Apr 222016
 

With thanks to Martyn Smith, Marketing & Events Organiser, Grampian Transport Museum.

GTMToylander (2)The Grampian Transport Museum is delighted to announce a new addition to the museum’s popular Junior Driving School.

A fully operational scale model Land Rover – known as a Toylander – has been built by the museum’s Young Engineers and will be put to use supervising youngsters on the popular Junior Driving School.

Based on a Police Land Rover, with livery derived from a 1985 Rover SD1 which is currently on display in the museum, the team received a donation of £1,000 from Peter Vardy, to assist with the purchase of the electric powered Toylander kit.

The Young Engineer team meet at the museum every Saturday morning and work on a number of projects, including the design and construction of their own electric vehicles for the annual Greenpower F24 racing series. Over the past few weekends the team, lead by a number of experts from the world of engineering, have constructed the Toylander, giving them vital hands-on experience.

A number of the team’s former vehicles are now on display in the museum’s new Visitor Reception, allowing visitors to see their work, which has remained largely unseen until now.

Commenting on the new addition, Museum Trustee Paul Lawson, who oversees the team, said:

“After a very successful season of racing with two cars in the top 15 in the world we decided to build the Landrover model over the Winter; the team have learned lots of new skills and we’re looking out to see the car in action at the driving school”

Peter Vardy, CEO of Peter Vardy Ltd commented:

“Getting involved with the local community is one of our key values and when the Museum contacted us with their idea we were delighted to be able to assist. The Toylander looks great and I’m sure the children will get lots of enjoyment out of it. We might even have to look into getting our own version for our new Jaguar Land Rover dealership when it opens in August!”

Grampian Transport Museum is now open daily from 10am – 5pm. Further information, along with the museum’s full events programme, can be found at www.gtm.org.uk.

Apr 222016
 

BrewDog-AGM-1With thanks to Suzanne Kelly.

The AGM of irreverent Scottish brewery, BrewDog, was held at the AECC in Aberdeen this weekend.

6,000 beer fans savoured beers from the world’s leading craft breweries at the day-long event.

The meeting gave young founders James Watt and Martin Dickie a platform to unleash five new brews, and propagate their derision of big industrial beer companies Diageo and AB InBev by announcing an official change in their constitution, entrenching the brewery’s independence by passing a motion to ensure that BrewDog can ‘never be sold to a monolithic purveyor of industrial beer’.

The recently reported 2015 financial results from the craft brewery (an extract from which is included below) propelled it to number 10 in the Sunday Times Fast Track 100 companies, with a 3-year annual profit growth of 120%.

BrewDog reported a revenue increase of 51% to £44.7m in 2015, and a gross profit increase of 48% to £17m. Sales in the UK surged by 131%, making BrewDog the number one craft brewery in the UK.

Crowdfunding over the AGM weekend drew more than £600,000, tipping the total over £16m with one week still to go of Equity For Punks IV.

The 40,000-strong army of shareholders will be funding the building of a bigger brewery in Ellon, which will increase capacity fivefold, as well as launching BrewDog’s US brewery in Columbus, Ohio.

James-Watt-at-BrewDog-AGM

James Watt at BrewDog AGM

BrewDog is investing over $30m to build its brand new brewery Stateside to help meet the demand for BrewDog beers in America.

With a focus on expansion, BrewDog has also set its sights on new UK sites along with international ambitions.

Cathedrals of craft will be popping up in Norwich (set to launch this week), Southampton and York in the next couple of months alone.

BrewDog has raised more money through equity crowdfunding than any other company on record, and is famous for its boundary-pushing stunts to further the craft beer revolution. This latest round has raised £16m to date. And closes at 11am on 20th April 2016.

James Watt, company co-founder with Martin Dickie, commented:

“The BrewDog AGM 2016 was off the charts – we introduced our loyal punks to some amazing new beers, we shared our plans for world domination, and we made it an official part of our constitution that BrewDog will never sell out.

“We’ve got so much happening in the year ahead, we’re taking the craft beer revolution across the Atlantic, we’re cementing the craft uprising in Europe, and we’re branching out into spirits and sour beer from our Ellon HQ. And it’s all thanks to our 40,000 shareholders, which is why we put on such a massive music filled, beer-fuelled AGM for them – the biggest in the UK, and definitely the wildest.”

