Oct 032016
 
ronnie-watt-painting

Ronnie Watt (left) as depicted by celebrated Aberdeen painter, Eric Auld.

By Charlie Abel.

Aberdeen’s famous Karate man Ronnie Watt (9th Dan) will be flying off to Japan on Frday (Oct 7) at the invitation of the Japanese through a fellow martial artist. A Kendo instructor from Japan, Kazuo Yamazaki, who is well known in Aberdeen for setting up the Aberdeen Kendo Club a number of years ago, has invited Ronnie and his wife Gail to accompany him on a tour of Japan.

The highlight of the tour for Ronnie will be visiting the Karate Dojo’s where they have organised displays of three of the traditional Japanese karate styles.

They will also visit Nagasaki where they have been invited by Tomishisa Taue, the Mayor of Nagasaki and some of the most prominent Karate Masters in their area to attend a dinner in his honour.

Ronnie is no stranger to Japan having visited six times to date and training in the world famous Takushoku Dojo, where modern Shotokan Karate was brought to the world by the Japan Karate Association.

Ronnie’s connections with Japan go back a long way. When he started Karate 50 years ago, after being inspired by James Bond movies, very little was known about Karate in Scotland. Few people knew anything other than simple basics and even that was of a questionable standard. The only way to learn was to go to Japan or attend some courses the Japanese masters were running down at Crystal Palace in London. Ronnie did both.

After years of training with the visiting Japanese instructors and visiting the source of knowledge in Japan Ronnie became well known as an instructor and an international competitor. Leading the Scottish Karate team and Teaching over 20,000 people karate.

In his Karate career Ronnie has brought many Japanese Instructors to the UK, Germany and Norway. He became good friends with many legendary karate masters such as Nakayama, Kase, Shirai, Enoeda and Ochi. Many would stay at his home in Aberdeen. Ronnie brought a team over from Japan to compete in a friendship tournament and in 2001 organised the WKC World Karate Championships at the Aberdeen Exhibition and conference centre.

His work with the Japanese and the good work Ronnie has contributed to Karate, not only in the UK but in many countries he visits to teach Karate, has not gone unrecognised.

Ronnie is one of the few people to be honoured by the Japanese outside of Japan, with an Order of the Rising Sun – an award not to be taken lightly. He has also since been recognised by the Queen with an OBE and named ‘Sports personality of the year’ by Aberdeen City Council.

the Scottish Samurai Awards have grown into something really special

He also has honours from the government of Slovakia and from other Karate Clubs in Europe. Last year he was entered into the ‘European Hall of Fame for Martial Artists’.

In 2015, in tribute to ‘Scottish Samurai’, Thomas Blake Glover, Ronnie helped to organise the hosting of 22 Japanese students and school children who were doing a pilgrimage visit from Kagoshima to Aberdeen and London. After his arrival in Japan, Glover had sent 22 students to be educated in the ‘modern world’ and is credited with modernising Japan. Glover is also credited with reviving The Order of the Rising Sun.

During the student’s tour of Aberdeen and London, Aberdeen was very proud to be able to host every person with a family including Ronnie and some of his friends. Ronnie is looking forward to seeing some of Kagoshima on his visit. Ronnie was recently awarded his 9th Dan making him one of the highest graded Karateka in the world and one of the worlds most experienced.

As if all this wasn’t already enough to keep him busy, 22 years ago Ronnie Founded a small awards event to help recognise and encourage people in different aspects of life. Initially it was centred round sports but now the Scottish Samurai Awards have grown into something really special. Each year they have grown into a more prestigious date in the Aberdeen social event calendar.

Names like Alex Salmond, Sean Connery, Sir Ian Wood, Tommy Dreelan, Martin Gilbert, Dr Joseph Morrow (Lord Lyon of Scotland) and The Very Reverend Professor Ian Torrance, have added Kudos to the broad spectrum of recipients who are recognised for being ‘people of spirit’ – Scottish Samurai.

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Sep 292016
 

_MG_5337With thanks to Suzanne Kelly

Big Country return to Aberdeen’s Lemon Tree to mark a very special anniversary.
Following the incredible success of their 30th Anniversary ‘Steeltown’ Tour, BIG COUNTRY now celebrate the 30th Anniversary of the album that followed that release – ‘The Seer’.

Famously, the album included an appearance by Kate Bush, joining the late Stuart Adamson on the title track and the single ‘Look Away’ was the group’s biggest UK single, reaching Number 7 in the charts.

