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Free training for under 23s

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If your child or teenager wants (or needs) part-time performing arts training you will, almost certainly have to fork out quite a lot of money. I’ve been googling to get an update. Yes, there are a handful of bursaries and scholarships but the basic Stagecoach fee for a teenager is £330 per 12 week term. Pauline Quirke Academy charges £88 per calander month for a 44 week year which averages out at £352 per term. Razzamataz costs £234 per term and tries as far as possible to coincide with local school terms so that’s probably about 38 weeks a year.  Yes, I’m sure the hourly rate (typically three hours per week – triple threat) is excellent value in all these cases but if you haven’t got that sort of money, in most cases, your children can’t have it.

Unless, that is, you work with Matthew Garcia Chandler and British Theatre Academy which is trying to do things differently by offering many hours of free part-time training. It achieves this by mounting fine shows which more or less cover their costs and help to offset the school’s expenses. I urge you, for example, to get along to Ambassadors Theatre to see The Secret Garden which really impressed me with its professionalism and talent http://musicaltheatrereview.com/the-secret-garden-ambassadors-theatre/. Chandler tells me proudly that that the show has had lots of other 4* reviews too.

Not that Chandler has always had it easy by any means. He trained as an actor (Italia Conti and a year at GSA) but only ever wanted to run a drama school. He founded Songtime in 1989, charged fees like everyone else and then came perilously close to bankruptcy in 2010 when recession bit and many parents had to pull their children out. He relaunched as Act Now in 2011 but continued to charge participants. Then, two years ago came a new idea and a new name. “I wanted to distance myself from the franchise schools and find a new way of working by making participation free” he tells me adding that Annie which he did last year went to Sutton, Hayes (Middlesex), Guildford, Bracknell and other venues. “It sold out everywhere we went and made a profit so we were able to build up a pot of money to finance other ventures”. BTA also did 44 successful performances of Annie at the West End’s Arts Theatre last year.

“I have to keep this thing going for the children” says Chandler declaring firmly that BTA is no vanity project. He doesn’t take a salary out of the business. “My husband has a good job and is very supportive so he pays the bills at home” Chander smiles, joking that in Stephan Garcia, he’s found his Prince Albert or Dennis Thatcher.

“I’m not in this to make money out of children” he declares mentioning the stress on profits elsewhere. “And I’m scrupulously honest with parents about their children’s abilities. It’s never a case of write me a cheque and I’ll tell you what you want to hear.”

And that really is a different emphasis from many schools which operate as businesses.  Trying, for example, to woo new franchisees, Stagecoach website refers to “potential to make a significant income”. Razzamataz simply says “Great earning potential!”.

Children who train with Chandler at his Isleworth base are given the opportunity to audition for the shows. The Secret Garden has rotating casts totalling 359 children and young actors under 23. There are 200 youngsters involved in the version of Godspell BTA is doing in St Paul’s Church, Covent Garden on 31 August.

Around 10% of Chandler’s youngsters currently go on to vocational training and he’d like to increase that figure. Others go straight into the industry. Over the years he has trained some, now, very successful performers such as Charlie Brooks. The majority, though, simply have fun, learn discipline and team work and get that all important confidence boost.

Of course there are many valid ways of training and what works for one won’t necessarily work for another but BTA certainly seems to be developing a refreshing alternative to the usual deal. Chandler is currently looking for ways of extending his idea nationwide and is in the process of turning BTA into a registered charity.

2538_1472053976If we accept that the appalling problems of the war-torn Congo are entirely the fault of European colonisers all the way back to the Portuguese in the 14th Century, the next question is what do we do about it now? Is it better the mount a festival in London with poetry and music to build awareness or should we work directly with, for example, the 12% of all Congolese women who have been raped? That is the tension which lies at the heart of Adam Brace’s ambitious new play.

