging with Theatrical Soliloquy in content and form.
Let's hope that this prestigious event returns to Birmingham next year with a supporting cast as strong as this years winner, Ben Miller.

Gary Longden

6-10-09

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Slam Finale

Wenlock Poetry Festival

THE inaugural Wenlock Poetry Festival reached a fitting finale with the cream of slam Poets from around the country, including  the West Country, Milton Keynes and Liverpool joining with local talent  in an exciting sudden death showdown.

Smoothly hosted by Dreadlock Alien and Spoz, a dazzling array of diverse poetic talent thrilled a large audience, many of whom were witnessing this “X Factor” style format for the first time. 

A conventional judging panel of Roz Goddard and Tony Stringfellow was completed by the more esoteric, flamboyant judgement of Dreadlock Alien. The opening round saw the likes of Kimmie Sue Ann's street style, Gary Longden's satire, Anthony Webster's whimsy, and Shelley's wry relationship observations set the tone for a rich tapestry of word play.

With ten poets jettisoned, the remaining five then fought it out for the final “word off”. Johnny Fluffy Punk entertained us with tales of Towels, Lorna Meehan got miserable about Morrissey and the delightful  Kess Tamblyn, at 16 years old the youngest poet, gave everyone a run for their money.

 The final was contested by Mark Niel and Peter Wyton, deserving finalists who consistently delivered in their previous rounds. Peter Wyton excelled with slick word play, Mark Niel had the edge with showmanship, including a hilarious second round knock about regarding the sexual stimulus that Slams provide him with, culminating in a striptease! He ended a worthy winner. 

Organiser Anna Dreda deserves much credit for assembling such an array of Poetic talent. Even current Poet Laureate, Carol Ann Duffy, whilst present, side-stepped the white heat of this competition . A rich supporting cast at other events during the festival included Roger McGough and current Birmingham Poet Laureate, Adrian Johnson. 11-04-10

Kay Dents

Cafe Laffacino

Margaret Rose Abri Cafe

Digbeth

THE Margaret Rose Abri Cafe is fast establishing a reputation as being an off-beat cultural jewel. Saturday saw its first foray into Comedy under the “Cafe Laffacino” banner, promoted and introduced by Rachel  Sambrooks. Presented in Variety Show style, there was indeed variety and no shortage of laughs.

The louche Lucinda Lavroche opened proceedings with a quick fire set of one-liners and humorous poetry to offer a solid start. Thereafter ,acts included the morose Nicola Goff the Goth with songs and reflections on a cruel world, Uncle Dirk's irascible Northern wisdom and the gentle traditional stand up of JJ. The multi-talented Naomi Watts delivered a stylishly idiosyncratic set of Jewish based deadpan humour from an unashamedly female viewpoint. It worked, was never less than engaging and benefitted from a very funny and strong start.

However for knock-about fun, one act stood out. Aaron Twitchen performed a wickedly funny set as a camp cowboy, complete with rope, Stetson and range of other supporting props to the delight of the audience and rapturous applause. Rachel Sambrooks skilfully split the evening into three blocks and two intervals linking the various artists with witty linking material and her own stand-up. Birmingham based Rhubarb radio, with DJ Gary Dring,  was on hand to both  record the acts and interview them, the results of which can be found on: http://blog.rhubarbradio.com/10itemsorless/

A highly successful event, and an ideal proving ground and format for those performers testing out comedy material ahead of the mainstream circuit. 10-04-10 

Gary Longden

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Poetry @ The Margaret Rose Abri Cafe

 Digbeth,  Birmingham

Now an established date on the Poetry circuit, the Cafe continues to successfully mix regular and new performers in a satisfying mix. Amongst the former, Jean Davison caught the eye. An accomplished  songwriter in her own right, her lyrical skills were best demonstrated in a vituperative diatribe entitled “Cheat”. The eponymous persona, real or imagined, would have squirmed, we lapped it up.