The album itself reached Number 2 here, with Rolling Stone reflecting: “‘One Great Thing’, ‘I Walk the Hill’ and ‘Eiledon’ are stirring expressions of the desire for individual integrity and a future filled with peace”… a timely sentiment.

The band will perform the album in its entirety, as well as visiting their stunning catalogue of songs, taken from their multi-million selling and Number 1 hit albums.

Their classic hits and live favourites include Harvest Home – Fields of Fire – In A Big Country (which sold 2 million copies) – Chance – Wonderland – Look Away – The TeacherEast of Edenfrom such massive albums such as the triple Grammy –nominated, ‘The Crossing,’ ‘Steeltown’ and ‘Peace In Our Time’. BIG COUNTRY continue to look beyond the next horizon.

Big Country is BRUCE WATSON (guitars/vocals); MARK BRZEZICKI (drums, vocals); JAMIE WATSON (guitars/vocals).  They will be augmented on stage by SIMON HOUGH and bassist, SCOTT WHITLEY.

Further tour dates and more information can be found here: www.bigcountry.co.uk

Sep 292016
 

Duncan Harley reviews Chicago the Musical at His Majesty’s Theatre, Aberdeen.

chicago_john_partridge_as_bill2Take a few soap stars, add some distinctly slinky costumes and pour in a few measures of Prohibition-era corruption and what have you got? Chicago the Musical, of course!
In modern times, superstars such as Oscar Pistorius and Phil Spector attracted extensive media interest before receiving lengthy terms of incarceration, following high profile televised murder trials watched in some cases by upwards of 100m viewers.

They were perhaps unlucky: if they had lived in Chicago in the pre-TV era, and had been female, things might have turned out very differently indeed.

The 1920s media moguls of Chicago Illinois were intent on selling newspapers at all costs, and were not above sensationalising the stories of low-life female killers in order to transform them into front page stars.

Crime reporters, known derisively as sob sisters, were despatched to the local prisons with firm instructions to work up a good story at all costs. Morality and criminal justice came second to a juicy tale, and a homicide involving a lover or a spouse often led to fast-track celebrity status.

Chicago the Musical tells just such a story. Based on a 1926 play of the same name by local newspaper reporter Maurine Watkins, the plot follows the corrupt creation of celebrity criminals in Cook County Jail in the U.S. state of Illinois. While media moguls and fat cat lawyers prospered, the rule of law went out the window as attractive prison belles were groomed to evade justice by playing on the public’s insatiable appetite for poor, but pretty and defenceless murderesses.

This new revival of Chicago strips back the production to the bare bones. Most of the stage is occupied by the band and the action features some highly minimalistic costuming, plus the very minimum of props.

The storyline is well known. Self-confessed murderesses get off with homicide due to good looks, or as headlines of the time put it more aptly “Pretty girls get free, ugly ones sent to Pen”.

As the band plays, the cast play out the sensational stories of Roxie Hart and Velma Kelly in a series of high energy vaudeville routines interspersed with an occasional murder or two.

There are villains aplenty in this production, and apart from the pathetically downtrodden Amos, soundly played by Neil Ditt, the only real heroes are the cast.

chicago_hayley_tamaddon_as_rox2Emmerdale’s Hayley Tamaddon fairly threw herself into the 2010 TV production of Dancing on Ice, and she drew gasps from the audience this week as she strutted her stuff on the Aberdeen stage.
Playing the part of the unrepentant Roxie Hart, she proved once again that she can perform equally well with or without her ice skates.

Co-star Sophie Carmen-Jones also wowed the audience as double murderer Velma. In a series of complex song and dance routines she proved once and for all that vaudeville ain’t dead yet.

For my money though, the supreme accolade must go to seedy lawyer Billy Flynn. Flynn is played exquisitely by John Partridge of EastEnders fame, who not only manages to squeeze out the longest single note ever heard on an Aberdeen stage but, in a hilarious scene, also proves his worth as a stage ventriloquist.

This is an engaging and exciting production full of dark humour and fast movement. At its core Chicago the Musical presents as a satirical take on the cult of the celebrity criminal, and as such is as relevant today as it was when first produced as a play almost a century ago. A must-see.

Chicago the Musical performs at HMT Aberdeen until Saturday 1st October

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © Aberdeen Performing Arts

Sep 292016
 

The Mission release their new album, ‘Another Fall From Grace’ on 30th September 2016. They play Glasgow’s ABC 02 on 3 October, with Peter Murphy the opening act. Suzanne Kelly was one of the many who helped crowd fund this new work, and will be on hand for the Glasgow show.

paul-grace-25-min2Another Fall From Grace was produced by Wayne Hussey and Tim Palmer and features guest backing vocals from Gary Numan, Martin Gore (Depeche Mode), Ville Valo (HIM), Julianne Regan (All About Eve) & Evi Vine.
On September 2nd The Mission release the gloriously melodramatic Met-Amor-Phosis, the first single from the new album.