Well, it has its moments and strengths. Most of the play is set in London but the first half ends with a pretty riveting scene in the Congo in which the floor of the in-the-round playing space opens (lovely work from designer, Jon Bausor) to reveal a hot, busy, ruthless mine producing the minerals for western technology. It’s followed by a gentle domestic scene in a quiet hut which is then dramatically – devastatingly – disrupted as the real horror of life for many Congolese is graphically revealed. Meanwhile Giles Thomas’s sound track does clever things to evoke the sounds of Africa so colourfully that you can almost smell it.

And warmest congratulations to Fiona Button as Stef, the British government employee who is passionately trying to organise the festival Congo Voice. She is an outstandingly naturalistic actor whose performance is so finely judged that her acting is virtually invisible – to such an extent that others on stage with her sometimes seem to be merely speaking lines. Richard Goulding, as Tony the tiresome PR and ex boyfriend, plays off her well though and there’s a charismatic performance from Anna Maria Nabirye as Anne Marie, the London based Congolese woman who runs a charity. The onstage band is entertaining in the second half too.

Brace’s script is often funny and actors, well enough directed by Mike Longhurst, all do their best to provide pace and variety but in general this play is far too long and often unacceptably didactic.

The history of the Congo is not well known or understood which is – of course – a major part of its problem. Brace has attempted to weave information (a lot of information) into the dialogue but it often feels very wordy and contrived.

Also less than successful is the use of Sule Rimi, talented as he is, as a sort of on-stage voiceover speaking aloud, for example emails which characters are reading on their phones. He floats about in a pink suit, adding confusion but not much else.

Then there’s the oddly clumsy use of surtitles. Initially characters are speaking English but in order to indicate that they’re actually speaking Lingala (I think) we get a translation into it. Then, later in the piece, it’s done the other way round. Goodness knows why.

The show’s title comes, by the way, from a 1980s TV ad for a drink and is meant, one presumes, to encapsulate British ignorance about the Congo. As a deliberately tiresome joke, it’s a bit overdone in this rather average show.

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First published by Sardines http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-They%20Drink%20It%20in%20the%20Congo&reviewsID=2538

Kingston Lacy

There can be few more romantic and stirring stories in the history of British landed gentry than that of Dorset’s Bankes family in the seventeenth century. Even now you can still feel the excitement of it all as you drive south on the A351 from Wareham towards Swanage and catch that first magical glimpse of the ruined Corfe Castle sitting resolutely on its mound in a gap in the Purbeck hills. Then there’s Kingston Lacy, just twelve miles to the north as the crow flies. It sits in glamorous elegance – redolent with history – just off the leafy B3082 near Wimborne Minster.

Sir John Bankes, Lord Chief Justice, bought the estates dominated by Corfe Castle in 1635. Corfe already had more than five centuries of history to its credit, having begun life just after the Norman conquest and having enjoyed a long innings as as a royal castle for the peripatetic medieval courts. At the time of Sir John’s purchase the castle was in quite a good state of repair and the Bankes family – John and his wife Mary, with children and servants – were able to make it their home.

At the same time Sir John acquired other land in the Isle of Purbeck as well as quickly buying up various other Dorset properties.

The 1630s were strange times. Loyalty to King Charles I was severely strained. A parliamentary ‘party’ who opposed the authoritarianism of the king had evolved and as the years passed there was a pervasive sense that trouble was brewing. Sir John Bankes was a committed royalist. 1642 found him away from his family in the service of the king, beleagured at Oxford. England was divided by civil war.

By the spring of 1643 almost all of Dorset had been taken by parliamentary forces. Corfe, however, was not.  And the indomitable Mary Bankes was determined to keep it that way. Because she received a tip-off that an attack was imminent she was able to barricade herself and her dependents inside the castle where they withstood a weeks-long seige, notwithstanding the destruction of the buildings in Corfe village, the homes of the villagers who were inside the castle with Lady Bankes. Eventually she conceded four small cannon and won a bit a peace and independence.

During the lull, the ever resourceful Lady Bankes – a female crisis manager centuries ahead of her time and right out of synch with the prevailing attitudes of her age –  was able to lay in some provisions and to recruit some extra manpower. Sir John visited his wife and family later in the year before rejoining the King at Oxford where he died in December 1644.