A trio of newcomers attended with very different styles. Ian Ward took us on a journey exploring Vampires, fantasy and familiar song titles and phrases. Anthony  Webster skilfully combined gory subject matter in “Medical Body Donation”, and light whimsy in “Hats”. Lastly, the familiar and estimable talents of Charlie Jordan enthralled all.

Marcus Taylor's work veers towards a more prosaic and storytelling style, an interesting juxtaposition with the other poets. The doyennes of Writers Collective ,Wroteunder  and Sunday Xpress, Sam Hunt and Brendan Higgins, delivered trademark sets, Sam with her fragile yet compelling personal reflections, Brendan with his brash bruising style, epitomised by a stirring “Fat”.

LEATHER JACKET

Martin Gibberd is one of the most distinctive personas on the circuit, with regulation leather jacket and denims, weather beaten features and dusty voice, his tales of bygone America combine aspects of both Hunter S Thompson and Jack Kerouac, instantly transporting his audience from Cheapside to The Road. By contrast Stuart Favill's subject matter ranged from beggars in Paris in “Beggar”, the demise of Western Films in “Death of the Western” and the Afghanistan conflict in “Return to Sender” which was particularly strong.

Host and Promoter Stuart Zola helped to wrap things up, intriguingly and stubbornly he continues to profess he is no poet, whilst continuing to produce high quality engaging material. Poetry at the Cafe returns on Thursday 6^th May.

1-04-10

Gary Longden

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SmartPoets Open Mic

St Martin's Hall, St  Martin's Church

 The Bullring, Birmingham

A WELL attended evening  proved that  Spoken Word events can compete with other, more established, leisure diversions on a Friday night for which organiser, and MC, Penny Hewlett deserves much credit. Some fifteen Poets performed on an evening which was diverse and varied. Unusually, the balance was in favour of traditional recited pieces which gave the evening a character distinct from many other Spoken Word events.

Afroben opened proceedings with a rich, soulful, religious selection of poems which set both the tone and the standard for the evening. Strong debut efforts by Fee Handscomb and Adam Grudger were balanced by a robust contribution from established poet Anthony Webster who's “Granddad”, “Child” and “Shoebox” pieces were of a uniformly high calibre.

MAVERICK PERFORMER

Tessa Lowe is a much under rated, maverick performer whose playful delivery and clever rhymes never cease to entertain. Her reflections on her one woman effort to get Tim Minchin to No 1 were funny, her bitter sweet reflections on the loss of a much loved Church minister sad, but conveyed with a wry twist.

The first half was closed by a typically assured performance from past Birmingham Poet Laureate, Charlie Jordan. An abbreviated version of “Buddhism  and Ben & Jerry”, her signature piece, was as enthralling and endearing as ever. Although the cognoscenti will have been disappointed by the omission of the middle section, the risk of excommunication is a powerful deterrent! Football Poetry is a neglected genre and Charlie has bravely, and successfully, made inroads into it.

Her poem about the Goalkeepers Glove is probably the most convincing piece of contemporary serious poetry around about football. After Albert Camus, there hasn't been very much serious football literature so she is operating  in uncluttered territory, but does have something to live up to.

SKANKY STREAM

After the break Lauren James, eschewing a red wig and hat, delivered a memorable piece about a skanky stream with a performance that eclipsed the material. On more conventional ground Ben Macnair, combined the pathos of “The Village Green Cricket Team” a gentle World War one piece, with the rakish humour of “Old” which elicited the biggest laughs of the night. Penny introduced Gary Longden as a “different voice”, and so it proved, with  Wayne Rooney, Cheryl Cole, Jordan and Parliament all taking a rhyming hammering.

The evening closed on a high with Jude Ashworth regaling us with tales of the vernal equinox and Ostara which were erudite, entertaining, and ever so slightly “other worldly”.

Penny Hewlett wrapped things up after some fine serious pieces with a humorous, and painfully accurate, comedy piece on the do's and don'ts of Poetry Society readings, a fitting farewell.