Co-Produced by Tim Palmer and Wayne Hussey, Met-Amor-Phosis features backing vocals by HIM front man Ville Valo and marks a return for The Mission to their classic anthemic swagger and bombast.

The Met-Amor-Phosis digital only single includes a haunting acoustic version by Wayne Hussey and a high energy club version called, ‘The Black Star Remix’ by Evansson.

Met-Amor-Phosis emerged following a coastal drive from LA to San Francisco, explains Wayne:

“Bowie had just died, and whilst the first verse is mostly autobiographical having also recently read Kafka’s novel of the same title, the second verse is certainly flavoured by Bowie’s passing’’

Of the new album, Wayne commented:

“For me, this new Mission album is the long lost missing link between the Sisters Of Mercy’s First & Last & Always and The Mission’s God’s Own Medicine, both albums of course that I was heavily involved in making. I set out this time with the intention of making an album that sounds like 1985.

“The fact that I feel this has largely been achieved is down to my renewed love for the jingle jangle shimmer of the electric 12 string guitar which featured heavily on those two previously mentioned albums and now the new Mission album.

“This is a dark album although I didn’t set out with that intention, it’s just the way things unfolded. I know I did go a little crazy and even a little paranoid during the recording of this album, certainly my mental, physical, emotional, and spiritual well being all suffered during the course of it. And I think that has informed both the music and the lyrics.

“So much of this was done in isolation – from the world, from my family, from my friends, and even from my band mates. I can’t say it’s an album I enjoyed making but it is an album I needed to make.

“It is with huge relief that I can now say it is finished and maybe it’s like an acute pain that you have that once it’s gone you can’t remember how it felt. I hope so as I would like one day to feel the fondness for this record that it maybe deserves.”

Another Fall From Grace will be available on CD, DL and 180 gram vinyl plus ltd edition DELUXE double CD and DVD.

The deluxe version contains full album on CD, an instrumental version of the album with bonus remix track ‘Met-Amor-Phosis’ and a 93 minute DVD featuring never before seen footage from 1987 of The Mission performing at Elland Road, Leeds, supporting U2, Aston Villa Leisure Centre as The Metal Gurus and The Royal Court in Liverpool for the Hillsborough benefit gig, both from 1989, producer Tim Palmer’s home footage of the recording of ‘Carved in Sand’ /’Butterfly on a Wheel’ video, and the promo video for new single Met-Amor-Phosis.

A new video ‘Met-Amor-Phosis’ – can be found here:  https://youtu.be/f3LVWnHhzNA

Aberdeen Voice will review the Glasgow date. More information on The Mission here: http://www.themissionuk.com/wp/

Sep 132016
 

trickery-aug16-8By Fred Wilkinson.

‘Something Different’ is happening in the Aberdeen entertainment scene.

With musicians and music lovers alike still smarting from the recent closure of yet another popular small venue, we certainly don’t want more of the same, and perhaps a taste of trickery may be just the tonic.

The Trickery is a monthly cabaret night which has been running in some shape or form for the last four years, and yet, for all I have been intrigued by the concept, had never managed to attend.

That was until August 26 when I found myself free to accept an invite, and to meet with organiser and compere, Iain Adam.

I asked Iain how The Trickery came about. Iain told me:

“The Trickery was first conceived as a magic show when we had the opportunity to bring one of the biggest acts in magic (Dani DaOrtiz) up to Aberdeen. He was booked for an event that was just for magicians, but we really wanted to show Aberdeen just what was happening in the magic scene.

“After the public show, people came up and asked us when the next event was and we said “next month” and so it began. That was 4 years ago and we have been going ever since. It’s run by me and my wife Gail.

“I describe The Trickery as ‘Something Different’. Everybody is looking to do something different, something that they wouldn’t normally do, and thats what we have for them.”

trickery-aug16-3Audience participation is key to the fun and the special atmosphere of The Trickery.

As compere, Iain Adam opens the show, engaging in humorous banter with the audience and whetting their appetite with hints as to what we can expect – including ‘the unexpected’.

Putting the crowd through its paces, it is made clear we are not only handed a leading role, but that a licence to heckle is included in the admission fee.

.

,

trickery-aug16-15First up is Mind reader/Magician Michael Brandie.

