Nov 152019
 

Duncan Harley reviews Cabaret @ His Majesty’s Theatre, Aberdeen.

This unfolding story of the demise of the Weimar Republic is seen through the eyes of young American novelist Cliff Bradshaw – played here by Charles Hagerty – and is loosely based around Christopher Isherwood’s classic 1939 novel “Goodbye to Berlin”. 

A central focus is the doomed love affair between English cabaret performer Sally Bowles, played here Kara Lily Hayworth, and Cliff who has come to Berlin to complete a novel but soon finds himself involved in other distractions.

Alongside his pursuit of Sally, a serial manizer, Cliff soon finds himself involved in money-laundering for the fascists and is witness to a moral decay which will ultimately destroy the easy-going morality of a city known by many at the time as the Babylon of Europe.

Much of the action takes place in the Kit Kat Club – a place where ‘Here there are no troubles … Wilkommen, Leave your troubles outside … We have no troubles here! Here, life is beautiful.’

John Partridge plays the magnificently camp Emcee at the Kit Kat. And while budding storm-troopers prowl the streets, paying customers can look forward to an evening of sleazily decadent bondage-inspired entertainment. All of the dancers, both girls and boys, he says are virgins.

‘But you can try them if you like!’

Replete with both a rich tapestry of flesh and a familiar stable of songs: ‘Wilkommen’, ‘Tomorrow Belongs To Me’, ‘The Money Song’, ‘Perfectly Marvellous’ and many more; the plot moves awkwardly between club, street and Fraulein Schneider’s apartment building.

The club scenes are deliciously believable. The rest, less so. It’s not as if the shocking street violence or malevolent menace of fascism is out of place. It’s just that the dialogue in places is somehow dated.

The marketing hype describes ‘Show-stopping choreography, dazzling costumes and iconic songs’ and while this is genuinely the case, the spoken lines often lack lustre and the underlying politics – the elephant in the room – is perhaps understated for an audience distanced from such events by a curtain of some 90 years.

Technically splendid – the set, songs, choreography and lederhosen are magnificent – this electrifyingly camp production sets a high bar which it fails to quite reach.

Stars: 3/5

Directed by Rufus Norris, Cabaret plays at His Majesty’s Theatre Aberdeen until Saturday 16 November 2019

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley, Images © HMT

Oct 212019
 

Review and photos by Craig Chisholm.

Now in its 5th year Aberdeen’s True North Festival has long since proved itself to be the most entertaining, eclectic and rewarding event in the music calendar for the North East of Scotland.

Its wide range of events and artists have started to draw in the crowds from afar. 

Saturday night headliners, The Twilight Sad in particular attracted fans from across Europe and even as far afield as Australia, albeit via England.

Events kicked off with the now traditional Thursday night performance at the Lemon Tree – one which, quite literally, blew the roof off.

It’s a night of punk attitude and organised chaos as London alternative rock band Shame and hotly tipped up and coming Glaswegian band Rascalton entertained the crowds. Rascalton’s set is an engaging and entertaining blast of no-nonsense Clash inspired garage punk, soaked in Buckfast and Glaswegian street attitude.

They’ve already been hotly tipped by the NME as well as local and national press and it’s not hard to see why as they snarl, shout and pound through a adrenalin fuelled opening set. They’re back in Aberdeen on the 14th December at the Cellar – miss them at your peril.

Headliners, Shame share the same punk ethos backed up with boundless energy and enthusiasm.

The band are championed by the likes of Radio 6 Music DJ Steve Lamaq and contemporaries of bands such as Idles and Fontaines DC.

Frontman Charlie Steen is a blur of energy as he stalks the stage and dives into the crowd on numerous occasions.

And it’s on one of those occasions that he inadvertently brings the roof down by knocking tiles off the ceiling and into the crowd. The tiles are clutched like trophies by the hyperactive mosh pit as they lose themselves in a great energetic set.

Friday –thankfully – starts in a more laid back and relaxed fashion at the wonderful Tivoli Theatre with an opening set by the equally wonderful Martha Ffion.

The Irish born, Glasgow based songwriter runs through a set that’s influenced by classic songwriting, stirring dream pop and the shadow of Glaswegian indie stalwarts such as Belle and Sebastian.
Her melodic, catchy songs would have won a few new converts on the night.

Wick rock band Neon Waltz are next up. They’ve already played True North in previous years so will not be strangers to a lot of the crowd.
In that time they’ve matured in style and poise and have honed their stage craft, no longer naïve youngsters from the North of Scotland but a band capable of International appeal.

Headliner, Bill Ryder Jones is quite the veteran by now with over 20 years of experience at the still young age of 36.

He started playing with Merseyside rockers, The Coral as far back as 1996, when they formed, and was their guitarist for 5 albums, leaving in 2008.