A Birmingham City Council official delivered a short plea for us all to visit Birmingham.com to support  a City of Culture Bid citing events such as these as proof of the rich cultural activity in the City which often goes unnoticed. The ongoing success of events such as these will undoubtedly help to deliver the higher profile that we all want to make the bid a success. 26/3/10

Ella Terratif

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Dordeci Corde

Margaret Rose Cafe

Digbeth  

Not to be confused with the Da Vinci Code, this was an unusual evening of the oldest "axe music" around ,played on vintage classical guitars by the "Dordeci Corde" duo. 

To  a candlelit backdrop, the music was beautiful, well played and interspersed with fascinating anecdotes. The rare  guitars they both played (over 170 years old) inevitably had a rich and varied history. But they also reflected on how similar the audiences were to those who would have gathered like us to hear such concerts back in the days when Victoria was very amused when Prince Albert invented a fascinating new line of body piercings for a bit of a giggle.

Musicians Mark and Danielle  won many new fans and sold some CDs in a setting that was perfect for their brand of musicianship, and promised a return visit in the near future. More information can be found at their website at www.dodicicorde.co.uk

26-03-10
Stuart Zola

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West Brom Words

Library Theatre

Birmingham

BIRMINGHAM'S  burgeoning performance poetry scene took a further step forwards with this event. It  showcased past Birmingham Poet Laureate, local and national DJ, and most importantly die-hard Baggies fan, Charlie Jordan's considerable talents.

Charlie has spent six months “hunkered down” inside The Hawthorns in order that the feats of the likes of Astle, Di Matteo and  Hughes  be recorded and celebrated by words as silky as a Laurie Cunningham dribble. She has done the club proud.

The evening was sponsored by national poetry organisation Apples & Snakes, and  compered  by the effervescent Jo Bell. An ex-archaeologist, Jo left behind a life that was in ruins to become a fine poet in her own right  and a champion of all things poetic .

Her witty and seamless links inevitably provided her with a welcome opportunity to include some of her own work, the highlight of which was “Custom Dictionary”, a clever variant on the “address book  device”, in which she worked through alphabetically all the “custom words” in the predictive text facility on her mobile phone. Inventive, innovative, and very funny.

FOOTBALL THEME

Boxer, and recent young Birmingham Poet Laureate, Matt Windle continued the football theme with an authentic, powerful and beguilingly lyrical exploration of football violence entitled “Hooligan”. The language was convincing, and not clichéd, and the mind set uncomfortably credible.

As the story unfolded the laddish banter of “The Clements”, and the menace of a mob at the door waiting for an “off”, was painted in compelling terms. “Heroes Identity Crisis”, an amusing  tale of superheroes and “Driving into Prison” completed his set. Just returned from teaching poetry in Indonesia, and only 19, Windle is a mightily impressive emerging talent. His skill lies in the combination of the maturity of his writing , the credibility of his subject matter, and an endearing, yet authoritative stage presence.

Wrapping up the first half was “Wunderkid”  Dan Cullen, a 17 year old whose performance style has catapulted him to take on the adults, head to head, on their own turf. Assured, and speaking from memory, Dan is at his best with his personal reflections on Christmas in Hospital, battling the challenges of Cystic Fibrosis.

POETIC INSPIRATION

His ability, for now, and his ambition are less well matched in his takes on Iraq and the American Health Care  System. Performing alongside Windle, who more  naturally finds his place in the story, will have helped him enormously.

The second half opened with a Birmingham debut for a darling of the Glastonbury Festival, Byron Vincent. With his first book, “Barking Doggerel” soon to be published, Byron chose to “hunker down” in a Bristol Shopping centre for six months for his poetic inspiration, and inspired he was.

His dissection of contemporary advertising copy was waspish, and his centrepiece opus, “Alchemy in Nowheretown”, a study  of the absurd and banal rituals of a drunken night out, a triumph. With Northern roots that span the Pennines, his style is that of a more cerebral John Cooper Clarke and is a mature talent ready to be sampled now.