For a performer who publicly talks down his joke telling skills, he can be more than satisfied with the chuckles he winkled out of the audience.

Some laughter, possibly of a nervous nature, even occurred when he stuffed his head in a plastic bag and suffocated himself onstage to the point his heart stopped.

trickery-aug16-16OK, it’s only a trick, but I confess to having been more than a little concerned.

Then to prove his given theory that restriction of blood flow has an anaesthetic effect, he pushed an acupuncture needle through his hand …

….. and invited a member of the audience to yank it out!

‘Something Different’ was promised, and, well, it’s not every day …..

.

.

Next up is Professional Artist and Model, Sharrow.

trickery-aug16-1Tonight we witness her Trickery debut as a Burlesque Dance performancer.

Demonstrating her understanding of the art form, Sharrow wastes no time in catching the eye and holding on to it, and in glimpses, offers that characteristic, subtle element of ‘tease’ which plays more in the viewers imagination than elsewhere, which the audience own up to and call out with their vocal appreciation.

During her routine, the smallness of the stage is suddenly emphasised by the grandeur of her moves which the visually pleasing use of silk scarf ‘streamers’ served to accentuate.

trickery-aug16-4It’s all over a little too quickly, but on the other hand, not too soon for tonight’s special guest, Drag Queen, Miss Scarlet Diamonte.

As her name may suggest, she appears in a vivid, red sequinned dress, the hem of which is better friends with her waist than with her kneecaps.

Perched on four inch high Perspex heels, she appears appropriately imposing, and dare I say, Formidable.

And she lives up to that first impression with room to spare.

Scarlet Diamonte’s act is not for the fainthearted.

trickery-aug16-6Her humour is unashamedly, unapologetically brash and coarse.

It swishes past risqué without exchanging pleasantries, thumbs its nose at political correctness, and condescendingly pats Innuendo on the head in passing on its lunge for the jugular … and a few other anatomical features as well.

It is borderline brutal, and yet spills out warmth …. and the audience are lapping it up.

She is in complete control as she teases and toys with this crowd, up close, personal and physical, much to their delight, and for all the blushes and involuntary shrieks of laughter, no-one is getting hurt.

trickery-aug16-5However, should anyone ever be in a position to offer encouragement to Scarlet on her way to the stage, avoid the traditional three worded motivator. Scarlet may well ‘break a leg’, but I am certain it would never be her own.

I am reminded of the words of Johnny Rotten to an audience at a Sex Pistols gig. Something like:

“I’m not here for your entertainment, you’re here for mine.”

But the tables are most certainly turned when she turns to the songs.

Her command of her audience is sealed as the power in her voice, matched by an impressive pair of lungs, leaves us in no doubt of the extent of her stagecraft and talent.

trickery-aug16-10With admirable energy and style, accompanied by expressive gestures and movement from her face to her feet, and the occasional hilarious ‘aside’, she takes on and slays half a dozen ‘camp classics’, starting with ‘Don’t Stop Me Now’.

There was no danger of stopping her – at least not until her finale whereupon, mid song, we were treated to a remarkable transformation which would have had Ennio Marchetto taking notes.

De-wigged, peeled off and wiped clean, Scarlet was summarily discarded.

In her place now stood Tillydrone raised, London based actor Brian Elrick to take the song to it’s inevitable crescendo, take a bow and wallow in the whoops and applause of an impressed and thoroughly entertained audience.

Having been given some respite to catch our breath, if not a drink, we were eager to find out what the final act at tonight’s Trickery had to offer.

trickery-aug16-11That final offering was ‘Ray Guns Look Real Enough’ – and we were not disappointed.

In common with most great comedy duos with a certain unique chemistry, musical comedy duo Ray Guns and Luke Real bounce off one another beautifully.

This is a well worked act which skips along at a lively pace.

trickery-aug16-13Between the songs, the comedy interplay between the duo, and the audience, is slick … and very funny.

Still, space is afforded to flashes of spontaneous improvisation which always land ‘buttered side up’.

From the moment they arrive on stage, we are promised laughs merely by way of their appearance ( Sorry – I mean of course ‘image’ … they being a famous stadium rock band).

trickery-aug16-12Between them, their stage attire, from the ill-fitting cat-suit to the lacquered mohawk, appeared to be a jumble of iconic items of memorabilia stolen over the course of 3 decades from the biggest names in rock/pop culture.

And much the same could be said of the music as they ripped through a series of montages and mash-ups of pop/rock classics, all seamlessly stitched together and expertly delivered.

trickery-aug16-14Armed with no more than one guitar, a tambourine, and two well matched voices, it was puzzling to hear the sheer power of their sound and fullness of the arrangement.