Since then he has become an accomplished solo artist, standing on his own merits and releasing 5 solo albums and even scoring the music to a few short films.
His sound is dreamy and expansive recalling, at times, the sonic adventures of shoegaze whilst still displaying his song writing talents.

From the Tivoli, it’s a quick walk up to the Lemon Tree for the evenings other main performance.

Originally to be headlined by BC Camplight, he had to pull out the day previous due to illness.

Fortunately, local treasure Kathryn Joseph volunteered to step in and perform a short opening set which allowed original opening act The Ninth Wave to step deservedly up to headliner status.

Kathryn should be no stranger to anyone in the Aberdeen music scene, or even to those further afield.

She cut her teeth locally working in The Lemon Tree, performing in bars and venues such as the Tunnels.

Her sparse, haunting minimalist music, consisting mainly of piano and vocals, has led to critical acclaim, winning the 2015 SAY awards album of the year, and to recognition by her contemporaries and her musical influences, even appearing on the bill for The Cure’s feted 2018 Hyde Park concert at the behest of Robert Smith.

As usual she doesn’t fail to deliver with an inspiring set of melancholic songs and her now trademark swear word heavy between song banter. A joy to behold, as was expected.

Headline band, The Ninth Wave transport the crowd back in time to the early 80s New Romantic Blitz Club, whilst pushing forward with their synth heavy retro-futurism.

Their sound and style may not be for anyone old enough to remember the likes of Soft Cell or Japan but their ice cool demeanour and ability to engage the crowd provides an entertaining and enlightening set.
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The weekend brings out the bigger events with both Saturday and Sunday’s early evening performances taking place at the newly refurbished Music Hall.

Headlining on Saturday is Scottish indie rock band The Twilight Sad.
It’s a triumphant gig for them, almost a homecoming as lead singer James Graham is no stranger to the area, having members of his Mother’s family staying in the North East.

He looks and sounds genuinely thrilled to be performing at the Music Hall, telling stories of passing it as a youngster and promising to his Dad that he would play there one day.

The band have played various smaller venues in Aberdeen in previous years – working themselves up from the Tunnels and the late, lamented Moshulu through the Lemon Tree and now to here.

Powering through a set heavy on tracks from latest album ‘It Won/t Be Like This All The Time’ and featuring an touching cover of Frightened Rabbit’s ‘Keep Yourself Warm’, it’s an emotional and powerful set that steals the weekend.

Opening for The Twilight Sad are Aidan Moffat & RM Hubbert.

This is the penultimate performance of their collaboration before they return to their solo careers.

To be honest, the two of them can do no wrong whether together or apart and tonight’s show is a wonderful showcase of their respective talents, their eye for a melody and the lyrical genius of their songs.

As much as it’s great they’ll be back performing solo you have to hope that there’s a reformation in a few years which produces new material of an equally high standard.

Late night at the Lemon Tree is more dance orientated the euphoric rave of Free Love and the Electro pop of Self Esteem.

Free Love are an entertaining and engaging live act, refusing to be constrained behind a bank of synths and mixers like most acts of this style.

Flanked by a pair of ladies in robes and holding flowers, lead singer Suzi Rodden throws herself completely into the performance, dancing barefoot into the crowd, writhing on the bar and spreading the gospel of Free Love’s high-NRG utopian dance music.
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No less restrained, but less likely to bump into you and spill your pint whilst you’re at the back of the venue, are Self Esteem. The new project of former Slow Club singer and multi-instrumentalist Rebecca Lucy Taylor, the band is a move from her former indie folk act and into pure pop.
Complete with choreographed dance moves, matching red outfits and loads of hooks and melody she easily wins over the Saturday night crowd and keep them dancing well past midnight.

There’s one more gig at the Lemon Tree and that’s late on Sunday night as Ibibio Sound Machine take to the stage.

Fronted by the colourful and flamboyant singer Eno Williams the band perform an impressive set of West African funk and electro. The clash of styles works well and their visual, eye catching style lends to the occasion, giving a cosmopolitan and worldly flair not usually seen in Aberdeen on a Sunday night.

Before that, at the Music Hall, the stars are out in force for a run through of Scottish rock and pop classics under the banner of Rip It Up Live!

Taking their name from the classic Orange Juice track and influenced by the 2018 National Museum of Scotland exhibition, an array of talented Scottish performers, both established and up-and-coming, run a through a 25 track set that covers everything from the Cocteau Twins to Simple Minds; Garbage to The Associates & from the Eurythmics to The Proclaimers it’s an entertaining and rewarding through Scottish pop history.

Curated by Radio DJ Vic Galloway, the all star cast includes TV presenter and frontman of The Skids, Richard Jobson, actress and legendry frontwoman of Altered Images, Claire Grogan, Del Amitri frontman Justin Currie, punk pioneers The Rezillos and many, many more.