Aberdeen Voice’s Suzanne Kelly was on hand; she added:

“Watching this company grow from two guys on the Belmont Street Farmer’s Market to the UK’s fastest-growing private company, soon to start production in the USA, has been a pleasure to witness.  It was always clear to me that Watt and Dickie loved what they were doing from day one, and I expected big things. No one really could have expected this big. 

“This year’s AGM sees fellow shareholders come together from all over the world to celebrate beer and great growth. Having the UK Subs as the final act on a great musical programme didn’t hurt either. Thanks BrewDog for a great day and for introducing me to Swedish Death Candy – what a band!”

More information on BrewDog can be found at brewdog.com

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Apr 082016
 

Duncan Harley Reviews Guys and Dolls at His Majesty’s Theatre Aberdeen.

L-R, Maxwell Caulfield (Nathan Detroit), Louise Dearman (Adelaide) credit APA Guys and Dolls

L-R, Maxwell Caulfield (Nathan Detroit), Louise Dearman (Adelaide) credit APA Guys and Dolls

Based on the short stories of Alfred Damon Runyon, the musical Guys and Dolls first took to the Broadway stage in 1950 and has been touring in various incarnations ever since. Runyon was an intrepid gambler who funded his habit partly through journalism. He claimed to have met Mexican revolutionary Pancho Villa in a Texas bar, he fought in the Spanish-American War of 1898 and seemingly has a lake in Pueblo named after him.

When Runyon died, aged 66, in 1946 his ashes were scattered from an aeroplane over Manhattan.

He wrote mainly in the present tense and many of his plots involve the seedier side of 1930s New York, featuring gangsters, gamblers and of course dolls.

Sharp suits and spectacular sets feature big time in this musical fable of the seamier side of Runyonland, an idealized version of sinful downtown Manhattan, where guys in the know can get away with almost anything. Dolls in the know take a more reformist approach. First nab your man, then change him for the better. Behind the fabulous dance routines and the show-stopping songs lies an evergreen tale of romance and coming-of-age angst.

Hot-Box-Club cabaret singer Miss Adelaide, Louise Dearman, has been engaged to grifter Nathan Detroit, Maxwell Caulfield, for all of fourteen years, and all she really wants is a cosy life barefoot and pregnant in the kitchen. Nathan however has other ideas, preferring hustling and shooting crap to marital bliss.

New York’s finest are on the case in the form of Anthony McGill as the intrepid Columbo-coated Lieutenant Brannigan; and a suitably secluded spot to hold the next crap game, the Biltmore Garage, will cost $1,000 up-front rent.

Nathan is broke, but proposes an unloseable bet to raise the cash. Call the Midwife star Richard Fleeshman’s Sky Masterson accepts the wager, agreeing to wine and dine Salvationist missionary Sarah Brown, head of the Save-A-Soul Mission, in far off Havana. If he fails in his quest, Nathan wins the thousand dollars and the dice game goes ahead.

After a good few Bacardis and a measure of spectacularly Diva-ridden Rumba, Sarah and Sky declare “I’ve Never Been in Love Before”.

L-R, Anna O'Byrne (Sarah Brown), Richard Fleeshman (Sky Masterson) credit APA Guys and DollsThe witty punch-lines rumble on, but the dialogue wears a little thin at points.

Unbelievably, the childless Miss Adelaide has told her mum that she and Nathan have five children and a sixth on the way, and tells Nathan that, when finally married, they can easily cover the lie by breeding like rabbits.

Additionally, the spectre of Cameron Johnson’s giant gangster Big Jule morphing from murderous mobster to amiable Salvationist takes some believing.

No matter! The songs and spellbinding dance routines are what drive Gordon Greenberg’s revival. Familiar favourites “Sit Down, You’re Rockin’ the Boat”, “Havana” and “Luck Be a Lady” are surely where Guys and Dolls is at in the 21st century.

This musical masterpiece may have turned 65, but the odds are two to one that there’s plenty of life in the old doll yet.