The mash-ups were at times amusing simply by way of the zany unlikelihood of the elements combined, but always cleverly presented, and I suspect more than one musician in the audience will have wondered:

“Shit! Why did I not think of that?”

All in all, a superbly talented, creative and entertaining act who are so instantly lovable they could do no wrong if they tried. From their intro to the last second of their deserved encore, I was transfixed to the extent I have no idea how long they were actually on stage.

And with said encore, so ended a cracking night’s entertainment – other than the long remaining smiles on the faces of many a highly satisfied audience member.

I asked Iain how this show compares to past events, and what’s next for The Trickery. He said:

“The Trickery means a lot to me as it gives Aberdeen the chance to see some acts that they wouldn’t get a chance to see anywhere else at any time. In the near future, we have shows opening up in other cities around Scotland.

“We have had freak shows, pick pockets, mind readers, hypnotists and more. We’ve seen people shot with paint guns, people walk on glass and people break arrows with their throat.

“We’ve had Hollands biggest magician and the inspiration for the TV show The Mentalist. Every show is different, but every show is great.

“This month we have a double headliner show. Each headliner has just finished sell out 5 star shows in two different fringe festivals (Edinburgh and Amsterdam). Every act is must see, because you only get one chance to see them.

Iain is offering some complementary tickets to this month’s event featuring comedy musician, Friz Frizzle and Dutch magician, Fritz Alkemade which takes place on Friday, September 23.

Simply share the ‘September at the Trickery’ event page on your personal facebook page, then visit the main ‘Trickery’ page and ‘like’ the page. Good luck, and hope to see you there.

Aug 262016
 

Marie Velardi-Future Perfect 21st Century-2006-2015-Kochi BiennaleWith thanks to John Morrison.

Peacock Visual Arts proudly presents Lost Islands & Other Works, an exhibition of drawing, sculpture, and installation by Marie Velardi. For her first solo show in the UK, this exhibition brings together recent and significant works to consider the nature of impermanence and movement of time from various perspectives.

Within her practice, Marie employs fact and fiction to both imagine and question the future.

Works closely examine movements of the earth, such as the continuous shift between land and sea, or inhabited islands disappearing into the ocean due to rising water levels. Marie’s use of fiction to present a timeline of the 21st century as described in sci-fi literature and film, offsets our reality to incite a powerful yet playful protest about the uncertainty of our future, and the condition of the earth today.

During the exhibition, selected artists, initiatives and academics will be invited to actively respond to the exhibition to explore ideas around unpredictable worlds, landscape, and sustainability.

Marie Velardi was born in Geneva, Switzerland. She lives and works in Geneva and Paris. Her work has been exhibited in France, Germany, Belgium and Italy. In 2014-2015 she represented Switzerland at the Kochi-Muziris Biennale in India. She has won various awards; among them the ‘2015 Scholarship of the City of Geneva’ for her on-going research project called Terre-Mer.

Marie Velardi // Lost Islands & Other Works

Runs: 27 August 2016 – 8 October 2016
Venue: Peacock Visual Arts

Aug 262016
 

Duncan Harley reviews ‘Made In Dagenham – The Musical’ at His Majesty’s Theatre.

Made_in_Dagenham_3aThe timing couldn’t really be better. At a time when Labour is in disarray and the pay differential between males and females performing the same job remains at a whopping 18%, the Lyric Musical Society production of Made in Dagenham the Musical illustrates graphically that despite decades of industrial strife and equal pay legislation there is nothing fundamentally different in the labour market.

The glass ceiling is still firmly in place.

The Dagenham car plant in the London Borough of Barking nowadays employs around 3,000 people. Output today consists mainly of the production of car engines with around 1.4m each year making the long trip down to the end of the assembly line. Vehicle assembly ceased at the plant in 2002 and Ford estimate that 10,980,368 cars were produced at the 475 acre site during the period between 1931 and 2002.

A rough calculation reveals that, assuming that each automobile had a seating capacity of five and each vehicle had two front seats and a bench rear seat; the mainly female machinists working in the Dagenham plant seat-cover fabrication shop were kept pretty busy most of the time manufacturing the seat covers for around 32,941,104m Ford UK car seats. I could go on.

However, despite long held aspirations by the trade union movement to secure equal pay for both sexes many union members, to the delight of the employers, remained fearful of the threat to male employment posed by the female workforce and actually supported employment law discrimination directed against women and married women in particular.

Labour government, fearful of losing the certainty of the TUC Block Vote, continued to echo Beverage’s sentiment that the housewife belonged in the home and had no place in gainful employment.