Credit again for the festival must go to Aberdeen Performing Arts who have made it yet another weekend to remember. See you again in 2020!

Oct 042019
 

Duncan Harley reviews The Crucible @ HMT Aberdeen

The last Scottish witch met a fiery end at Dornoch in 1727 ending what some saw as the domination of the devil in local affairs.

Smeared with tar following a short trial, Janet Horne was burned alive in a barrel following an accusation of consorting with the forces of darkness.

In 1950’s America however, the devil-incarnate took the form of McCarthyism – perhaps best defined as the practice of making accusations of subversion or treason without proper regard for evidence.

Many intellectuals, artistic folk and politicians fell afoul of the new inquisition. And Arthur Miller’s play The Crucible took an allegorical stab at that modern-day witch hunt against those accused of the crime ‘Un-American activities’ using the medium of the Salem Witch Trials of the 17th century.

And now, this no-holds barred portrayal of the overly-righteous paranoia that was McCarthyism is subject to fresh interpretation by Scottish Ballet.

Shocking in its intensity, this exquisite take on the witch-trial agenda dwells on the currency of falsely framed accusations, fearsome events and the power of inquisitors over life and death and morality.

Penned in the 1950’s and set in 1692, the familiar story is set among the Puritan colonists of Massachusetts. A backdrop of infidelity, a declaration that god is dead and a smidgeon of pagan ritual leads to accusations of witchcraft. And within a short timeframe events have spiralled terrifyingly out of control.

Alongside Peter Salem’s hauntingly edgy new score, American Helen Picket’s choreography shatters the myth of Puritanical purity.

Adolescents dance naked in the moonlight, farmer Proctor – Nicholas Shoesmith and servant Abigail – Constance Devernay frolic in the farmyard and voodoo makes an unwelcome appearance.

Nothing is as it seems and the fault lines of a wildly dysfunctional community are soon tested to destruction.

Simple staging accents the rawness of this tale of persecution and David Finn’s choice of gloomy lighting adds poignance throughout. This is no over-bearing stage-set.

Stark and poignant, this adaption of Miller’s play for dance sets a high bar indeed.

Choreographed by Helen Pickett and based on the play by Arthur Miller, The Crucible plays at His Majesty’s Theatre Aberdeen until Saturday 5 October.
Stars: 4/5

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley, Images © HMT

Jun 212019
 

By Craig Chisholm.

Aberdeen’s award-winning music festival True North returns this September for another star-studded bill.
The main event will surely be `Rip it Up Live – A Celebration of Scottish Pop`, which takes place on Sunday, September 22.

This unique event follows previous years tributes to Kate Bush, Neil Young, David Bowie and Fleetwood Mac and will be curated and hosted by BBC broadcaster Vic Galloway.

Guest singers will include Claire Grogan of Altered Images, King Creosote, Emma Pollock from The Delgados, Richard Jobson of The Skids, Fay Fyfe and Eugene Reynolds of The Rezillos, Aberdeen’s own Kathryn Joseph, Honeyblood’s Stina Tweeddale, C Duncan, and Ross Leighton (Fatherson) performing some of their favourite songs from seven decades of Scottish pop.

Vic Galloway commented:

“Being involved in the ‘Rip It Up – The Story of Scottish Pop’ exhibition, book, TV and Radio Series was such a pleasure and an honour for me in 2018. The reaction at home and abroad was astonishing, and just showed how many talented musicians this country has created over the years.

“Taking the concept onstage as a LIVE concert at ‘True North’ adds a whole new dimension. With names from the past, present and future of Scottish Pop; it’s going to be a unique, one-off event celebrating seven decades of homegrown music at the festival.

“I cannot wait to share it all with festival goers from both near and far!”

The remainder of the weekend will see gigs taking place at the Music Hall, Lemon Tree, and Tivoli, as well as Fringe events in various locations across the city.

Scottish indie rockers The Twilight Sad will be taking to the Music Hall stage as Saturday headliners, fresh from a summer supporting The Cure, and will be joined by special guests Aidan Moffat and RM Hubbert.

True North will open on Thursday, September 19 at the Lemon Tree with critically acclaimed London punk band Shame.

The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK and are sure to raise the roof at the Lemon Tree, kicking off True North in style.

Support comes in the form of Glasgow 4-piece indie-rock outfit Rascalton, who will be opening the festival, and DJ Retrospectre.

The Tivoli Theatre will again host a festival gig this year. Friday night’s headline event will feature former guitarist and co-founder of The Coral, Bill Ryder-Jones.

Now a singer-songwriter, producer and composer in his own right, he has collaborated with some of the biggest names in UK music including Arctic Monkeys, The Last Shadow Puppets, Blur’s Graham Coxon and Paloma Faith.

Also on the bill at the Tivoli on Friday night are Neon Waltz, who were favourites when they performed at True North in 2017 and return off the back of a huge UK tour in 2018, and supporting Noel Gallagher at an open air gig in Inverness earlier this month.