Within six months of becoming a widow Lady Bankes was once again being ambushed at Corfe by parliamentary soldiers in their round-headed helmets. The miniature of her at Kingston Lacy shows a calm intelligent, fairly plain woman gazing thoughtfully at the artist. So impressed was the parliamentarian Colonel Bingham with Mary Bankes’s courage that at the end of the final siege he allowed her to keep the seal and keys of the castle which today are on display at Kingston Lacy. The castle was demolished by act of parliament. In one sense a deadful act of vandalism; in another the creation of one of the prettiest ruins in Britain. It’s wonderfully evocative to wander round and through those ruins with their view for miles in every direction, too.

So what became of her? She went with her children to live in safety at Ruislip, near London. After the Restoration of the monarchy in 1660  some money and land was returned to the Bankes family. Mary’s son, Ralph, was knighted and he moved back to Dorset. His mother died at Blandford in 1661.

Ralph, of course, needed a home: a new family seat, in fact. He commissioned Roger Pratt the architect who worked on the new Kingston Hall, near Wimborne, in the mid-1660’s. Pratt and Ralph Bankes had both travelled in Italy during the interregnum and their architectural ideas were very Italianate. It’s a very tranquil house – appropriately so considering it was built in the peacetime aftermath of a  dreadful civil war. Some of Pratt’s drawings – along with those by Brettingham and Barry for the eighteenth and nineteenth century additions – are fascinatingly displayed in the house today.

Succeeding generations of the colourful Bankes family lived at Kingston Hall, which metamorphosed as Kingston Lacy in the mid nineteenth century,  for over three hundred years  until 1981 when the reclusive Ralph Bankes died.

All the Bankes land: both the Corfe Castle and the Kingston Lacy estates were beqeathed by  Ralph Bankes to the National Trust for public enjoyment and interest. It was one of the biggest legacies to the nation of all time and for those of us who love Dorset this has made it even better. Let’s make the most of it.

Corfe Castle, Wareham BH20 5EZ  (01929) 481294 [email protected],uk

 Kingston Lacy, Wimborne Minster, BH21 4EA  (01202) 883402 [email protected]

Both open daily.  Check times on website.

I’ve been banging on about terrible lavatories  in theatres and other performing arts centres for years. In far too many cases provision – especially for women – is direly inadequate to the point of insult. https://www.thestage.co.uk/opinion/2015/susan-elkin-adequate-provision-loos-elemental-theatre-design/

Here are the facts: Women take longer in the loo than men.  Conventionally they need to lock themselves into a cubicle even to urinate. Often – more often, in practice, than men even in enlightened 2016 – they have children with them which slows things up. That’s why long queues snaking out of the ladies are the norm during theatre intervals. You rarely see chaps having to queue. Action is long overdue. Women need MORE facilities than men.

I was therefore delighted to see that benefactors Susan and Simon Ruddick (of course there’s a woman involved) have given Theatres Trust £125,000 to be distributed in grants to ten theatres wanting to improve women’s lavatories. It’s called the “Spend a Penny Scheme” – nice bit of historical referencing by the way. It now costs 50p (120 old pennies) to “spend one” at Victoria Station but we’ll let that pass.

The closing date for theatres to apply for such a grant is 26 October and decisions will be made in December about which applications are successful. Wouldn’t it be good if other benefactors followed suit so that many more (all?) theatres could really improve their lavatories?

Meanwhile I’m really looking forward to finding more facilities in more places where there is actually room to pull my knickers up, a bit of floor to stand on while I wash my hands without splashing my feet and – maybe – shorter queues

Could unisex be the answer to the West End’s toilet troubles?

Scooby-Scooby-Doo-Live-Musical-Mysteries-London-Palladium-18-21-August-7-300x300The Scooby-Doo cartoons are a pretty iconic example of 1960s cartoon culture and held in great affection by those who grew up with them. The trouble is that they are now so well known they’ve turned into a ‘brand’ and that is rarely a  basis for good quality theatre.