Directed by Gordon Greenberg, with Musical Direction by Andy Massey, Guys and Dolls plays at HMT Aberdeen until Saturday 9th April.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © APA

Apr 012016
 

Duncan Harley Reviews ‘Avenue Q’ at His Majesty’s Theatre Aberdeen

Avenue_Q__dress_-3

Avenue Q. Possibly the funniest musical to hit the Aberdeen stage in recent years.

Billed as unsuitable for little monsters, ‘Avenue Q’ pushes the boundaries of acceptability well beyond the realms of the kiddies’ Saturday afternoon matinée.
Fluffy Muppetry, or the sanitized Cookie Monster-ridden Elmo’s World of Sesame Street don’t even get a look-in, as the Bad Idea Bears and Lucy the Slut strut their stuff in what must be the funniest musical to hit the Aberdeen stage in recent years.

Internet porn, courtesy of Trekkie Monster, and the temptations of puppet flesh are to the fore in this coming of age musical parable.

Charles Bukowski would have loved ‘Avenue Q’; in fact maybe, in some forgotten way, he inspired it.

The theme of this production is simple. The sun may be shining and it may be a lovely day, but life sucks. A cast of losers inhabit a run down street in the lowest of the lowest districts of New York City, while life in general passes them by.

Enter stage left Rhiane Drummond, as the upbeat and cheery Gary Coleman, juvenile star of 1980s US sitcom Diff’rent Strokes, who infamously sued his parents for financial mismanagement before hitting rock bottom. The residents unanimously agree that it sucks, big-time, to be Gary.

Gary of course is played by a woman, and since most of the other characters in the musical are played by puppets, it is strikingly obvious that a fair degree of suspension of disbelief is required if this musical production is to be taken at all seriously.

Proving perhaps that puppets can get away with offensive behaviour where humans often can not, this show not only includes graphic puppet sex scenes, but also a host of hilarious musical numbers likely to cause offence to the unwary.

Laid back numbers include ‘It Sucks to Be Me’, ‘Everyone’s a Little Bit Racist’ and that Trekkie Monster classic ‘The Internet is for Porn’.

The puppets don’t have a monopoly on lewdness however, and Richard Morse’s quite brilliant rendition of ‘I’m Not Wearing Underwear Today’ presents as a classic example of finely delivered and masterfully understated slapstick.

Avenue_Q__dress_-37

The central theme of ‘life sucks’ is examined closely alongside ideas surrounding commitment, sexuality, racism and of course the well known concept of Schadenfreude.

It came as a surprise to realise that the puppets outnumber the humans throughout this production; and that is a testament to the folk in black who pull the strings, work the rods, sing the songs and voice the dialogue.

‘Avenue Q’ makes absolutely no pretence whatsoever at treading that fine line between bawdy Bukowski and fluffy Muppetry; and as for Schadenfreude? You can Google it or simply go along to the theatre and ask Lucy the Slut to explain. Either way you won’t be disappointed.

Directed and Choreographed by Cressida Carré / Resident Director/Choreographer Jessica Parker.

‘Avenue Q’ plays at HMT Aberdeen until Saturday 2nd April.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © Sell a Door Theatre Company

Mar 242016
 

Sean Wheelan Pop 'round for 15 minutes2With thanks to John Morrison.

Peacock Visual Arts is proud to present an exhibition of works by 4th-year students from this year’s Contemporary Art Practice course at Gray’s School of Art. Albeit short, this 3-day exhibition gives us a privileged opportunity to see artworks from a new wave of artists, created using a wide variety of media.

Michael Agnew, Course Leader, Contemporary Art Practice at Gray’s School of Art said:

“This exhibition is a final external rehearsal for the big event opening on the 17th of June 2016 at Gray’s School of Art. From this point forward each of the 31 exhibitors will have all hands to the pump in producing their first one-person shows.

“The eclectic nature and diversity of their practices are there for all to see and I know there is enough breadth for everyone visiting this survey to whet the appetite for June and future creativity and sustainability beyond. I am positive that the knowledgeable audience from Aberdeen won’t be departing this show in disappointment.”