Glasgow-based singer-songwriter Martha Ffion completes the Friday night Tivoli line-up.

Festival-goers can rock the night away with three late night gigs at the Lemon Tree featuring American singer-songwriter BC Camplight, with special guests The Ninth Wave along with a DJ set from Vic Galloway (Friday, September 20), Self Esteem and Free Love with All Night Passion DJs (Saturday, September 21) before electro afro-funk band Ibibio Sound Machine bring the perfect party atmosphere to close the festival in style on Sunday night.

In addition, there will be three special informal performances in the new Big Sky Studio at the Music Hall.

Starting on Friday with a performance by the very best of emerging local talent from Aberdeen Performing Arts’ Project Band programme,  Saturday and Sunday will feature two performances selected by that evening’s main stage artists.

On Saturday, The Twilight Sad has picked Glasgow singer-songwriter Michael Timmons and on Sunday Vic Galloway has chosen indie rock outfit Savage Mansion. The early evening performances are free with the purchase of a ticket for any other True North event.

Further details of the True North Fringe and a special programme of family and children’s events will be announced in the coming weeks, including the hugely popular ‘My First Gig’.

Tickets for all shows on sale now. 

Festival passes are also available at a cost of £30 for a day pass (Friday, Saturday, Sunday), or £95 for the whole weekend which includes tickets for all the concerts mentioned above.

For tickets or further information visit www.aberdeenperformingarts.com, phone (01224) 641122 or visit the box office at the Music Hall, His Majesty’s Theatre or the Lemon Tree.

https://shamebanduk.bandcamp.com/
https://www.facebook.com/Rascalton/
https://billryderjones.co.uk/
https://www.neonwaltz.com/music
https://marthaffion.bandcamp.com/
https://www.facebook.com/BCCamplightMusic/
https://theninthwave.online/
http://thetwilightsad.com/
https://michaeltimmonsmusic.bandcamp.com/
https://www.facebook.com/RLTSELFESTEEM/
https://freelovenrg.bandcamp.com/music
https://www.facebook.com/AllNightPassion/
https://ibibiosoundmachine.com/
https://www.facebook.com/thehothotsauce/

Apr 222019
 

Duncan Harley reviews Doorways in Drumorty @ Aberdeen Arts Centre

Doorways in Drumorty is loosely based on the writings of a Strichen lass by the name of Lorna Moon who made it big in Hollywood.

Alongside her one published novel Dark Star, Lorna – born Helen Nora Wilson Low – escaped her native Buchan age 24 in around 1910.

Broken relationships and abandoned offspring followed before the talented, and by now re-badged, Lorna Moon took up with the son of Hollywood mogul Cecil B. DeMille and forged a successful career as a scriptwriter.

Her short stories, first published in Century Magazine, feature a clutch of thinly disguised Buchan folk and pull few punches. Titles such as ‘The Sinning of Jessie MacLean’ and ‘Feckless Maggie Ann’ did not endear her to the locals and, in true Lewis Grassic Gibbon tradition, legend insists that her books were shunned by the local library service.

Penned by author/playwright Mike Gibb the play explores the curtain twitching mentality of small-town Buchan. Questionable morality, dubious loyalty, fractured community and tightly held family bonds inhabit the tale and through the course of a series of vignettes the reality of a century old Buchan community is revealed warts and all.

A three-hander – Estrid Barton, Fraser Sivewright and Lucy Goldie take on some dozen roles – Doorways is at points humorous, poignant and even tragic.

Neatly bookended by Lucy Goldie’s Lorna Moon in full 1920’s flapper gear the play hits hard.

A heavily pregnant and destitute Bella Tocher is banished from Drumorty to fend as best she can. A new minister unwisely accepts a dinner invitation and is labelled a thief, the local dentist elopes with the postmistress and – following the theft of a chicken – an innocent infant is subject to divine retribution.

Gossip, double-standards and rumour-mongering infest the close-knit community but of course:

“You’re only the gossip on the street until something more interesting comes along.”

Set and lighting are simple and reek of a more austere era. Fast paced, the character changes are at times difficult to follow leaving some of the audience at least lagging behind the action on stage.

However eventually, when it becomes clear that this is not a tale about Lorna Moon but is a tale based on her writings, the building blocks slide into place.
As for the title; there is speculation that alongside revelling in the name Lorna Moon – she had taken up with Walter Moon in around 1913 – Lorna was a great admirer of kailyard authors such as Ian MacLaren and J.M. Barrie.

Barrie’s ‘Window in Thrums’ and MacLaren’s ‘Drumtochty’ provide some clue as to the provenance of the ‘Doorways in Drumorty’ header.

As Lorna, an admirer of Barrie seemingly said:

“I’d rather be Barried than buried.”

