Feb 042016
 

‘Cabaret’ At Aberdeen Arts Centre – Duncan Harley Reviews.

10_-_Lucas_Rush_as_Emcee__PhotWhen Sally meets Cliff in this toxic tale of the birthing of the thousand-year Reich, it’s obvious from the very start that the audience are in for a rough ride.

The theatre space is transformed into a seedy 1930s Berlin night-club, and to gain entry, ticket-holders have to run
the gauntlet of an aggressively authoritarian storm trooper guarding the
entrance.

Once safely inside the sanctuary of the intimate Kit Kat Club, theatre-goers can look forward to an evening of sleazily decadent entertainment, while on the streets outside the Nazi grip on Germany tightens as the Weimar Republic slowly withers.

The main action takes place within the club, where Lucas Rush as Emcee gaily struts his stuff in a delightfully menacing manner. Lucas and the Kit Kat company welcome club-goers with a powerful rendition of “Willkommen”.

“Leave your troubles outside … We have no troubles here! Here life is beautiful.”

Act one features a dozen classics, each powerfully delivered; including “Tomorrow Belongs to Me”, “Married” and of course “The Money Song”.

The second act delivers equally strong numbers, with “Kickline” by Emcee and Club Girls signalling a sea change in fortunes for the people of Europe. Indeed while Act One stresses the veiled acceptance of debauchery and the easy tolerance of diversity in pre- fascist Germany, the remainder of the action is icily shocking. Alex Wadham’s portrayal of Ernst Ludwig’s transition from easy amiability to dictatorial ferocity is truly frightening.

As the plot develops however, some cracks appear. The singing cannot be faulted nor can the musical score: the integration of audience and players within the Kit Kat Club works on a high level indeed, and in the main, the choreography works stunningly well.

This unfolding story is seen through the eyes of young American novelist Cliff Bradshaw, and is based around Christopher Isherwood’s classic 1939 novel “Goodbye to Berlin”. Traditionally a central focus is on the doomed love affair between English cabaret performer Sally Bowles, played here by Carolyn Maitland, and Cliff, played by Jonathan Vickers. Cliff has come to Berlin to finish his novel but soon finds other distractions.

In this production the sub-plot romance between James Paterson’s Herr Schultz and Sarah Shelton’s Fraulein Schneider is a much more central theme. Timed to coincide with Holocaust Memorial Day, the focus on this relationship, between a Jewish fruit-shop owner and his non-Jewish landlady, is perhaps quite forgivable. Both give a strong performance, the highlight undoubtedly being their duet “It Couldn’t Please Me More – the Pineapple Song”.

In broad terms the production succeeds and is well worth seeing. The entertainment value is there big-time and the immersive audience experience highlights the value of interactive theatre.

Directed by Derek Anderson and produced by David Adkin, Cabaret plays at the Arts Centre Theatre Aberdeen until Saturday February 6th.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley, Images © Darren Bell

Dec 032015
 

Duncan Harley reviews this year’s pantomime at HM Theatre, Aberdeen

Jordan Young (left), Elaine C Smith and Alan McHugh. Photo by Michal Wachucik-Abermedia

Jordan Young (left), Elaine C Smith and Alan McHugh. Photo by Michal Wachucik-Abermedia

Panto returned to the Aberdeen stage this week, with familiar faces Elaine C. Smith, Jordan Young and Alan McHugh firmly at the helm of the Jolly Roger, in this classic tale of the boy who never grew up.

The traditional story features a flying child, Peter Pan, who lives in Neverland and just likes to have fun.

Thrilling adventures unfold with the likes of pirates, Native Americans and of course a very alarmed crocodile. Faeries and Lost Boys feature, alongside tales of unrequited love and self sacrifice.

The flying child is in this case played by Scott Fletcher, who carries the role admirably, despite his obvious male attributes. Peter is frequently played by a woman.

The draft for the original 1904 J.M. Barrie play seemingly lacked both pirate ship and Captain Hook. Fortunately for theatre audiences, the author soon added both, and Peter Pan’s nemesis was born.

At Tuesday evening’s performance, and true to pantomime tradition, John Jack’s Captain Hook was resoundingly booed at points by an appreciative young audience, despite an engagingly villainous and faultless performance.

