Review: First Gig of the Summer

There’s always a worry that rain stops play when it comes to live events. But Aggy Events had no need to worry about the persistent drizzle as they launched their First Gig of the Summer at the Watford Palace Theatre. This premiere event from the first time producing troupe sold out in stupendous fashion. Forget ticket sales of 95% or above. They were actively turning people away at the door having reached full capacity. 

And you could see why the night was such a draw. From the excellent promotion and marketing which made it clear this was an inclusive indie rock event for everyone and anyone, to the top notch organisation which ensured a smoothly run evening with great sound quality, a punctual start and swift turn arounds between the acts, the whole event felt slick and professional.

The Nevers opened processing with a bang. Heavy percussion and captivating guitar supporting a charismatic lead vocal. They were followed by Bedfordshire based indie rock band Matty Ram who got the crowd jumping with a high energy set involving thumping percussion, heavy bass and some soaringly impressive guitar work. They are apparently known for their hit single ‘Pelly’ and with over a hundred thousand streams to their name, they're a band clearly on the ascent.

Next up were headline act The Lime Stones, a four-piece indie rock band from Bedfordshire, whose electrifying performance kept the crowd's momentum in full swing. Although I had to duck out at that point, I have it on good authority that the party continued on with a fantastic DJ set.

The night's success is testament to the fact that Watford has been crying out for a regular live music venue of medium scale to provide a space which is welcoming to eager audiences, and supportive of up-and-coming bands. The Watford Palace Theatre have done themselves and the town proud in providing such a space and proving the versatility of their building. The 1908 Cabaret bar upstairs was perfect for the shoulder to shoulder jumping and jostling of a music loving crowd up for a party, while the café downstairs offered a lovely chill-out zone for those who wanted to continue their conversations or to escape the throng.

It was especially pleasing to notice the diversity of the crowd, from traditional rockers and emos to queer kids and punks, everyone was included and respected. It was a space in which everyone could be their authentic selves safely and openly, and despite it being the first event there was already a real sense of community. I felt. the multi-generational nature of the crowd played a large role in that, with under 18s to OAPs and everyone in between bopping, bouncing, clapping and cheering together. Everything from the thoughtfully positioned bowl of earplugs on the bar (which wouldn’t have been there when I was younger that’s for sure) to the carefully considered wristbands which made it clear who was entitled to what at the bar, indicated this was an inclusive, open armed event in which everyone found a place and everyone belonged.

I had a chat with the Aggy Events organising team before the show and they spelt their mission out to me: To create live music events primarily at the Watford Palace Theatre but ultimately moving out to venues across Watford and beyond, which unified people in the love of live music in friendly, welcoming, tolerance spaces. If tonight is anything to go by they'll not only succeed in this endeavour, but they’ll do so in stupendous fashion.

Review: Bugsy Malone

Bugsy Malone is one of those musicals which is perennially popular. A gangster story with lots of comedy, drama, and silliness, it’s a guaranteed auditorium filler. Add in a spate of splurge guns and some truly stupendous music, and you know you’re in for a theatrical treat.

The Pump House Children and Youth Theatre production somehow managed to elevate this sure fire hit to a new level of entertainment and joy. The cast were clearly having a whale of a time hamming up the jokes, playing up the larger than life characters, and revelling in the sumptuous jazz age setting.

The whole show was held together stupendously by Lily Ridout as Bugsy Malone. She had a magnificent confidence in talking directly to the audience and led us through the story with clarity and charm. She imbued Bugsy with just enough swagger to be convincing as the streetwise chancer, and just enough humility to make the romance fizz. Bugsy's love interest Blousy was played with an uncompromising waspishness by India Tearle, which made the gentle dreaminess of her songs all the more effective by contrast. The gaggle of gangsters led by the sophisticated Playton Filatov as Dandy Dan and the irrepressible Jack Stevens as Fat Sam proved to be a hilarious and raffishly rag -tag ensemble.

One stand out singer was Eden Clancy as Fizzy. He had an utterly captivating voice, mixing vulnerability and melancholia with a heart wrenching sweetness and surprising strength and projection. He could be parachuted into the West End to play Oliver without a moment's hesitation. He even threw in a few tap time steps for good measure!

Zachery Makanda-Tan made the most of his cameo as Cagey Joe, once again (following his Pharaoh in Joseph) showing his star power by matching charisma with hard work, appearing faultless on every melody line and choreographic move.

The final musical number, You Give A Little Love and It All Comes Back To You proved a fitting closing anthem for a show that connected cast, crew and audience in a joyful melange of cream pies, cracking performances and good humour. The standing ovation was well deserved!

Review: The Mesmerist

The Mesmerist is more of a theatrical event than a traditional play, bringing to life the spontaneous, rough and ready atmosphere of the old music hall and vaudeville acts, but lacing that glorious entertainment with tantalising crumbs of plot and some darker, sinister themes. The story revolves around our host, the affable and charming Rufus Hound, who rediscovers his emotional connection to his recently deceased grandfather by resurrecting his old stage show. He transforms a garage full of cardboard boxes, ancient props and dusty notebooks into the show we, the audience, are witnessing. 

It's a wonderful premise, mesmerising enough in itself as it combines familial trauma, career stress, mystery and discovery into one tantalising package. But once Hound starts enacting the tricks and illusions themselves, the performance takes on a whole extra level of playfulness, surprise and invention. I particularly enjoyed how central Watford and the Palace Theatre felt to the whole narrative. It made the entire auditorium vibrate with the pulse of ghosts being summoned and history unearthed.

The most enjoyable element of the evening was Hound's effortless interaction with the audience. He builds instant rapport, and is a warm and generous host with a quick and friendly wit. Dressed in suit and waistcoat he looks every stitch the traditional stage magician, and ambles round with a casual ease that belies the inevitable and necessary precision of the illusionist's craft.

The set is very cleverly constructed. A simple V-shaped backdrop makes everything feels open and transparent, as if announcing there's nothing hidden up any metaphorical sleeves, but at the same time it's stuffed full of artefacts and memorabilia connected to the grandfather‘s show, creating an overall sense of Derren Brown bookishness mixed with the Victorian museum of curiosities. Timely projections also help guide us through the show structure and provide corroborating evidence for important story elements, building the narrative context.

Thoughtfully directed by Watford Palace Theatre Artistic Director Steve Marmion, this is a wonderful production which amuses, entertains and surprises. Although ostensibly about hypnotism and illusion, it’s also a show about humour and human connection. The magic tricks are impressive, but it's the way Hound spontaneously riffs and banters with the audience that will stay with me longest. Truly mesmerising.