This is in essence an important play and seems destined to re-awaken interest in a woman who, although ruthless in her pursuit of career, nevertheless put the likes of Strichen on the map.

Mind you, at the final curtain and despite the loud applause, it was hard to shed the notion that the long-gone folk in the Buchan graveyards were still cockin’ a lug and shakin’ their heids at the pure cheek o’ the lass.

Stars: 4/5
Produced by Andy Corelli and written by Mike Gibb, Doorways in Drumorty will tour 18 venues across Scotland between 18 April – 18 May 2019

Click here for tour dates and tickets.

Words © Duncan Harley. Images © Andy Corelli

Mar 282019
 

Duncan Harley reviews ART @ His Majesty’s Theatre, Aberdeen.

Admirers of the work of Yasmina Reza will not be disappointed by this three-hander comedy.
Despite the unassuming title, ART is a masterful and at times powerful study of prejudice and tolerance among friends.

Using as a focus a completely blank canvas, purchased by Serge for a not insubstantial sum, the dialogue portrays the complex relationships between three friends as they attempt to maintain an equilibrium in the face of the imminent death of their 15-year association.

Battle lines are drawn and the dusty baggage of the past emerges to challenge each in turn to explore what binds us together.

Unequivocally proud of his purchase Serge demands approval of his expensive work of art. Feelings escalate when Marc describes the painting as ‘a piece of white shit tarted-up with a couple of white stripes’. And, when drawn into the fire, the normally compliant Yvan must take a stance. A fist-fight ensues and blood is drawn before, in a splendid scene involving a conciliatory bowl of olives plus a measure of posturing, all becomes well.

This is a fast-paced piece of theatre performed in some twenty short sections over 90 minutes, mainly in dialogue form although at points the actors directly address an audience who very quickly realise that this is not a play about modern art.

Set and lighting are simple and effective. Delivery is crisp and flawless and who would expect anything less from Nigel Havers, Denis Lawson and Stephen Tompkinson.

Appropriately perhaps there is no interval, after all why would anyone wish to take a break from this unrelenting piece of thought-provoking comedy to partake of an ice-cream or even a glass of the red stuff.

Written by Yasmina Reza and Directed by Ellie Jones, ART plays at His Majesty’s Aberdeen until Saturday 30th March.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Star rating: 4.5 out of 5

Feb 272019
 

Duncan Harley reviews ‘Calendar Girls, the Musical’ at His Majesty’s  Theatre, Aberdeen.

All they ever really wanted to do was raise some cash to buy a settee for the local cancer ward but when word got out that Rylstone & District Women’s Institute were planning a Pirelli style Christmas calendar, things soon spiralled out of control.

It’s a well-worn tale. A bevy of rural friends decide to publish a fund-raiser for cancer support following a death.

John has died of non-Hodgkin lymphoma and wife Angela’s pals at the Rylstone & District Women’s Institute set about creating a calendar as something for her to focus on during this most difficult time.

However, instead of the familiar Women’s Institute images of sheep infested landscapes, ecclesiastical spires and cricketed village greens, they decide to bare all.

The 1998 launch of the raunchy publication attracted widespread press coverage and very soon the print run reached into the tens of thousands. A book and a film followed along with international fame. Described as a group of ordinary ladies who achieved something extraordinary, the originators were initially awarded the dubious accolade ‘Oldie Exposure of the Year’.

In the fullness of time however, the semi-naked ladies were appearing at media-inspired events up and down the country including an appearance London Fashion Week and on a Thames TV cookery programme where they were requested to bake a dish of invitingly innuendo laden Spotted Dick.

There are few extant nipples within this musical interpretation of the tale but there is plenty of humour embedded in this take on the Yorkshire events which launch the grieving ladies of Knapely onto the international stage.

All in all, this is a commendable comedy musical classic. England’s Green and Pleasant Land does feature here and there, but the essence of this play within a musical is a powerful exploration of the various stages of grief, from denial to acceptance and moving on.

Little specks of Alan Bennet – If Jesus had maybe had kids then maybe the bible would be quite different – shine through in this Barlow and Firth creation and even Larkin’s This Be The Verse gets a look in with a resounding:

‘They fuck you up your mum and dad, they may not mean to but they do.’

Songs, and there are some 20 of them, include Spring Fete, Mrs Conventional, What Age Expects and the quite poignant Kilimanjaro. Then there is Ruth’s splendidly revealing love song My Russian Friend And I.

Calendar Girls is no Full Monty.

For starters the brashness is largely absent and the bare-all scenes are all done in the best possible taste. Be sure to take along a man-size pack of tissues though. If only to soak up the inevitable tears of both laughter and sadness.