In June 1968 things came to a head at the Ford plant when 187 women machinists employed in the seat cover machine shop took strike action and brought Ford to its knees.

There had been longstanding and largely unresolved grievances regarding health and safety issues at the plant.

The women worked in an old and draughty asbestos clad ex-aircraft hanger using unguarded machines. Workers were watched over by assessors and quotas of around 30 seat covers per hour were expected. Injuries were common and it was held that workers were not really proper machinists until they got caught by the machine.

To cap it all, the women employees were paid at an unskilled B grade rate which was only 87% of the unskilled male rate. The scene was set for double trouble at mill.

Made_in_Dagenham_1Based on the 2010 film of the same name, the Lyric Musical Society production of Made in Dagenham the Musical presents the story of the ensuing three week strike in an engagingly gritty and generally humorous style.

Ambitious in nature, the Dagenham stage set presents as slightly bewildering. However in a blistering series of fast paced scene changes the bricks and mortar factory walls certainly keep the plot moving on at a lively pace.

Alongside the various Ford factory sets, there are scenes set within the PM’s private office, in the Westminster offices of Barbara Castle and on Eastbourne beach. The family home of strike leader Rita O’Grady features regularly alongside a replica of the infamous Dagenham Berni Inn better known as the spawning ground of both the prawn cocktail and that Black Forest Gateau

Undoubted star of the show is Sophie Hamilton Pike as Rita the accidental activist. A regular at HMT and well accustomed to playing roles as diverse as the evil Inverurie Panto Queen and occasional Principal Boy, she leads the audience seamlessly through the troubled tale of Rita’s speedy journey towards political awareness.

Rita’s meteoric rise creates tensions within the family and Ryan Peacock’s confident and reflective performance as Rita’s husband Eddie clearly illustrates the emotional difficulties faced when challenging generally accepted societal norms.

Andrew Begg’s witty Mike Yarwood take off of PM Harold Wilson probably mystified many of the less elderly in the theatre audience. Who even remembers Ganex after all? What does Harold have against Belgium? Why is the PM portrayed skipping gaily across Eastbourne Beach in a Donald McGill seaside cartoon costume? Should the man have gone to Specsavers before vacating the closet? No doubt a memory-lane trip down to the Scilly Isles will reveal all.

Essentially a fairly astute political drama about 1960’s Labourite industrial relations set firmly within a lively musical, Made in Dagenham spins a good tale.

Perhaps some of the innuendo laden banter is outdated and maybe even a little obscure but it usually gets a ribald laugh anyway. Musical numbers, and there are around twenty of them, range from Eddie and Rita’s sweet duet “I’m Sorry I Love You” through to “The Same Old Story” at the Berni Inn and the rousing TUC Conference climax “Stand Up”.

Entertaining in the extreme, Made in Dagenham the Musical plays at HMT Aberdeen until Saturday 27th August. Oh and be sure to watch out for the mysterious man in Act 2 playing his guitar atop a ladder.

Directed by Craig Pike of Flying Pigs fame with Musical Direction by Rhonda Scott.
Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © Aberdeen Performing Arts

Jul 212016
 

Duncan Harley reviews ‘Jackie the Musical’ at His Majesty’s Theatre Aberdeen.

Jackie_3The 1970s was an era when people actually spoke face to face or, in extremis, resorted to sending handwritten letters through the post.

Although home computers were beginning to appear, digital media was largely the prerogative of the military, academia and government.

Personal mobile phones were available, but tended to be the size of bricks, and the social media app of choice was the humble GPO land line.

Remembered for its bell-bottoms, the miners’ strike and the rise of disco, the 70s heralded a few wars, a moon landing or two, plus a good few political scandals. The US had its Watergate, and in the UK we had Rinkagate, perhaps better known as the Jeremy Thorpe Affair.

While Maggie and Arthur battled it out on the picket lines, the gender-bending Bowie performed on Top of the Pops; pirate radio, the precursor to local radio, was moving shore-side, and novelist Tom Wolfe’s ‘Me Decade’ was welcoming in the recovery of the self in a flawed and corrupted society.

Boys read Commando Comics, sneaked the odd copy of naturist magazine ‘Health and Efficiency’ into the classroom and occasionally, just occasionally, thumbed through big sister’s personal copy of Jackie Magazine.

With tips on how to meet Mister Right, and with a distinctly interactive format for the day, Jackie the Magazine proved an enduring read, and by the mid 70s it was selling over 600,000 copies per week to teenage girls hooked on a heady mix of girl meets boy comic strips, advice columns and pop star pull-outs.