Date: 25-26 March 2016
Opening: Thur 24 March 2016, 6-8pm. All Welcome
Location: Peacock Visual Arts

Mar 242016
 

GrampianTransportMuseumImage1With thanks to Martyn Smith, Marketing & Events Organiser, Grampian Transport Museum

Next of Kin, an exhibition created by National Museums Scotland, opens on 2nd April at the Grampian Transport Museum.

It presents a picture of Scotland during the First World War through treasured objects from official and private sources, passed to close relatives and down through generations.

The exhibition was previously shown at the National War Museum in Edinburgh Castle, and Grampian Transport Museum will be the fifth of nine touring venues around Scotland.

It is supported by the Heritage Lottery Fund and the Scottish Government. Each of the host venues will be adding material from their own collections to tell local stories which reflect the themes of the exhibition.

Next of Kin will tell the stories of those directly involved in the Great War, including Colonel Frank Fleming. Colonel Fleming was taken prisoner, and his experiences will now be brought to life with a number of personal effects, including his officer’s pass to leave the prisoner of war camp for recreational purposes. Colonel Fleming’s cell wall calendar will also be displayed – prisoners were denied all information including what the date was, so he kept his own record.

Canadian Lieutenant James Humphrey’s story will also be told for the first time; Lieutenant Humphrey was awarded the Military Cross for gallantry and was wounded in action. While recovering in hospital he met his future wife when invited by her parents to their home for Christmas. The Next of Kin exhibition will include items belonging to Humphreys, including his wounded man’s kit label. Invalided out and very nearly losing his right arm, he was sent back to a London hospital – just one of tens of thousands of injured soldiers.

The exhibition will be supported with further displays including a Foster Wellington traction engine, affectionately known as Olive, which was originally commissioned by the War Department. The museum’s 1914 Sentinel Steam Waggon, used by local carrier Alexander Runcie, was new at the outbreak of war and helped to provide a much needed morale boost.

Runcie utilised the Sentinel to provide excursions for local groups of children.

A horse-drawn Aberdeen tram will also be decorated in the period style, harking back to the days when such vehicles were used as recruitment vehicles.

Goliath, a 10hp McLaren Traction engine, will also be on display for the season, having been used to pull heavy guns on the Western Front. Goliath would go on to become a Showman’s Road Locomotive, before being preserved by an enthusiast from Aberdeenshire.

Grampian Transport Museum Curator Mike Ward said:

“The First World War had a profound influence on Aberdeenshire. The depopulation of the Cabrach was partly due to the rush of young men to volunteer in 1914, thinking it would be a great adventure together and that they would be home by Christmas. The war memorials testify to the losses suffered by local families, in some cases three sons from one family.

“This is a sensitive subject and the museum is keen to take a look at what happened in our locality on the home front. There are many very sad stories but also some of great relief as ‘missing in action’ became ‘taken prisoner’.”

Stuart Allan of National Museums Scotland said:

“The First World War separated millions of people worldwide from their families and homes. The impact of the conflict was felt by families and communities in every part of Scotland as individuals served in the war in different ways. For those who experienced the conflict, keeping objects was a way of remembering this extraordinary period in their lives, or coping with the absence and loss of their loved ones.

“We look forward to touring the exhibition and bringing these stories from the National collection to people across the country and we particularly look forward to the stories which our partners will tell alongside ours.”

The material on loan from National Museums Scotland looks in detail at eight individual stories which both typify and illustrate the wider themes and impact of the War on servicemen and women and their families back home in Scotland. Objects include postcards and letters, photographs, medals and memorial plaques.

Examples include;

  • Two autograph books in which Nurse Florence Mellor collected drawings, watercolours, verses, jokes and messages from the wounded soldiers in her care at Craiglockhart War Hospital.
  • The pocket New Testament which Private James Scouller was carrying the day he died at Cambrai in 1917, returned to his family by a German soldier on the eve of the Second World War.
  • Drawings and postcards by Henry (Harry) Hubbard, an architectural draughtsman in Glasgow who contracted illnesses so severe that he ended up spending 16 months in hospital.
  • The last letter home from George Buchanan, Seaforth Highlanders, a railway plate-layer from Bathgate who was killed in action on the first day of the Battle of Loos, along with his memorial plaque and service medals.
  • The shell fragment which wounded Private William Dick. He kept the fragment after it was removed from his leg, but later died from the wound.