Cast on Press Night: Fern Britton, Anna-Jane Casey, Sarah Crowe, Karen Dunbar, Pauline Daniels, Rebecca Storm, Denise Welch, Richard Anthony-Lloyd, Isobel Caswell, Danny Howker and Phil Corbitt – all good.
Stars: 4/5

Directed by Matt Ryan with Comedy Staging by Jos Houben, Calendar Girls the Musical plays at HMT Aberdeen until Saturday 2 March.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley and Images © APA

Jan 242019
 

Duncan Harley reviews Fiddler on the Roof @ His Majesty’s Theatre, Aberdeen.

Fiddler on the Roof plays at His Majesty’s Theatre Aberdeen until Saturday 26 January

Anti-Jewish pogroms in the not-so-far-off days of the Russian Empire were quite common and reached new heights during the period 1903 to 1906 when a series of state-sponsored ‘demonstrations’ affected many settlements in the Ukraine and in Bessarabia. Thousands of Jews were reportedly killed and many more thousands displaced as a wave of violence backed up by harsh laws targeted Russian Jews.

Tsar Nicholas II was not known for his tolerance of either dissidents or minority groups and in the political turbulence of the times the Jews made for a convenient scapegoat.

Married to a granddaughter of Queen Victoria he was referred to by Trotsky as having been “more awful than all of the tyrants of ancient and modern history”. Aberdeen’s Bon Accord Magazine was more succinct when, during a state visit to Balmoral it reported that:

“When the Tsar is at home, we do not hesitate to call him a tyrant. Then in heaven’s name, why – when he visits his grandmother-in -law, should we play the hypocrite and fete he whom we at other times curse.”

The cruelty of the pogrom is one of the central themes of Fiddler on the Roof. Adapted from the Sholem Aleichem short stories about Tevye the Dairyman, Fiddler is set in the fictional town of Anatevka at the high-point of the early 20th century Tsarist inspired anti-Jewish demonstrations.

Alongside struggling with his shrewish wife, Tevye – played by Kevin Haggart – struggles with his deeply held belief that tradition should triumph over sentimentality. Faced with the spectre of five daughters who pretty much refuse to embrace arranged marriage and the spectre of a rising anti-Jewish normality he gradually has to adapt to the inevitable erosion of religious and cultural traditions in a changing world.

Finally, and this is no spoiler, the reality of pogrom rears its ugly head and the tight-knit villagers are forced to leave Anatevka for an uncertain future.

Alongside the piety and the angst there is some comedy

With a simple but effective set, and yes there is indeed a rooftop fiddler, some fifty or so players tread the boards as Kevin’s Tevye breaks open that fourth-wall to do battle with his principles and speak directly with both God and the theatre audience.

Essentially the mainstay of the whole show, Tevye has the unenviable task of marrying off his five daughters none of whom seems likely to listen to a blind word he says.

With iconic numbers such as Matchmaker, If I Were a Rich Man and the poignant Tevye/Golde bedroom duet Do You Love Me, Fiddler seamlessly blends sadness, joy and the sufferings of humanity into a memorable musical mix of hope and despair.

It’s not all doom and gloom though. Alongside the piety and the angst there is some comedy. For starters there are immortal lines such as ‘If you want hair, you should marry a monkey’ and Ryan Bruce’s Rabbi has a humorous but irreverent take on the Tsar. For my money however the aptly-named Bottle Dancers take the high-road humour-wise.

Worthy of panto, the famous five – Tony Barron, Ian Baxter, Chris Cormack, Adam Huckle and Kaz Robertson – take bottle dancing to an entirely new and athletic level which has to be seen to believed

Cons, and there very few, include a couple of minor prop failures on first night plus maybe a need for a sterner and less apologetic policeman. Pros, and there are many, include fabulous choreography, splendid period costumes and a musical performance which might leave many professionals on the back-foot.

And of course, this Phoenix Theatre production of that ever-so-Jewish tragedy takes place during the run-up to Holocaust Memorial Day (Sunday 27 January).

Stars: 4/5

Directed by Liz Milne and Clare Haggart, Fiddler on the Roof plays at His Majesty’s Theatre Aberdeen until Saturday 26 January

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley. Images © HMT

Dec 172018
 

Duncan Harley reviews Snow White and the Seven Dwarfs @ His Majesty’s Theatre, Aberdeen. 

The traditional folk tale of how the beautiful Snow White survived the evil queen’s murderous attention has been told in many versions over the centuries.

Countries across the globe from Albania to Malaya hold versions of the tale deeply rooted in popular culture.

In an Indian take on the story, the magic mirror is portrayed as a talking parrot and an Albanian version has Snow White’s jealous sisters portrayed as a murderous duo intent on her untimely demise.

The Brothers Grimm are often credited with having collected the definitive version of the story. Featuring seven unnamed dwarfs, a glass coffin and an insanely jealous stepmother they published several versions of the tale over the period 1812-1854.