Written by Alan McHugh, who plays the colourfully boisterous Dame Maggie Celeste, this swashbuckling take on Peter Pan follows the traditional modern Pantomime route of audience engagement, plus several laughs a minute. Comedic duo, Dame Maggie and Jordan Young’s Smee work well together. Add Elaine C. Smith to the mix as the Magical Mermaid and the slapstick comedy takes off big-time!

New Pitsligo, Portlethen, Stewarty Milne and even Donald Trump take it on the chin as the often hilarious and sometimes raucous gags power on throughout this high energy production.

The 3D presentation in Act 2, although technically competent, seemed superfluous. It was more than made up for by the impressively scary Clockodile, however.

The team from Aberdeen Academy of Dance performed flawlessly, with both Aedan Dufton’s Michael Darling, and Logan Reid’s John Darling deserving special mention.

With costumes, set and special effects to die for, this is pantomime at its finest delivered by a creative team well-used to engaging with Aberdeen audiences.

Children of all ages are guaranteed a Jolly Roger of a time and the spectacle of an airborne Magical Mermaid has to be seen to be believed!

Directed by Nick Winston and Produced by Michael Harrison with Musical Direction by Captain Nemo – Peter Pan plays at HM Theatre Aberdeen until Sunday 3 January 2016.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley, Images © Michal Wachucik-Abermedia

Nov 062015
 

Duncan Harley reviews And Then There Were None at HMT.

Pamela Raith PhotographyThis year marks the 125th anniversary of the birth of Agatha Christie, and is also the tenth anniversary of the founding of The Agatha Christie Theatre Company.
To mark both occasions, her best-selling thriller ‘And Then There Were None’ has returned to the stage for a full UK tour.

Originally published in novel form in 1939 and entitled ‘Ten Little Niggers’ after the children’s nursery rhyme of the same name, this classic whodunit ranks high amongst the best-selling crime novels of all time.

The politically incorrect word ‘Nigger’ was soon dropped and the word ‘Indians’ substituted. The rhyme ‘Ten Little Indians’ remains central to the plot.

First adapted for the stage in 1943, this current adaptation is set in August 1939 just weeks before war is declared. The island setting off the coast of Devon represents not only a prison for the players but also perhaps the national mood of the time, as conflict looms and the spectre of death from abroad beckons.

A group of complete strangers is lured to a hotel on a remote island using a variety of pretexts. On arrival they discover that the host is not present. A gramophone recording is played in which each in turn is exposed to all present as having a guilty secret worthy of extreme punishment. One by one the assembled guests begin to die horribly.

Judicial hanging is not an option, and vigilante style justice arrives by various means including poison, drowning and of course shooting. The unfortunate butler, Mr Rogers, suffers the Cluedo-like indignity of being ‘murdered with the axe in the scullery’ and Anthony Marston’s demise occurs after drinking cyanide-laden whisky. Perhaps oddly, some of the guests continue to dice with death via poisoning by raiding the drinks trolley, virtually right through to the end of the play.

There is obviously a homicidal lunatic on the loose, and the race is on to identify the likely culprit.

By the final curtain no-one is left alive on stage. Don’t expect a Reservoir Dogs style corpse-strewn set, however. Many of the murders occur offstage.

This is high art classic crime fiction performed pitch, word and even letter-perfect. Despite a fast diminishing cast, the tension and suspense build throughout the performance and on occasion the theatre audience audibly gasps at the finely delivered plot twists.

And Then There Were NoneThroughout the unfolding drama, there is a fair amount of subtly accented wry humour. Indeed, one victim dies not once but twice.

There is also a modicum of romance, or is it simply carnal lust on the part of Ben Nealon’s revolver-wielding Captain Lombard towards the young but not quite so innocent Ms Claythorne?

Deborah Grant’s eccentric spinster, the fusty Emily Brent provides an engaging foil for Kezia Burrows’ feisty Vera Claythorne, in a distinctly ‘maiden aunt versus femme fatale’ sort of way.

Simon Scullion’s distinctly minimalist Art Deco set is nothing short of impressive; and costumes by Roberto Surace provide complete authenticity to this high-energy period crime drama.

All in all, this is a finely crafted, immensely entertaining and professionally delivered tribute to the Queen of Crime and is a definite must-see.