As the exhibition tours, the host venues will develop additional content using their own objects and stories related to their respective local areas. The results of these additional contributions will be captured and preserved in the exhibition displays and a digital app interactive.

Learning activities exploring the exhibition themes will take place at each venue. School and community groups will be able to interact with a bespoke handling collection made up of original and replica objects. There will also be an associated training programme to develop new skills among the participating organisations.

The tour starts in Dumfries and then the exhibition travels to Rozelle House Galleries (Ayr), Hawick Museum, Low Parks Museum (Hamilton), Grampian Transport Museum (Alford), Inverness Museum and Art Gallery, Perth Museum and Art Gallery and the Black Watch Castle and Museum and Orkney Museum.

The full list of partner organisations and touring venues can be found here: http://www.nms.ac.uk/nextofkin

Explaining the importance of the HLF support, the Head of HLF in Scotland, Lucy Casot said:

“The impact of the First World War was far reaching, touching and shaping every corner of the UK and beyond. The Heritage Lottery Fund has invested more than £60million in projects – large and small – that are marking this global Centenary. 

“With our grants, we are enabling communities like those involved in the Next of Kin exhibition to explore the continuing legacy of this conflict and help local young people in particular to broaden their understanding of how it has shaped our modern world.”

Next Of Kin Exhibition
2nd April 2016
Grampian Transport Museum, Alford.

Mar 222016
 

Lulu @ His Majestys Theatre Aberdeen 21-3-16 by Dod Morrison Photography (34)Review and photographs by Dod Morrison.

Most 67 years olds would be sitting at home, retired or pondering retirement. But Lulu? She is in the middle of a 35 date tour.

Billed as ‘An Evening With Lulu’, the iconic artist performs her hits and the songs that have influenced her career.

In 2015 she released her first self penned album ‘Making Life Rhyme’ and did her first tour in 10 years, she had so much fun and she decided to do it again 2016

It is a 2 hour set that many of the bands nowadays half her age couldn’t do.

Throughout the evening we are told stories and reminded that she has worked with some of the best out there including the late David Bowie and she does her rendition of ‘The Man Who Sold The World’.

Lulu @ His Majestys Theatre Aberdeen 21-3-16 by Dod Morrison Photography (351)

We are told when she was going to write some songs and was wondering how to go about it.

She realised she lived with one of the best song writers around, Maurice Gibb.

We are told a story about the Bee Gees meeting up during one of their band splits and how they all met in a room for the first time in ages, and penned a song there and then.

Another story of the evening is her affection for Sydney Poitier and about her, at 19 years old, being cast for her film debut ‘To Sir With Love’.

She tells how, at that time, the film couldn’t be made in America, and singing the title track which went to number one in the US pop charts for 5 weeks in 1967.

She then announces:

“We will sing it now and I have updated it a bit”

The crowd love it.

Lulu @ His Majestys Theatre Aberdeen 21-3-16 by Dod Morrison Photography  (31)During the evening she brings on the Military Wife’s Choir and they perform a rendition ‘Cry’ which brings a standing ovation from the crowd.

The last song is looming and Lulu says:

“I know what you want me to play and I know what you want me to sing, so let’s do it”

….and that now famous “weeeellllll”  is shouted out and ‘Shout’ is played.

The military wife’s choir appear down the middle of the aisle to get people up and dancing but they need no encouragement and all are dancing and singing away.

Her voice throughout is immense , still great.

Lulu @ His Majestys Theatre Aberdeen 21-3-16 by Dod Morrison Photography (1)Lulu @ His Majestys Theatre Aberdeen 21-3-16 by Dod Morrison Photography (536)

Mar 222016
 

Fire Exit presents ‘International Waters’, in co-production with Tron Theatre. With thanks to Liz Smith.

International Waters Photo credit Tommy Ga-Ken WanThe social fabric has finally torn. Airports are closed, roads are blocked. Now even the 1% need to seek asylum. Four obscenely rich members of the elite pay through the nose to join an exclusive party on the last ship leaving London.

They stay alive using the only things they know – money, sex and madness. But the ship is sailing in the wrong direction.