In 1937 the tale was subjected to Disneyfication and, despite Disney having trademarked the name “Snow White” in 2013, the films and the literature continue to follow the snowy-white road.

Ever popular as a pantomime theme the likes of Dawn French, Wendi Peters and even Strictly Star Brendan Cole have played starring roles over the years.

As Snow White and the Seven Dwarfs comes to His Majesty’s for a five-week run, the incumbents of the leading roles are Lee Mead as Prince Harry, Jenna Innes as Snow White, Juliet Cadzow as the evil Queen Lucretia plus of course Jordan Young as Muddles and Alan McHugh as Nurse Nellie MacDuff. Yes, that’s right – Nurse Nellie MacDuff.

Both the Grimm Brothers and Walt would have been surprised at Nurse Nellie’s staring role but, it’s all in the best possible taste; well almost.

As Alan McHugh’s take on the traditional tale rattles on through endless costume changes – Nellie appears variously dressed as a billiard table, a Heinz Beans advert, a BBQ and wait for it, a fat lady in a tiny bikini; the wonder of panto is exposed to the theatre audience in more ways than one in this production

Inuendo, double entendre, acrobatics, pyrotechnics and fast paced comedy sketches flow thick and fast as the story of the princess who was far too pretty to live unfolds.

There are no glass coffins in this version of the tale and, if Alan McHugh’s take on the story is to be believed in its entirety, the magnificent seven are named as Snoozy, Fearty, Dafty, Gaffer, Cheery, Snotty and Dreichy.

As is usual in the HMT Panto various celeb’s get to take it on the chin.

Amongst this year’s targets are Donald Trump and Theresa May with the addition of a gag or two about the AWPR, Brexit and of course Holby City – erstwhile home of Lofty AKA Ben “Lofty” Chiltern.

As panto’s go this year’s APA offering certainly delivers a good few belly laughs.

The story bears at least a resemblance to the original tale and the delivery of the traditional fast-paced monologues is, as always, second to none. However, there is a certain flatness and lack of energy about the production.

Perhaps this will pick up during the coming weeks. Additionally, Prince Harry – although pitch perfect in dialogue – appeared to be singing ever so slightly under par.

All in all, though, Snow White and the Seven Dwarfs is a cracking piece of entertainment and should appeal to folk of all ages.

Plus of course, this year some seventy-four towns and villages throughout the North-east, including both Inverurie and Fochabers but somewhat surprisingly not Maggieknockater, get a special mention amongst the gags.

Now that must be something of a record.

Stars: 3.5/5

Directed by Tony Cownie and written by Alan McHugh, Snow White and the Seven Dwarfs plays at His Majesty’s Theatre Aberdeen until Sunday 6 January 2019

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley, Images © HMT

Oct 302018
 

Craig Chisholm reviews True North 2018. Photographs by Craig Chisholm.

Game Of Thrones’ Aiden Gillen pays tribute to the ‘Thin White Duke’  with David Bowie tribute, ‘Lady Stardust’.

True North returned once again to the heart of Aberdeen with another exciting bill that boasted an eclectic range of artists, a variety of venues, screenings of movies, informative talks and appreciative audiences over its four days.

The best new talents and hotly tipped newcomers shared stages with old pros and veteran performers – and even a ‘Game of Thrones’ star who was there to pay tribute to the late, great David Bowie.

Kicking off on the Thursday night, the Lemon Tree hosted an opening concert that boasted some of the best up and coming Scottish talent.

Opening the night, Glaswegian Zoe Graham provided a low key, intimate performance.

Aided only be an acoustic guitar and her voice this was a display of a mature and introspective talent that’s unusual and impressive for a such a young performer.

Eclecticism was the defining theme of the night as the next two acts explored different musical paths.
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Scottish rapper Solareye – backed on-stage tonight by DJ Harvey Kartel – is the frontman of the hip hop band Stanley Odd.

His socially conscious lyrical flow gave the crowd food for thought and displayed a unique and absorbing talent that deserves to be heard by a wider audience.
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Final act Man of Moon were a tour-de-force of guitar driven rock.

Their music recalls The Jesus and Mary Chain, Spacemen 3 and a host of krautrock bands. Their droning, feedback drenched wall of noise is absorbing and overpowering, drawing you into their ocean of sound and leaving you exhausted and shell-shocked by the time it’s over.

A fitting end to a wonderful night.

The following night starts with a much more laid back and intense but no means any less absorbing acts as the Tivoli theatre hosts Tracyanne & Danny along with opening act Charles Watson.

The combination of singer songwriters Tracyanne Campbell (Camera Obscura) and Danny Couglan (Crybaby) works well and their soul-warming, indie pop sound is appreciated by a reverential crowd.

Drawing from their highly acclaimed, self-titled debut album their set was both intimate and expansive, offering heart breaking and personal lyrics that had the crowd absorbed, rapt and appreciative.
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Opening for them was Charles Watson.

