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!

Paved With Gold and Ashes @ORL

Running for two nights at Angel Islington's Old Red Lion Theatre, Paved With Gold and Ashes is a touching five hander about young factory workers of 1911 New York. Although the black box stage is relatively sparse, littered with simple white cotton and lace and a precarious stack of wooden chairs, Julia Thurston's script works hard to quickly place us in our context. 

The show opens with music, an accompanied tune sung by all five characters who gently weave a gorgeous harmony together. It was a beautifully metaphorical opening, the stitching together of their vocal lines creating a tapestry of sound that reflected their daily work. It also subtly hinted at the way this tight one hour show will explore the women’s differences as well as their similarities.

Although all the women are trapped in 12 hour working days and confined by familial expectations, the play managed to establish individuality very quickly. Everleigh Brenner is strident as velvet hatted Rose (the lesser workers wear straw hats), while Olivia Gaidry is smiling and perky as Annie. Ida, played by Serena Lehman, is filled with tender hope at the promise of motherhood. But for me the stand out pair were Caroline Letelier as bubbly and energetic aspiring actress Rosaria, the baby of an Italian immigrant family adjusting to a new life. Fidgeting constantly and unable to sit still, she gave an essential injection of zest and playfulness. Julia Thurston as her frustrated older sister Lucia sensitively blends matronly irritation with wistful memories of the boyfriend she left behind in the old country. 

Although I was initially concerned by a lack of narrative thrust in the meandering ‘day in the life of’ structure, worrying clues to the impending disaster quickly build to create a chilling sense of dread. And I greatly enjoyed the use of song throughout, especially how it created contrasting atmospheres. I was moved by the irony of these charming female voices trapped in a patriarchal world where women were rendered voiceless.

Produced by Threedumb Theatre, this is a departure from the gothic fare I’m used to in plays such as One Man Poe and The Hunchback of Notre Dame. It’s a refreshing shift and marks the company as capable not only of versatility but also of touching, and socially relevant commentary, in this case the limited power of unions, the necessity of strikes and the human cost of unacceptable work conditions. 

They perform in Edinburgh's Greenside Infirmary Street Olive Studio from Monday 14th to Saturday 26th August.

(Photo credit: Stephanie Van Driesen)

Emma Rawicz Quintet and Oscar Lyons Quartet

Day Two of the wonderful Watford Jazz Junction Festival and a triple bill of temptations on offer. Although unable to make Cleveland Watkiss presents The Great Jamaican Songbook in the evening, I was able to get along to Watford's Pump House Theatre and Arts Centre for an afternoon of delights.

First up was 17-year old Suffolk-based pianist Oscar Lyons who led a confident set of his original compositions. 'Convergence' and 'Close To Home' both felt like work from a musician of many more years and much more experience than Lyons 17, rich in colour and emotion. My favourite however was his closer El Vieco (I hope I've spelled that correctly!) which was inspired by his Mexican heritage and was filled with the dance-like energy.

The band was George Johnson on tenor saxophone, cutting quite a dash in his deer-stalker hat; Chris Diamand on electric bass, beaming a sunshine grin at the audience throughout; and Luke McCarthy on drums who kept the whole show knitted together with his cool, unhurried swing rhythms. Lyons himself on piano was mesmerising, leading the band with smiles and gentle nods, but playing the piano with his whole body, crashing his shoulders down into crunchy treble chords and lifting his whole chest when playing with a lighter touch.

Up next was Emma Rawicz and her quintet in their first-ever Watford show. Mixing tracks from her debut album 'Incantation' with sneak peeks of music from her upcoming album to be released later this year, it was a very personal hour of passionate and intimate jazz.

'Farloo' (again, spelling!) ought to be on the soundtrack of a high-octane action film; cinematic in scope and narrative in feel. In fact, many of the pieces felt like they had stories to tell rather than simply moods to evoke. 'Xanadu' captured the tension and strain of a growing storm while 'Rebecca' felt like a nervous walk through a ghostly house of horror. If not inspired by the Daphne Du Maurier novel, it certainly brought it to mind. 