They realise they don’t know each other. They don’t know the Captain. They don’t know what the hell is going on.

Like a perverse Aesop’s fable for the apocalypse, the twisting plot explores how progress can sometimes turn out to be a trap.

In this case it involves elegant glamour, brutal food poisoning, cyborg finance, Mack The Knife and a delicious bull testicle meringue.

The room keeps inexplicably shaking with an ear-splitting mechanical growl. Is this exile, extradition, extraordinary rendition?  Are other passengers hidden on board? What’s their dangerous cargo? There’s a rumour it’s animals. Pairs of animals.

An aging pop crooner, a hapless trophy wife, a foul-mouthed photojournalist and a neurotic civil servant all know much more about the outside world than they’re letting on…

International Waters comes from multi-award-winning writer and director David Leddy, who has been called ‘Scotland’s leading theatrical innovator’ (Times) a ‘maverick’ (Guardian), a ‘genius’ (Scotsman), an ‘iconoclast’ (List) and an ‘institution’ (Independent).

The show features a stellar team of award-winning designers and actors. The four actors are: Selina Boyack (Nominated Best Actress TMA Awards, The Stage Awards and CATS Awards); Claire Dargo (Nominated Best Actress at The Stage Acting Excellence Awards, Sub Rosa, The Duchess of Malfi); Lesley Hart (March of Women, The Events, Dear Scotland); Robin Laing (Band of Brothers, Filth, Mary Stuart).

Set and costume by Becky Minto (Glasgow 2014 Commonwealth Games, Prague Quadrennial 2015 World Stage Design Exhibition); lighting by Nich Smith (Lighting Design Awards Best Public Building 2008, Cryptic, Long Live the Little Knife, Sub Rosa); sound by Danny Krass (Swallow, Huff, Who Cares); Production Manager Niall Black (Complicite, Royal Court, NTS).

Fire Exit presents, in co-production with Tron Theatre,

INTERNATIONAL WATERS.                

Tues 5th April, 7.30pm.
The Lemon Tree,
5 W N Street,
Aberdeen,
AB24 5AT

Tickets: £13.20 inc bf | Students £5
http://www.aberdeenperformingarts.com/events/international-waters

Mar 172016
 

Duncan Harley Reviews Flare Path at His Majesty’s Theatre, Aberdeen.

Graham Seed as Squadron Leader Swanson and Hedydd Dylan as Patricia Graham in the 2016 National tour of Flare Path credit Jack Ladenburg 2Of every 100 airmen who joined Bomber Command during the Second World War, 45 were killed and a further fourteen badly wounded or taken prisoner of war. As the war progressed the odds improved, but when this play was first staged in the war-time London of 1942, the chances of surviving a tour of duty in the primitive heavy bombers of the time were firmly stacked against the young aircrews.

Terence Rattigan wrote Flare Path while serving as an air-gunner in Coastal Command, which at the very least enabled him to insert a degree of authenticity into the script.

Early performances were frequented by the good and the great including RAF Air Marshals keen to advise the playwright on how to improve things. When Churchill saw the play he famously remarked that it was a masterpiece of understatement.

Bizarrely, Keith Newman, Rattigan’s psychiatrist, felt compelled to attend the first 250 performances before publishing an impenetrable book entitled ‘250 Times I Saw a Play’. He was later confined in a psychiatric hospital having subjected one of the male leads to a barrage of love letters.

Few original 1940s RAF flyers survive into the 21st century and Rattigan himself died in 1977. However, now revived as a national tour, Flare Path still has the power both to shock and to entertain a modern audience.

The action takes place in 1940s Lincolnshire. The setting is the residents’ lounge of the austere but adequate Falcon Hotel. Overhead, bombers take off, land and explode in flames.

Audrey Palmer’s portrayal of hotelier Mrs Oakes captures the mood of the time perfectly. The prickly proprietor provides an austerely correct foil to the chummy aircrew who, in the main, ignore rank and privilege even to the point of directly addressing their commanding officer as Gloria.

Daniel Fraser as Teddy Graham and Hedydd Dylan as Patricia Graham in the 2016 National tour of Flare Path. Credit: Jack LadenburgAmidst a love tangle which threatens to break apart Teddy’s marriage to Patricia, the motley bunch of airmen look forward to some well earned time off-duty.