The London based singer / songwriter / producer is possibly best known as the lead singer of indie band Slow Club but he came into himself onstage and gave a great performance that would have won over new fans on the night.
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The Lemon Tree hosted the second of the nights performances.

Kicking off proceedings was Manchester based singer-songwriter Ren Harvieu.

Backed by tonight’s headliners, The Magic Numbers, she runs through an engaging support slot that displays influences of soul, rock, indie and jazzy torch songs.
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Headline act The Magic Numbers have a wealth of material to draw from.

Their late-night slot keeps the crowd on their toes and out of their beds as they pull out Top 40 hits such as ‘Forever Lost’, ‘Love’s a Game’ and their biggest hit ‘Love Me Like You’.

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If there was ever a case of opposites attracts then Saturday nights pairing of the stately, grandeur of His Majesty’s Theatre hosting the feedback heavy, post rock of Mogwai and the apocalyptic electronica of Blanck Mass was it.

Blanck Mass are not an easy listen.

It’s a punishing yet rewarding set that sole member Benjamin John Power performs whilst hidden in virtual darkness with only a screen displaying fractual, confusing and trippy images behind him.

But beneath the pulverising noises are rewarding harmonies and hints of melody – they’re not easy to find at times but are rewarding to the listener that does.

Mogwai also have beautiful and harmonic melodies but unlike Blanck Mass they’re not always as hidden. Their elegant,  engaging, compositions are counteracted by ferocious, feedback driven guitars in what must have been the loudest act to tread the boards of the HMT.

Effortlessly one of the greatest and original talents to emerge from Scotland in the last two decades their revelatory live performances deserve to be seen at least any music fan at least once.

Their ear-splitting volume is balanced beautifully with moments of solace and breath-taking beauty – it’s an amazing performance by the Glaswegian band.

After those pulverising and draining performances it might have been preferable for some to have headed home for a lie down in a dark room to recover, but the Lemon Tree still had something to offer for those with still functioning ear drums.

Singer Colin McIntyre has performed as Mull Historical Society since the turn of the 21st Century and his music is still as fresh and heart-warming now as it was then.

The multi-talented McIntyre – singer, songwriter, playwriter, author – gives a wonderful show that draws heavily from his latest album ‘Wakelines’ as well as early hits such as ‘The Final Arrears’, ‘Animal Cannabus’ and ‘I Tried’.

It’s a great performance and he’ll be back at The Lemon Tree next year with a band that will feature none other than former Suede guitarist in its ranks. Don’t miss him.

Opening for Mull Historical Society is up and coming artist Emme Woods. Her mix of blues, rock, grunge and good old fashioned strong song writing displays a depth of talent that is inspiring to see in someone aged only 23 years.

She may be one of few acts – if not the only – that has a family pet on stage. Nestled on a fur coat to Woods’ left is her dog, Bubbles, who is comfortable enough with the performance to enjoy a snooze during the set.

Hopefully no one else in the crowd had a sleep as they’d have missed a strong performance by someone who is sure to go on to bigger things.

The fourth and final night of the festival still has a couple of big shows to go.

The Lemon Tree provides the late-night setting for Glaswegian indie stars Glasvegas.

The band power through a set that revisits their classic debut album from start to finish that gives the crowd a nostalgic but entertaining finale to the weekend.
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The big, star-studded show of the weekend happens earlier in the evening, however, at His Majesty’s Theatre.

‘Lady Stardust – Camille O’Sullivan and friends present the Music of David Bowie’ is a majestic and life affirming show that draws in a crowd of all ages and backgrounds, proving how timeless and all-encompassing the Thin White Duke’s music was.

Irish torch singer O’Sullivan is an inspired host for the evening.

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Her performance is chameleon-like and theatrical and she takes on the role with gusto, really getting into the spirit of the performance and taking on Bowie’s ability to get into a role and bring the audience with him.

Her choice of friends and peers to accompany her on this journey are eclectic and diverse.

From Paul Noonan, singer with Bell XI, performing ‘Ashes to Ashes’ to folk singer-songwriter Kathryn Williams performing ‘Kooks’ and with performances by ‘Game of Thrones’ and ‘Peaky Blinders’ star Aiden Gillen, pianist Duke Special and Cathal Coughlan from The Fatima Mansions, it’s an evening of sheer joy for Bowie fans old and young alike.

And special mention must go to comedian and writer Christopher Green.

The towering, flamboyant performer gives a show stopping performance that captures the spirit of Bowie.

His performance is revelatory – camp; serious, touching and funny in the space of a 3-minute pop song. A credit to himself and a credit to Bowie, whose spirit he truly captures.

The spirit of the evening truly reflects the nature of True North – an eclectic, interesting, diverse mix of music that crosses all boundaries and showcases a wide-ranging display of talent.