Some of the stories were more personal. 'Middle Ground' was a ballad written as a gift for her father on his birthday. As Rawicz quipped, it beat the alternative which would have been socks. And 'Vera' was a tribute to her inspiration, her grandmother who, although not musical herself, encouraged Rawicz to follow her passions.

Improvising the set list for the first time, Rawicz was visibly enjoying herself, dishing out solos on the hoof and catching her band out with calls which sent them all scurrying for their manuscripts. But boy, were they up to the challenge. Ant Law dazzled on guitar, with dextrous Ivo Neame on piano, laid back Conor Chaplin on double bass and Asaf Sirkis playing drums with his eyes closed and head nodding as if channelling the beats from the spirit world. Another sold out Jazz Junction show, and another sweet treat for Watford jazz fans.

Xhosa Cole Quartet

It's an alien experience, listening to the music of Thelonius Monk without a piano, but also a joyous one. Xhosa Cole and his band presented Monk's racing tempos and virtuosic melodies in a whole new sound palette, encouraging the audience to hear these familiar tracks entirely afresh.

To say Cole is a generous player is an understatement. The evening started with the sound of his saxophone front and centre, but then he quickly retreated to the sidelines, literally prowling the edge of the stage as he turned the spotlight onto his bandmates. Josh Vadiveloo on double bass seemed to have a near telepathic connection to Nathan England-Jones on drums, accelerating and depressing tempos together as if they were one player. Steve Saunders dazzled on the guitar with lyrical solos that felt pulled from the heart.

This may be a symptom of my age, but my overriding impression of the band was one of youth. All in their 20s, they looked every inch the college quartet, dressed casually in track suits bottoms, chinos, T-shirts and trainers, the vibe was so relaxed we could have been in a university common room. Their cheeky, chilled banter was utterly charming, and although he didn't speak much, Xhosa built an immediate rapport with the audience, reminding us of the three highest compliments an audience can make to a jazz band: make noise, dance, and buy the CD!

The youth-o-meter nearly snapped when Xhosa introduced two of his students to the stage (Luke Purbrick on guitar and Mejedi Owusu, both studying at Trinity, both brilliant and earning rapturous applause). With his typical generosity he described himself not as their teacher but their co-learner, and for me that summed up everything about his playing style. Open hearted, thoughtful and on a journey of discovery with whomever he's playing. When Carmen MacRae celebrated the music of Thelonius Monk, there was a sassy, edgy, aloof attitude to her interpretations that matched the prickly personality her audiences had grown to love. Xhosa Cole has managed to find a completely new character in Monk's music, a character that's welcoming, warm and creating a space where everyone's invited.

WJJ Gala Opening: Omar and Zara MacFarlane

This is only the second year of the Watford Jazz Junction festival, but as the crowds gathered to await the start of the opening night gala at the Watford Palace Theatre last night, the anticipation was palpable. The bar and foyer were abuzz with excited chatter as people eagerly geared up for a double headline night featuring two members of bone fide UK jazz royalty.

First up was multi award winning singer songwriter Zara McFarlane who, resplendent in a carnival green catsuit and wedge platforms, immediately brought a slice of Caribbean sunshine to the stage. This year the festival is celebrating the influence of the Caribbean on UK jazz and Zara charmed us with a story about her two sets of grandparents migrating from the UK from Jamaica as part of the Windrush diaspora. Although both intended to return to the Caribbean, only one set did, she quipped, adding “we have those who chose to stay to thank for me being here tonight!”

Her music balanced gorgeous evocative melodies in the foreground with intriguing, complex rhythms underneath, serpentine rhythms that were playful, shifting and seductive. The lyrics too were enticing, though often also spiky and provocative, tackling issues ranging from race and identity to self love and beauty standards. A particular favourite of mine was 'Broken Water', in which Zara snapped the end syllable off each of those title words (creating broke- war-) and looped into a scintillating whirlpool of sound, both flowing and snapping simultaneously. Her voice bent notes blue like whale song, and at times rose to sublime operatic tones in a manner reminiscent of the sassy Sarah Vaughn.