Charlie Jordan then closed the show with more Albion tales. In “Albion Family Tree” she audaciously tackled West Bromich Albion's entire history, yet taking in her own family members like Reg, and combining him with more familiar names like Batson, Atkinson and Robson. Poetry and football have historically been uncertain bedfellows, as have women and football. But as Sky has trail blazed the ability of women to report on football, so Charlie has trail blazed the ability of women to write poetry about it. And a fine standard she has set too. 25/3/10

 Gary Longden

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Brenda Read-Brown, Performance Poet and Author

Streetly Library

Poetry @ The Margaret Abri Cafe

Cheapside

Digbeth, Birmingham

SPOKEN word continues to prosper at this sympathetic venue where audiences come to listen to what is on offer, rather than treat it as an afterthought to booze and chatter, as is the case at some venues.

The vastly experienced Poet and Author  Richard Bruce Clay opened strongly. His combination of erudite content, with a strong Black Country flavour, and a wry turn of phrase always impresses, as does his subject matter which include nights out in Kingswinford, the purgatory of being a Baggies fan, and cleverly disguised anti-fascism and love poems!

A contingent from Birmingham University was once again present. Hannah Morley, fresh from her previous success  at the last event,  delivered a frustratingly modest two poem offering taking in, “The Truth Will Out” and “Untitled “ (AKA Trains, Trains, Trains etc). Sharp, concise and pithy, she clearly has much to offer and will hopefully be more fulsome and expansive with her excellent repertoire in future. Rosie Reynolds gave a powerful debut performance with “Trying to Explain What Smoking Means to Me”, “University Square Istanbul”, “A Casual Dinner as Friends” and “Communication Nation” with the first piece particularly effective. The last of the trio, Californian Sean Colletti dazzled as he did last time. A withering attack on Movie critics amused and found the mark, as did the black humour of “Die Young”. However his inspired reflection on a friend who was supposed to come and perform, but didn't, composed on the evening, entitled “Poem for Andy” was the set winner.

The evening's format is kind to debut performers and Tracey Veck rose to the challenge with , “A Theme on a Fairy Tale” and “Bodies.” Afro Ben, by contrast, is a regular on the Circuit, and her intense, reflective and personal observations, written with a female Afro- Caribbean perspective, in short passionate pieces impressed as always.

Underscoring the diversity of the event, Martin Gibberd unleashed his Sixties , Beat style poetry with a Rock n Roll image and delivery, which is quite unique. By contrast with some other poets on the evening, his pieces tend to be longer and atmospheric, with “Joystick” and “Familiar Ground” the pick of the bunch, presented in a style which fuses Lou Reed and the Ancient Mariner himself.

With Spiritual Leader Stuart Zola taking in the sun in Malta, Gary Longden stepped in to MC the evening ,peppering  the changeovers with single shots from his own light contemporary canon. The next meeting is on Thursday 1^st April at 8.30pm.

Kay Dents
4/3/10

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Rhymes

Mixing Bowl Theatre

The  Custard Factory, Digbeth

Rhymes impresario ,and MC, Lorna Meehan announced during the evening that  Poetry at the Custard Factory was to be re-launched, with a break planned for March. If this was the swansong for the existing incarnation, it was a fitting one, with a strong and varied bill.  

Established “Scenester” , Gary Longden,  opened the evening with his trademark topical offerings encompassing Cheryl Cole, Wayne  Rooney, Jordan, errant politicians and Majorca, delivered as a continuous piece in an assured set.  

The pre-break slot was taken by Kurly, a ”street” style poet with enormous presence and an easy style. His extensive school work with children showed with a light, engaging touch,  “Precious Petals” was his standout piece.  

The second half was kick started with a clever , sophisticated, and humorous performance by the multi-talented Heather Wastie and her alter –ego  “Lily Bolero”. Her wry observations on Concert Hall etiquette were very well  received, as was her closing song.  

