Review: Train Wrecker

 

A mix of covers and original songs form this young band, Train Wrecker brought with them an enthusiastic crowd of supporters ready to head-bang the night away. Revelling in the metal and rock classics of the 80s and 90s, the band really brought the fire. The drummer, neon in his festival hat, hit his skins with crazy passion, while the chilled bassist had a laid back cool energy that kept the ship steady. The lead guitarist rocked out on his solos like a virtuoso, and even threw in a dad joke or two to bridge the generation gap in the mixed crowd. It was great to see a fringe show really bring people of all ages together.

The star attraction was of course Peter Roberts, the lead singer, who screamed his soul into the microphone as if exorcising a demon. With long tumbling hair and open shirt, he looked every inch the rock god, but also had a sweetness and gentleness to his demeanour which brought balance to the intensity of his voice.

Overall, a brilliant set performed by four very accomplished young musicians. Ferocious, fierce and fabulous!

Review: Dirty Blues

 

There is a much loved and well respected catalogue of tunes, The Great American Songbook, which despite its popular, jazzy origins has garnered a reputation of legitimacy and cleanliness. So how refreshing to have a show which scrapes the underside of that genre and reminds us of the dirty side of that tradition: blues songs which relish in the less salubrious human appetites! No urbane sophistication here. The show comprises a selection of once banned songs from the 1920s to the 1940s, where imaginative lyricists plunder every context, from the kitchen to the cabbage seller, to find new metaphors that glory in the unmentionable, universal act.

Songstress Suzanne Noble commanded the stage in a beautiful vintage outfit, a crushed velvet looking robe which immediately brought us into the smokey world of the speakeasy... and the boudoir. Her gravelly voice brought a ironic and cheeky sense of humour to the innuendo of the dirty blues songs, dragging out every double entendre and winking on every cheeky suggestion with guiltless glee. 

Pianist 'Gorgeous' George Webster played witty variations on his chord progressions, bringing life and colour to tunes that can otherwise feel very repetitive. One of the challenges of a dirty blues show is keeping the gag fresh, as you find ever more inventive ways of referring in symbol to the same thing. But supported by Noble's charming banter, which was filled with knowledgeable context and funny gags, and Webster's improvisational playing, moving between swing, boogie-woogie and even gospel moods, the show managed to keep the humour and light heartedness in play from start to finish.

A wonderfully funny and naughty night reviving songs that deserve to be remembered and enjoyed. 

Review: Annette Gregory Believe Tour

An incredibly intimate hour and twenty minutes of beautiful jazz music from vocalist Annette Gregory. Citing Ella Fitzgerald, Billie Holiday and Sarah Vaughn as influences, the audience was in safe hands with a singer who not only knew and loved the Great American Songbook Standards, but treated them with a tender love and respect that made them feel genuinely fresh and authentic.

The repertoire included such favourites as I've Got You Under My Skin, Blue Skies, In The Wee Small Hours of the Morning, Call Me Irresponsible and Stella By Starlight. However, I think the highlights were Gregory's original songs, of which she shared three or four. It was on these numbers that she paused before singing, giving us an insight into her writing process, her inspiration, her airplay on BBC Radio 6, and the emotional resonance of the songs in terms of her own life story. Hailing from Manchester and with Jamaican heritage, there was much about family and journeying in her lyrics, as well as the 'mad' joy of love.

Accompanied by the swinging piano of John McDonald, who managed the create a broad range of moods and styles on the keyboard, Gregory had us mesmerised by her sultry, smooth vocals. She has a tendency to flatten out melody lines which runs the risk of making the tunes blend into one another, but that risk was ably countered by her strength of tone which made every note feel luxurious. Moving through her music was like floating across a tropical lagoon. 

Overall, superb jazz standards delivered with confidence and clarity in an intimate performance which she playfully compared to being like singing to friends in her own living room. She has certainly made a friend in me. Bliss. 

Review: AAA Immigrant Show

 

First: the elephant in the room. Why 'AAA' Immigrant Show? Well, the answer is as simple as it is crafty: to ensure top billing in any alphabetical list of fringe shows! The audience assumptions he elicited were a little more imaginative, ranging from triple A batteries to the American Automobile Association, but as is often the case, the pragmatic answer is usually the right one.