The creators are so busy keeping the brand recognisable that there is no scope for imagination, surprise or anything theatrically interesting. It becomes a matter of feeding the theatrically unsophisticated audience more of what they already know, and frankly they might as well be at a film …

Read the rest of this review via Musical Theatre Review http://musicaltheatrereview.com/scooby-doo-live-musical-mysteries-london-palladium/

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This exploration of the relationship between Marilyn Monroe and Frank Sinatra is predicated on author Sandro Monetti’s discovery that Monroe played a stack of Sinatra’s records the night she died of a drugs overdose in 1962. His voice was therefore the last she heard. This bijoux piece – billed at one hour but actually coming in at 15 minutes less – imagines and explores their connections, some of them pretty intimate, between 1954 and 1962 ….

Read the rest of this review via Musical Theatre Review http://musicaltheatrereview.com/marilyn-and-sinatra-jermyn-street-theatre/

Joan of Arc (2)

A COLD START AND A HOT END

 Saintly voices drive medieval teenager to death by fire

 Rewind  604 years to 1412.  It’s a bitterly cold January night. We’re in a remote village called Domremy a few miles from Nancy in  war-torn northern France

Overview

La Belle France is at war with herself. Shooting herself in la pied, you could say. Two branches of the royal family are at loggerheads.  In one corner is The Duke of Burgundy. He wants to sell out to England which is in predatory mood, champing at the bit to get across what Shakespeare called ‘the narrow seas’ to conquer France.

On the other side are Count Bernard VII of Armagnac and his mate Duke Charles of Orleans. Duke Charles reckons that another Charles – Charles of Ponthieu, last heir of the ruling Valois dynasty, should be king, not that arrogant upstart  with the funny haircut, Henry V of England.  So of course he doesn’t see eye to eye with Burgundy.

That’s a potted version of the big picture.

Underview

Cut to the little picture at Domremy.  We’re inside a flimsy, drafty wooden hut. A humble shepherd’s wife named  Isabelle d’Arc is straining in childbirth – no anaesthetic, hospitals or mod cons in those days.  But she’s doing OK. Then hey presto, and against all the unhygienic odds Madame d’Arc pops out a bouncy daughter.

It’s a happy moment but it’s just as well that that weary Isabelle and her delighted husband Jacquescan’t foresee the trouble and heartbreak that this little miss is soon going to cause them.

Who should be king?

Before la petite Jeanne – Joan to you and me – is out of diapers King Henry Fifth of England has stormed France and wiped the floor with the  faction-ridden French army at the battle of Agincourt in 1415. He’s back two years later to grab  a lot more French territory.   By 1420 Henry has done a deal with the wily, eye-to-the-main-chance Duke of Burgundy.  Henry and his descendants will be kings of France after the death of Charles VI. Henry and Charles VI’s daughter Katherine are spliced to seal the deal.

Little Joan meanwhile is growing up fast back home in the sheep-full Barrois region of what is now Lorraine.  She’s pretty clever and a bit precocious. She knows what’s going on around her. But she doesn’t like it. So Mademoiselle d’Arc asks lots of awkward questions and soon comes to the conclusion that as far as she’s concerned there’s no contest. Charles of Ponthieu should be king.

Under the influence

By the time she’s 12 she’s under the influence of visions and voices in her head. Two early Christian martyrs, St Catherine and St Margaret, are busy telling Joan what’s what. And St Michael the Archangel – Biblically famous for commanding heaven’s armies against Satan no less – often chips in too.

‘Go see the local commander at Vaucoleurs and get him to take you to the royal court for a chat with Duke Charles,’ the saintly trio instruct her.  At age 14 in 1428 she obeys. But it’s a while before anyone takes any notice of this earnest, illiterate peasant girl and her visions.

Ninth grader commands the army

Then Charles finds himself in dire straits. He keeps losing battles, he’s got no money, he’s rapidly being driven back by his enemies. You could say he’s kind of desperate.  On her third attempt Joanie, dressed for the occasion in men’s clothes gets through – the unlikely answer to a beleaguered military leader’s prayers.  In the US today she’d be a ninth grader.