A highlight of the night however was the participation section, for which Zara wisely picked a lyric-less number! She had the whole auditorium singing along to a four line melody with a (once again) complex rhythm which offered space for her to add some feisty stomps in the final sing through. She had us all feeling like jazz pros!

Her cover of 'Police and Thieves' was an immediate crowd pleaser while her closing track, 'Future Echoes', was a sublime love letter to human connection. The line ‘I want to bathe in the clouds with you’ soared through the air like a carnival streamer.

Next up was the incomparable soul legend that is Omar Lye-Fook MBE. Igniting the stage in vivid red and orange, with sunglasses dangling coolly from his hips, he wasted no time in showing us why he has a career which has successfully spanned four decades and has included collaborations with Stevie Wonder, Common and Courtney Pine.

Billed as blurring the lines between jazz, reggae, nu-soul and soul, my abiding impression of his gala night set list was pure funk! A heavy, slapping bass, hot stabs on the trumpet and saxophone, and a treacly back beat on the drums soon turned the Palace into an after hours groove joint (perhaps for the first time in its history!).

'Everybody Loves The Sunshine' swiftly brought everybody to their feet, and with a little encouragement from Omar it was soon clear the Watford crowd were ready to party! He had us singing along to that famous repetitive refrain, praised us for stopping at the right moment, and when it looked like we might be about to sit down he called us out: “Who told you to sit down? I know you paid for a seat but it doesn’t mean you have to use it!”

From then on we were all on our feet, dancing along to his eternal classic There's Nothing Like This and whooping as he assured us that playing Watford is better than London. It was an old school house party atmosphere and when his final number ‘F**k War Make Love’ dropped, the band exploded into characterful solos and we knew we’d witnessed something very special indeed. A night for the jazz history books, and a stupendous opening for this year’s highly anticipated Watford Jazz Junction Festival.

Photos courtesy of Chris Newstead, Festival Director

The Ilario Ferrari Trio Live at Clarendon Muse

Last year saw the launch of Watford Jazz Junction, a wonderful festival celebrating jazz music in its widest sense, welcoming both long time jazz heads and curious first time explorers to the genre. This year the festival is back between 18th and 21st May, but -lucky old Watford- there are a good few opportunities beforehand to get in on the action early!

On Sunday 26th February, Matinee Jazz at Clarendon Muse presented us with a delightful double bill. Vibraphone player Anthony Kerr delivered a sterling first half of jazz standards, and was followed by The Ilario Ferrari Trio, made up of Charlie Pyne (bass and vocals), Katie Patterson (drums and vocals), and Ilario himself on piano and voice.

From the first piece, entitled Rebirth, the trio had the auditorium in the palm of their hands. Ilario explained that the piece was inspired by the rhythms, culture and atmosphere of India, especially the south, which he had visited with his partner. The audience was transported not only out of Watford but out of their everyday experience by the exotic and unpredictable flavour of this piece. It set the scene for an afternoon of music that, while playing affectionately with familiar sounds and structures, had more than a touch of the uncanny about it and consistently swept us with sudden force into bold and exciting new vistas.

The most arresting pieces for me, Morning Samba and Mediterranean Dance, catapulted us into sharply contrasting aural landscapes with speed and alacrity. The vocal harmonies in Morning Samba were luscious enough to swim in, inviting you to laze and linger in their richness and strength. In contrast, the challenging rhythms of Mediterranean dance, exploring 5/4 time and complex, energetic syncopation was like a shot of adrenaline and filled the space with a frantic sense of movement.