Then of course there were those agony aunts Cathie and Claire. In reality a randomly rotating team of DC Thomson staffers, Cathie and Claire received up to 400 letters each week from troubled teens asking about anything from the mysteries of menstruation to the mysterious nature of Mister Right.

The magazine ceased publication in 1993 after 1,534 issues, and although vintage copies can be found on eBay, perhaps the best way to connect, or re-connect according to your age, is via Jackie the Musical.

Jackie_2The show is built around a well trodden plot familiar to many. Jackie, played by Janet Dibley, is divorcing errant husband John, Graham Bickley.

He has fallen for Gemma, Tricia Adele-Turner, but has doubts about the new relationship. John and Jackie have a teenage son David, Michael Hamway, who aspires to pop star status, but he is in a state of unrequited love with Prosecco-saturated older woman Jill, Lori Haley Fox.

While packing for the inevitable divorce-led house move, Jackie discovers her long forgotten hoard of Jackie Magazines nestling under the stairs.

Opening the dusty boxes releases a genie in the form of a fresh-faced and sweetly naive teenage version of herself, played by Daisy Steere. A tranche of cliché-ridden 1970s-era dating advice is proffered by the younger Jackie, and things soon become heated in Jackie-land.

A convoluted but well-engineered farce ensues. The punch lines are at points slightly laboured, and the tree-dancing sequence was a bit on the odd side of fabulous; but overall the toe-tapping, gut-busting energy of this production more than makes up for those minor niggles.

The musical framework and the story line generally work seamlessly to create a powerfully nostalgic musical spectacular, fully laden with beautifully choreographed textbook 70s jukebox hits from the likes of the Osmonds, David Essex and T Rex.

Jackie_1Musical numbers include the classic ‘Love Hurts’, ‘I Beg Your Pardon’ and ‘Crazy Horses’. A highlight is Michael Hamway’s hilarious bump ‘n’ grind groin-shuffling rendition of the T-Rex hit ‘20th Century Boy’: even Bolan might have loved it!

For my money though, the proof of the pudding often lies in the audience reaction. At the finale, the theatre audience were literally dancing in the aisles. Nuff said!

This is a feel-good production intended to do just that, make folk feel good, and Jackie the Musical succeeds brilliantly.

Resident Director Harry Blumenau. Choreographed by Arlene Philips.
Jackie the Musical plays at HMT Aberdeen until Saturday 23rd July.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © DC Thomson & Co Ltd

Jul 082016
 

With thanks to Jessica Murphy, Senior Account Executive, Citrus:Mix.

Hilltop_Piano_Bristol 2009A leading business organisation is bringing art to life in the Granite City and it could be found in unexpected places.

From doors in Aberdeen city centre becoming a canvas for local artists, to decorated pianos and fun Oor Wullie characters, there will be a rich variety of culture on offer under Aberdeen Inspired’s Summer of Art theme.

The organisation is hoping to enthuse the north-east public and make art accessible to all with a range of fun projects under the banner.

Summer of Art kicked off with the appearance of 10 colourfully decorated Oor Wullie sculptures, which are currently on display at Marischal College until Sunday (July 10).  Organised by The Archie Foundation, DC Thompson and Wild In Art, the mini touring version of the Bucket Trail will, like its bigger version in Dundee, raise money for the charity.

Soon after the Oor Wullies have travelled on to their next destination local artists will descend upon the city centre to do some decorating with a difference as they transform a number of sites.

From mid-July guest artists will work on decorative paintings on doors of local businesses, shops and other premises with the aim of brightening up the city centre and creating living art. Locations for the painted doors will start at Langstane Place and Windmill Brae and progress to The Green and Correction Wynd. The full trail will be announced in due course.

This Aberdeen Inspired project will be followed in August by the installation of the Play Me, I’m Yours piano trail, a global sensation which has reached more than 10 million people worldwide.

The brainchild of British artist Luke Jerram, it has seen more than 1,500 pianos installed in 50 cities across the globe, all bearing the message “Play Me, I’m Yours”.

From August 2 to August 21 imaginatively decorated pianos will be placed in a variety of prominent city centre locations ranging from the Castlegate and Union Plaza to the Courtyard at the Academy, with the aim of encouraging people to interact with each-other and express themselves.

The next weekend (Saturday August 27 and Sunday August 28) the arches at Union Terrace Gardens will host a Street Art festival. Led by urban and street art artist Karl Porter and up to ten artists, each participant will be given an arch to canvass their art onto, leaving a vibrant, varied and creative colourful space.