Ben McNair, in his “Rhymes”   debut, chose his poems well with ,“All the Sad Captains”, a strong opener, before he loosened up with the tales of the half heard telephone conversations of teenage girls and a wry original take on the perennial “grumpy old men” theme.  

The show was wrapped up by sixteen year old virtuoso Dan Cullen. A natural performer, his experience of Cystic Fibrosis gives him a window on the world which is beyond his years which is a both a strength, and weakness. His takes on serious illness, Iraq , Big Issue Sellers and racial discrimination are all well observed. But how I would enjoy his sharp skills also targeting  teenage topics.  

As usual, Lorna regaled us with high quality poetic interludes in between main performers, her recent experiences in Morocco providing fertile material, as she oversaw the night with her customary verve and brio. Many will be excitedly expectant as to how she, and Rogue Play Theatre develop, an event which has grown in stature, quality and importance over the past year. Keeping the audience, continuing to support and develop local talent, and adding national names will be a fine balancing act, but is a task she has proven she is well up to. 25-2-10 

Kay Dents

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Poetry at the Cafe

The Margaret Abri Cafe, Digbeth High St, Digbeth  

A FULL house in this latest, Stuart Rox promoted, series was rewarded with a sparkling array of talent, old and young, familiar and new. Such was the roster, that circuit veterans Richard Bruce Clay, Louis Campbell and Brendan “Shopping” Higgins watched rather than add their considerable firepower to proceedings. 

Sam Hunt beguiled once again with her intensely personal observations on absent mothers and maternal love. Radio DJ's seem to have a penchant for Performance Poetry with Smooth FM's Charlie Jordan establishing herself as a force on the circuit. Rhubarb Radio DJ, Gary Dring is the latest to forsake an anonymous  console for an audience that he can see, and his sharp witty pieces were well received. 

Another emerging talent is comedienne and Poet, Naomi Paul who reprised her recent “Rhymes” set with a few extras.”GreyRabbit”, her tale of an Englishwoman who hit the hippy trail a decade too late stood out once again, as did an intriguing offering about disappearing books. Delivery is as important as content with Performance Poetry, and Naomi's shrewd balance of recital, storytelling, and at one stage acapella singing bore testimony to her stagecraft. 

Commanding the stage with personal reflective poetry is tough, but Brendan O'Neill succeeded with a wonderful set, centred in Ireland, focused on lost love. His Irish brogue perfectly complimented windswept Irish coastlines and an equally storm lashed heart. Delivered without notes, he engaged and delighted. 

A “Poetic Possee” of Birmingham University students were in attendance and presented a bewildering array of fresh, innovative talent. Unusually they deserve credit as a collective for their enthusiasm, quality and attitude. It is impossible to do justice to them all, but Becky Birch's delightful tale of her mercenary inspired trips to her grandma was ably supported by the likes of Hannah and Matt Turner. Sean Colletti stood out though. A West Coast American, with a voice combining authority and pathos, he stole the show with “The lanyard” and “Quack” the highlights. 

And that only scratched the surface of both performers, and performance. If you want to find out more about Start Favill, and a Veteran Rock styled poet who looked like a slim Billy Connolly, but embodied the spirit of Allen Ginsberg and The Grateful Dead be there next time on Thursday 4^th March at 8.30pm. 04-02-10 

Gary Longden

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Measure for Measure

Mixing Bowl Theatre

Custard Factory, Digbeth

Director Kim Charnock  unleashed a powerful modern abridged version of Shakespeare's morality tale in this striking promenade production around the inside and outside of the Custard Factory environs.

The audience were assembled by whores outside, before being brought inside into the reception to be confronted by the Duke of Vienna's desk on a high raised platform with shredded paper cascading down as the City degenerates into Administrative chaos. 