Alongside the musical globetrotting were more accessible pieces. Walking the Yellow Line had an almost 'pop' vibe, foregrounding a traditional lead vocal with sing along backing vocals. Indeed, the audience were invited to join in toward the end, much to our delight! Playground too had a radio-ready sound, not least because of the sumptuous interplay between the trio. You get the sense that these three musicians are on a journey together, enjoying each other's company, sharing ideas and inspirations (Ferrari's dog and Pyne's baby both get a mention on that score!), and keenly alert to each other's musical gestures. 

Ferrari is a gentle showman. Dressed in a vibrant red Indian kurta he immediately demands attention and rewards you for giving it. He invites you into his world, and delights in upturning expectations, plucking the piano from the inside and finger-tapping it on the outside to create a new and engaging palette of sound. Pyne came across as an earth mother, dressed in flowing black and white, and solidly holding the sound together with her confident bass rhythms. When she scat sings it is both a surprise and a joy, the highlight of my afternoon. Patterson is a wild child, grinning maniacally behind her drum kit and taking impish pleasure in every whack of the skins and tinkle of the bell; she immediately charms.

The band will play next in Hitchin on the 25th of March and launch their new album 'Be Yourself' at Kings Place (Hall 2) in Kings Cross on 1st June. Highly recommended! 

Visit the website here.

Photo credit: Robert Crowley Photography @rw_crowley

Notre Dame by Threedumb Theatre (live stream)

Steve Smith has repeatedly proven himself as one to watch in London theatre. This month he won his second Offie Award for Dog/Actor (Camden Fringe) and was lauded for his revival of the bleak Harry's Christmas (King's Head), both reviewed rapturously on this very blog.

So it's a pleasure to see him pushing forward with two personal passions of his: gothic storytelling and digital theatre. His company Threedumb Theatre adapted Victor Hugo's 'NOTRE DAME DE PARIS' into a horrorifyingly atmospheric livestream entirely filmed on a mobile phone in one singular tracking shot. It's no substitute for being live in the space with the actors and set, but it's a vital area of experimentation which has made huge strides forward since the pandemic and its lockdowns forced us to find new ways of sharing and engaging with theatre.

It's immediately clear that this is not a theatre show squeezed reluctantly onto the screen. The whole thing is designed from start to finish with the online, at-home audience 100% in mind, as is made clear from an opening slide which reminds us to dim the lights and switch to full screen, which I obligingly did! As a consequence the direction is thrilling cinematic. Careful attention to transitions and points of view keep the perspective spinning out as fast as the story, with sharp angles, quick tracks and bold use of coloured light and silhouette to create a dizzying and disorientating Parisian backdrop. You feel at times like the bellringer himself, pulled in all directions with unexpected force by the ropes of Notre Dame.

This classic tale of a twisted triangle of unwholesome love and lust here opens with a blood drenched Esmerelda, played with balletic poise by Maria Masonou, fleeing a frenzied mob. She finds sanctuary in the cathedral, and is quizzically comforted by the gargoyle Stryga (Lizzie Burder). I loved the presentation of Stryga, her gargoyle costume was half blanket, half puppet, and totally otherworldly. She acted as a conduit from the all too real world of our own living rooms (or room of choice!) into the theatrical space. From this cloistered captivity, Esmeralda's fate is sealed. She is trapped, torn between the memory of her dead lover, the obsessive attentions of creepy priest Frollo (a scene-chomping Duncan Riches) and the simple-minded, but fundamentally gentle-hearted outcast Quasimodo (a puppyish Gary Duncan). The lack of prosthetics on Quasimodo marks a continuing trend, as seen recently in James McAvoy's noseless Cyrano. here it works well to quickly establish sympathy for this character treated unfairly as a monster by his fellow citizens, and highlights the cruelty and arbitrary way we can label people outcasts and irredeemables based on appearances alone.

The script by Stuart Crowther was paced and really shone in crowd scenes, where the dialogue was crisp and cutting, and in moments of humour (the gargoyle retitles herself "executive limestone sentry"). Filmed at The Space, it's great to see Watford's Pump House also recognised for its support in this innovative area of staged performance.

Find out more and watch Threedumb shows by visiting their website, where you can also support their work through gofundme.