Gary Craig, chief executive of Aberdeen Inspired, said:

“Summer of Art is about community engagement and making art accessible to all, as well as being a fantastic way to utilise and brighten up spaces in the city centre.

“It is also a prelude to welcoming Nuart, an international contemporary street and urban art festival made famous in Norway. Everyone at Aberdeen Inspired has been working hard to make these projects a reality and we are looking forward to seeing them come to life in the city centre in coming months.

“We have also been delighted to team up with The Archie Foundation to include the Oor Wullie Bucket Trail under this banner and it has been fantastic to see the great reaction from the public to the sculptures already.

“Local artists have been planning their artworks for some time now for our painted doors project and are excited to start working on them later this month. This alongside the Play Me, I’m Yours installation and Street Art festival will add vibrant and fun splashes of colour, as well as offering both visitors and locals the chance to try their hand at tickling the ivories.

“The level of engagement it has brought amongst people in other cities is amazing and something we hope to recreate here.

“There was a tremendous response to our appeal for pianos and after being inspected by Gordon Bell of Gordon Bell Pianos, who has kindly offered his musical expertise, all accepted donations are now at North East Scotland College where they will be decorated by students. We can’t wait to show off their handiwork and give people the opportunity to play them as part of Summer of Art.”

Aberdeen Inspired is the banner under which the Aberdeen BID (Business Improvement District) operates. It is a business-led initiative within the city centre in which levy payers within the BID zone contribute. Proceeds are used to fund projects designed to improve the business district. Further information on the work of Aberdeen Inspired is available at www.aberdeeninspired.com.

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Jun 242016
 

Duncan Harley Reviews Footloose – The Musical at His Majesty’s Theatre Aberdeen

Gareth Gates as Willard in Footloose 2The 1980s were pelvic times. Hard Rock, Glam Rock, R&B, Hip Hop, Northern Soul and all shades of everything in-between made quite sure of that.

A torrent of unstoppable sound and movement swept the globe, empowering youth and challenging oldies.

Barriers of colour and creed turned fluid, and a new politics of expression brought young people together in an explosive mixture of sound, dance and visual art.

Except of course in Elmore City, Garvin County, Oklahoma, where evangelical Protestantism and social conservatism contrived to pretty much ban fun. A Bible Belt town of around 600 souls, Elmore has one graveyard, a Junior School and a High School. It features in the Gideon Book of Historical Places, and seemingly the school mascot is Bogey the Talking Badger.

For reasons no one could even remember, fun in the form of dancing had been banned by local ordnance since 1898. On March 3rd 1980, the Elmore School Board voted 3-2 to allow the class of 1980 to hold a school prom.

In ‘Footloose – The Musical’, Elmore has been re-named Bomont. Dancing is strictly forbidden under Local Ordnance 416, and a classic head-to-head between emerging youth and well-established establishment is defo on the cards.

Those who have seen the 1984 film, and who hasn’t, will be familiar with the plot line. Good lookin’ Chicago boy moves to Bomont, tries to fit in and meets rivalry from peers and opposition from elders. Love blossoms, establishment attitudes soften and compromise comes. Everyone starts to have fun and the art of dance is again legalized.

The transition from film to stage both retains and builds on the essential energy of the film, and although perhaps a tad slow in the very early scenes, this production builds steadily to a heady audience-engaging climax by the end of Act Two.

Footloose - Gareth Gates as WillardThe casting of actor-musicians is a brave move but works very well indeed.

Any lingering suspicion that a rock band or two lurks behind the scenes is soon dispelled as Luke Baker’s ‘Ren McCormack’ and Scott Haining’s ‘Cowboy Bob’ strut their stuff and swing those flying guitars.

Even Nigel Lister’s soul-searchingly honest ‘Rev Shaw Moore’ gets in on the musical act with a rousing bass finale.

Add to the mix singer/actor Maureen Nolan as preacher’s wife ‘Vi’, a quorum of swing cowgirls and understudy Luke Thornton’s ‘Willard’ – Gareth Gates was unavailable on first night in Aberdeen – and Footloose really takes off big-time.

With around twenty classic Eighties hits, including ‘Holding Out For A Hero’, ‘Mama Says, Dancing Is Not A Crime’ and the pounding ‘Footloose Finale’, ‘Footloose – The Musical’ served up exactly what the audience wanted, and by the finale had folk dancing wildly in the aisles.

Directed by Racky Plews with David Morgan as Touring Company Stage Manager.

Footloose – The Musical plays at HMT Aberdeen until Saturday 25th June

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © APA