From this interactive opening, British Indian comedian Joe Bains took us on a cheerful meander through issues concerning race and identity, from gentle observations around our shared Ethiopian heritage, to edgy hints at the problems of self-identification. Using notes to guide his topic choice, it proved a widely varied smorgasbord of ideas, touching also on more personal notes around arranged marriage and divorce.

Ably supported by topical comedian Peter Merre, this was a relaxed hour of naughty chit chat in a devilish, conversational style. 

Review: Macready! Dickens' Theatrical Friend

The subtitle to this show, Dicken's Theatrical Friend, is certainly an inspired and, let's face it, clever piece of marketing. Very few people, myself included, have a clue who Macready, the man to whom Dickens dedicated the novel 'Nicholas Nickleby', actually is. The association with Dickens, the ever-popular giant of Victorian literature, is a great pull.

However, it turns out we really should know Macready because his life and achievements are not only admirable and long-reaching but also fascinating in their own right. A reluctant actor-manager, rising from the provinces to London's principle tragedian, Macready transformed the way plays were performed, conceived... and rehearsed.

Already a fascinating life story for anyone interested in the history of theatre, in the hands of writer and performer Mark Stratford, this solo show becomes a universal tale of ambition, sacrifice, love and loss. Stratford finds the humanity, humour and colour in every corner of this biography, frequently drawing delighted laughter from the audience, and like all great storytellers keeps you hooked from start to finish. The 80 minute running time gallops by.

I loved how Stratford was able to turn his one man show into a two hander, as he morphed seamlessly between his own stage persona as narrator, and the actor-manager himself. His amiable narrator was charmingly relaxed and playful, Macready much more earnest and dramatic. Several other characters pop in for brief cameos, creating a richly textured world in which the narrative plays out. Simple costume changes punctuate our journey through the years, marking moments of triumph and tragedy, but also of maturing. Macready ages before our eyes as his simple school boy shirt is augmented with a young man's waistcoat, then weighed down with a heavy jacket in middle age.

Light and sound added sharp and sudden moments of action, expertly provided by Eddie Stephens on the desk, helping this feel like a polished production that really deserves a West End run in one of the major theatres associated with Macready's work. An absolute joy of a production, for theatre fans of all stripes.

Review: Art In Motion Indradhanush Kids Academy

I can only imagine the mayhem backstage as the team of brave adults in charge of this mammoth showcase of South Asian culture cajoled the army of kids into their positions. Every three minutes there was a different dance, song or poem, presented by a different child in a different configuration, either solo, duet, trio or larger group. Truly a military operation!

The audience were so friendly and encouraging that even the visibly nervous young performers soon found themselves shining confidently in the spotlight. Predominantly comprising of family and friends, there was a wonderful feeling of community in the theatre, and the atmosphere of love and support bridging stage and audience was palpable.

The stage was kept bare, and great use was made instead of video projections to bring the stage space and cultural history alive. For me the visual highlight was the traditional Indian dress: apple greens, peacock blues, cherry reds and filigree gold, every costume was a work of art. I can't imagine there'll be a more stunning set of outfits on the Pumphouse stage this Fringe.

There were some surprise adult performances to entertain the crowd, but really it was all about the kids. And the young dancers in particular were stunning, demonstrating a confidence of movement that belied their years. What a pleasure to have a show like this as part of the Watford Fringe, bringing what might otherwise have been a closed showcase to the attention of a wider audience who will no doubt be as delighted as I was with the colour, vibrance and strength of the Indian culture on display.

Review: Bubblelicious

From the promotional photo, I was expecting a zany hour of rip-roaring bubble magic from the top-hatted Bubbleologist Maxwell. His long hair and ringmaster's frock coat had me imagining a three ring circus of crazy bubble fun, but what he delivered was something much more chilled. A charming, delightful and almost meditative introduction to the beautiful world of bubbles.

From his first invitation to breathe along with him, a long gentle inhalation, and a soft, breezy exhalation, he created a calm, zen like atmosphere where we were encouraged to break the usual excitement around the bubble's short life span (blow and pop!) and instead keep them growing, keep them floating, and keep them dancing!