 The colourful cohort of whores importune, and  then escort the audience around several settings in a physical recreation of a decadent, and decaying Vienna, as the story unfolds. Chief whore is Mistress Overdone, gloriously played by Jenny Stokes, whose colourful and earthy presence illuminates  the production.  

Disguise, deception and death are the central themes, as the Duke, played with imperious swagger by Graham Brookes, leaves Vienna to be cleaned up by his appointee, Angelo , ( Alex Nikitas) and then returns incognito to see how he is getting on.  The audience, cast lowlifes, and principles mingle seamlessly to great dramatic effect, with David Ault's  raffish “Lucio” a particular delight. 

FLOATING PRISON

A physical highlight of the production is a floating prison on the Courtyard lake used to  incarcerate the hapless Pompey ( Danny Hoxton ) and Claudio ( Tom McCarron ) whose waterborne trial went beyond what the script required. 

A RoguePlay Theatre Company production, credit is due to Lorna Meehan who  managed to edit and abridge the text and story without losing the lyricism of the words, or the context of the story. Inevitably the dynamic of this production produced an episodic result, yet completeness was compensated for by pace. The closing scene in which the Duke physically ties Angelos' hands and has him dancing like a puppet was inspired and typical of the inventiveness which was consistently displayed. 

E Scales

info@rogueplay.co.uk, 0121 2247545.i

www.rogueplay.co.u

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Rhymes

Mixing Bowl Theatre,

Custard Factory Digbeth

Rhymes entered the New Year much as it had left the last, with a solid bill of Poetic talent. Two past Birmingham Poet Laureates, Spoz and Dreadlock Alien, with current holder Adrian Johnson in the audience, opened proceedings by launching “The West Midlands Youth Poetry Slam Project”, an exciting slam competition for the under 18s culminating in a Grand Final in October. Full details are available at www.youthslamwm.com 

Dreadlock Alien then went solo with his trademark pieces combining sharp observation, clever word play and a style which teeters on rap, but then draws back ,”Peace” and “3” being the highlights. In turn he then introduced a “Rhymes” debutante, school student ,Kim Ngeyeu who with a short set featuring “My Life” delivered an assured, confident, thoughtful performance which augurs well for the future appearances she will surely make. 

Second  “Rhymes” debutante was Naomi Paul, whose previous performance experience elsewhere showed as she oozed calm whilst delivering, “The Truth About The Goddess of Rhythm”, “House” and “The Grey Rabbit”, the latter an atmospheric reminiscence of a bohemian Stateside hippy bus trip. 

Before the break we were entertained by the exciting, and innovative talent of Ddotti Bluebell who embraces the traditions of performance poetry, rap and gospel singing into a poetic  smorgasbord of delight featuring, “For the Attention of Creation”, “Dread” and “V for Villain”. 

The second half of the evening was a proverbial triple whammy. Young Birmingham Poet Laureate, Matt Windell vindicated his title with a waspish, fast paced set. But in a triumph of programming by MC Lorna Meehan, Charlie Jordan grabbed all the attention with a wonderful performance of, “Buddhism and Ben & Jerry's” ,complete with props ranging from a bell, to an item normally sold in discreet packaging. This wistful tale of lost love for a man, but new love for Ice Cream is an absolute gem, which benefits considerably from the staging which is eerily reminiscent of Jackanory! A past Birmingham Poet Laureate  herself, as well as a famous broadcaster and Breakfast DJ, her unassuming manne,r combined with a fierce dedication to performance continues to win her many fans. 

Top of the bill was the irrepressible, and ever reliable Spoz, who careered through his customarily entertaining set. No doubt buoyed by a forthcoming support slot to the legendary John Cooper Clarke, all the old favourites were aired, along with a new composition about Bromsgrove which whilst being achingly funny and sharp, is unlikely to win him the freedom of the Town!  

A thoroughly entertaining evening, the next Rhymes, at the same venue, is at 8pm, 25-02-10.

(28/1/10)

Gary Longden

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