Enter stage left Squadron Leader ‘Gloria’ Swanson, Graham Seed, with some difficult news.

Take off for Germany is at 2240 hours and it won’t exactly be a piece of cake. The wives are left to worry and wait. There is a war on, after all.

It’s not all doom and gloom however. There are comedy turns: the best of which must be William Reay’s portrayal of Polish Flying Officer Count Skriczevinsky’s reunion with Countess Doris, played by the bubbly Claire Andreadis. Following an air crash into the English Channel, he returns blackened but triumphant from his dip in the drink, to deliver a comedy routine worthy of Eric Morecambe.

Wellingtons and Wimpys, passion and loyalty and above all a sense of duty are central themes of this play and by the final curtain the audience will have received some insight into the psychological effects of waging total war from the air.

The dialogue may be dated, and many of the accents typically posh British, but the essential message of Rattigan’s play still reaches out to modern audiences; and that, surely, is the whole point of a revival.

Directed by Justin Audibert with Sound Design by Dominic Bilkey, Flare Path plays at HMT Aberdeen until Saturday 19th March.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © Jack Ladenburg

Mar 112016
 

With thanks to Jill Lerner, James H Soars Media Services.

(1)Ferocious Dog Press Shot - Copyright Pete Waggy 2015 copy

Ferocious Dog offer a full-on six-piece sound that encompasses folk infused with rock, reggae and Celtic vibrations. Picture: Pete Waggy.

In China, 2015 was the year of the Sheep – but in Nottinghamshire and countless venues and festivals in the UK it was the year of the Dog. The year that Ferocious Dog snarled their way from the periphery of the festival and gig scene and put themselves firmly in the limelight of the alternative scene.

The band will once again be tearing up the road to Aberdeen on Saturday March 19 to appear at Krakatoa.

The climax of their new album tour saw them sell out Rock City in Nottingham in advance – a historic moment, the first time in the 35 year history of this auspicious venue an unsigned band has achieved this feat.

As one fan put it:

For me it felt like a real watershed moment for a band I’ve had the pleasure of following for the last few years. It feels like this gig was the moment things might change, they have integrity and strength and a loyal following

As well as touring the country in Spring and Autumn, festival headline slots littered the summer months – not to mention an appearance on the Avalon Stage at Glastonbury, attracting the third biggest crowd of that area for the weekend.

Ferocious Dog offer a full-on six-piece sound that encompasses folk infused with rock, reggae and Celtic vibrations. The combination of instruments creates a palette of sound that offers infinite variations: going in hard to get the audience up and moving, or slipping into melodic passages and dub-like fusions.

The role of the infamous Hell Hounds mustn’t be underestimated – an ever-growing legion of fans who follow the band up and down the country. They bring energy and passion to the gig whilst always welcoming the less initiated members of the crowd to join in and swell their ranks – making the evening feel like a huge party.

With the release of their new album ‘From Without’, the raw energy and passion you’d expect from Ferocious Dog is ever-present, but tempered and enhanced with new influences and craft. With production from Matt Terry and mastering from Al Scott, a co-written track with Nick Burbridge of McDermott’s 2 Hours fame and the addition of rich orchestral strings it’s really a coming-of-age moment for the band.

“it is the sound of revolution that beats in the heart of anyone who seeks equality, and the six piece band from Nottinghamshire burst with flavour and ferocity” – Ian Hall, Liverpool Sound

The Acoustic magazine in their review of ‘From Without’ wrote about the second song on the album, ‘Poor Angry and Young’ describing it as:

“A glorious hymn of anarchy and sets the tone of much of which follows.

“There is nothing new about rebellion, but Ferocious Dog lay it on the line and whip up a hell of a storm along the way”

Many of the reviews expressed the same sentiment.

2016 promises to be an even better year, with gigs already sold out, and headline slots at festivals booked. This is an event that’s needs to be experienced. Ferocious Dog are going places.

Ferocious Dog.
Krakatoa, Aberdeen.
Sat 19th March 2016, 8pm.
Tickets £10

www.ferociousdog.co.uk
www.facebook.com/FerociousDog