I managed to have a very brief chat with Maxwell before the show, where he told me how adaptable his love of bubble performance is. He's performed for private parties, festival crowds and university groups as well as theatre audiences. Today, he had a brace of eager families utterly bewitched by his ability to transform soapy water and air into hovering orbs of swirling light. The kids were wide-eyed with wonder, and while some were able to restrain themselves as instructed, many were unable to curb that devilish urge to pop first and ask questions later.

I wish I could have stayed to the end to see him conjure his wonder on a large scale; his promo photo and  the props on stage hinted at a finale of epic proportions. I also would have loved to hear more about the science of bubbles, what makes them work and what they teach us about physics and biology. But perhaps that's another show. Today was about the kids, and Maxwell left them floating as high as his shimmering spheres.

Review: Savour the Flavour Planet Munch Puppet Show

It's not easy creating theatre for children which is colourful, vibrant and entertaining enough to maintain their attention across a full hour. The team at Planet Munch, however, have certainly managed to put together a show that fits the bill. The opening was soft, inviting the children into the theatre space and making them feel warmly welcomed with friendly greetings, big smiles and three colourful backdrops illustrating locations from the imaginary vegetable world they were about to explore. There was lots of nervous excitement from the young audience, with many of the children eagerly asking where the puppets were and when they'd arrive!

Their patience was well rewarded as the house lights came down and the show proper began. Within minutes the stage was filled with life size (meaning human size!) fruit and vegetable puppets that delighted and amazed the watching children. From the youthful Broc to the sporty Carrot, and from the hula-hooping Peachy to the Bangla-singing Chickpea, this was a world of wacky, inventive and engaging characters that had a clear mission: Make fruit and vegetables cool to eat! Broc's song '5 A Day Keeps The Doctor Away' drove the message home!

The puppets were really impressive in their construction, incredibly mobile and filled with personality. The cast of 5 were all great at keeping the puppets animated whenever they were on stage, which meant that wherever you looked there was always something to watch. A feast for the eyes, if you'll forgive the food pun! (There were lots of those in the script, I'm happy to play along!)

The story was bonkers, with too many disparate lines to really hold together. Broc has a brother Oli who he searches for but we never see, he's focused on an audition at a jazz club but distracted by helping Tutsie, a character from a different world, find a healthy lunch... it's confusing. It might have been more compelling from a narrative point of view to have a simple mission to visit or collect the different fruit and veg and display them visibly, perhaps on a magnetised chart, as they were found. But none of that really matters as ultimately the series of stand along encounters with the various colourful characters kept the youngsters amused. So much so that they were clambering to join the cast on stage and for face painting afterwards.

For its heathy message alone this show is ideal for a tour of primary schools and libraries, which they have already embarked upon with huge success. But the wonderful puppets really makes it come alive on stage.

Review: Rock Choir Live!

 

And the Watford Fringe Festival is officially open!

There have been a couple of early acts this month, but the official opening of the fringe is with Rock Choir Live! A fun filled, energetic, up-lifting half hour of pop tunes delivered with a shimmy and smile.

With songs ranging from the ABBA favourite Super Trooper to the heart wrenching Hallelujah, there was something for everyone in the line up. My personal favourite was Video Killed the Radio Star, which had everyone on stage bouncing along and throwing out some strong harmonies. Another impressive number was I Wanna Dance With Somebody, it's always brave to take on a Whitney Houston song and the Rock Choir more than did it justice!

However for me the highlight, without question, was watching the amazing British Sign Language interpreters (there were two on the night, sharing signing responsibilities) who added a whole new dimension to the show, adding insightful and exciting interpretative and choreographic charm to proceedings. It's wonderful to see inclusion and diversity not just being talked about being being invested in and enacted. 

The choir leader was equally energetic and lit the stage up with her effervescent personality. I would have loved to hear the choir say a few words about themselves and maybe even let the audience know how they can get involved, should the music move them! But all in all a perfect way to start Watford Fringe, and I can't wait to get stuck in. Over 100 performances this year across 11 different venues, it promises to be an brilliant fortnight of performance and creativity. I look forward to seeing you there!