There’s something about Joanie’s tales of voices and visions that convinces Charles (well, he hasn’t much to lose) and he puts her in charge of fighting the English.  Joan d’Arc has, miraculously, a natural gift for human resource management. So she gets on and wins lots of battles, including the famous battle of Orleans in 1425. After that they called her the ‘Maid of Orleans.’

She didn’t need a life coach

Had she lived in our own times, and someone taught her to read and write, young Jeanne could obviously have knocked off a few best selling management text books – She could have thanked Saints Catherine, Margaret and Michael in the acknowledgements.

As it is, she reforms the troops by expelling the hookers from the camp. She insists that her soldiers go the church and attend confession. The men under 15 year old Miss d’Arc’s command are also required to give up swearing and to refrain from looting or harassing the civilian population.  Some little dame, this Joan.

Hot feet

But it can’t last and a hot, painful death awaits her at Rouen.  By 1429 Burgundy has more or less kicked the Armangac /Orleans faction out of the ring and is wheeling and dealing with the English right, left and centre. Joan is taken prisoner by the Burgundians and handed over to the English (in exchange for the mediaval equivalent of megabucks). They try her for heresy.

‘Your voices are demons. You are possessed by devils,’ her accusers say.  Have they forgotten that these voices always told Joan to go to church and to hang on tightly to her virginity?  Wise counsellors, saints. Poor Joan is also charged with cross – dressing and that’s heretical too.

So, still under the influence, she meets a fiery end when they tie her to a stake and light the fire beneath her on 30 May 1431. She’s nineteen and a half.

Heavenly ending

There’s a postscript to this sad tale of what listening to saints can do for you.  In 1920 on May 16, nearly five centuries after her death, Joan of Arc was canonised as a saint by Pope Benedict XV.  A case of if you can’t beat them join them?

 

 

 

Brighton Unitarian Church, 14 August 2016

The central plank and final work in this enjoyable hour-long concert, focusing mainly on the work of young composers, was Haydn’s String Quartet in B flat Op 1 No I. One of the earliest of all string quartets, its symmetrical five movement structure consists of two minuets sandwiching an adagio (warmly played by this group) and flanked by a presto at either end. It’s a delightful piece, brought joyfully to life by Roland Roberts, violin, and his colleagues especially during the first minuet when the texture splits into a typically Hadynesque question and answer sequence between the two violins in “conversation” with viola and cello. The rapport was nicely highlighted.

Three works preceded the Haydn. Mozart’s three movement String Divertimento, also in B flat major,  (K137) opens with a first violin lead – Roberts is an unshowy but assertive player – into the sonorous andante, which was thoughtfully explored. There was some fine work in the sparky, colourful finale too.

Two of Dvorak’s Zypressen (Liebeslieder) made an interesting contrast to the classical world of Haydn and Mozart. Originally written as songs for voice and later adapted by the composer these are intensely tuneful. The first opens with the melody – lyrically played by violist Morgan Goff and then passed lovingly round in an attractive performance of an appealing work.

An even greater contrast came with Fuzon (String Quartet in two movements) 2012 by John Hawkins who lives in Lewes and was present in the audience. This was certainly the most challenging, and probably the most satisfying, work in the programme for the players. At one point I could feel Roland Roberts counting (and he has my sympathy). Inspired by Blake’s poetry the first movement depicts the elderly sterile Urizen and the second Fuzon, the embodiment of fire who opposes him. The quartet managed the contrast dynamically and played with real clarity and precision in the busy, rapid second movement particularly during the rhythmic  harmonics which conclude the piece.

The Unitarian Church in New Road has a fine acoustic for chamber music which sounds both crisp and resonant therein. With the doors closed you feel sealed in with the music.  Even the sound of Street Brighton noisily enjoying itself outside on a summer Sunday afternoon seems a long way away.

Originally published by Lark Raviews http://www.larkreviews.co.uk/?cat=3