Oh and Vera’s sexy red ultra-low-backed red evening gown has to be seen to believed!

Directed by Joe Harmston and produced by Bill Kenwright – ‘And Then There Were None’ plays at HM Theatre Aberdeen until Saturday 7th November.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley.

Oct 292015
 

Emma Rice has taken the Daphne Du Maurier 1938 bestseller out of the box, shaken it about a bit and injected a good measure of humour. Does it work? Duncan Harley reviews Rebecca at HM Theatre, Aberdeen.

Lizzie Winkler as Bea and Andy Williams as Giles in REBECCA photo by Steve Tanner

Lizzie Winkler as Bea and Andy Williams as Giles in REBECCA photo by Steve Tanner.

Billed as a study in jealousy, and described by Du Maurier as “a sinister … psychological and rather macabre … tale about a woman who marries a widower”, the story is indeed a dark one.

Following the mysterious death of Rebecca, his first wife, Maxim de Winter returns to his Manderley estate in Cornwall with a new bride, Mrs de Winter.

From the outset, all is not as it seems and the new mistress of the house sets out to uncover the secrets of the past.

Along the way she must stand up to the sinister housekeeper Mrs Danvers, assert her new-found authority and finally enable her new husband to come to terms with the unburied memories which desperately haunt him.

Says Rice:

“Rebecca challenges us from the grave with her lack of care for society’s rules … I celebrate all of the wonderful female characters … from the passionate and loyal Mrs Danvers to the new Mrs de Winter, who wakes from her fairy tale slumber in front of our very eyes.”

Gender roles are to the fore in this adaptation. Men are men, and get up to man-like things such as drinking and womanising. Women are women and get up to dressing up and organising things. The exception to the rule is the unseen but omnipresent and very dead Rebecca de Winter, a manipulative sexual predator, incapable of love and intent only on satisfying her own pleasure.

Traditionally Rebecca is a morbidly dark tale but Emma Rice has lightened the story line somewhat. Sea shanties, performed by a sou’wester clad troop of jolly Cornish sailor men, lighten up the darkly intense mood and a Warhorse style puppet-dog sticks his nose into groins everywhere. There are episodes of knockabout and slapstick and at one point Jack – Rebecca’s cousin and ex-lover – attempts the great double-flickaroo’ cigarette trick.

Perhaps the most unlikely comedy turn comes via Katy Owen. Alongside playing the anguished harbour-side waif Ben, she plays Robert – the young Welsh house-boy. In a series of rollickingly hilarious skits Katy literally has the theatre audience in stitches.

Imogen Sage as Mrs de Winter, and Emily Raymond as the creepy Mrs Danvers, excel and LeslieTravers’ stage set is a triumph. Doubling both as decaying stately home and stormy quayside, the set appropriately suggests a place where nothing is as it seems. Rebecca’s wrecked boat becomes the wine cellar; the parlour effortlessly morphs into a boathouse and later a storm-swept harbour mouth.

If criticism were due, it would be on the grounds of a slightly hurried second half. The plot involves a lot of soul-searching and problem-solving, and at times the action moves perceptibly too fast for those unfamiliar with the storyline to follow. The notion of a Judge Jeffries style coastguard, played by Andy Williams, was also hard to swallow. But in them far off days in Cornwall, perhaps the local Coastguard did indeed double as hangman.

All in all though, the production works wonderfully well and the entire cast gave a polished and thoroughly professional performance.

After the final curtain call and as we all made our way down to the exits, a fellow theatre-goer was heard to remark:

“I wonder what Daphne would have made of it all?”

Her companion whispered:

“I think she would have approved wholeheartedly.”

Adapted and Directed by Emma Rice – Rebecca plays at HM Theatre Aberdeen until Saturday 31st October

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley, Images © Steve Tanner

Sep 162015
 

Voice’s Duncan Harley reviews Dirty Dancing at HM Theatre, Aberdeen.

Dirty Dancing UK tour - Claire Rogers as 'Penny' & Lewis Kirk as 'Johnny' - cTristram Kenton

Claire Rogers as ‘Penny’ & Lewis Kirk as ‘Johnny’ – © Tristram Kenton

In this classic coming of age musical drama – set within the opulent New York State Kellerman’s Resort – daddy’s favourite little girl, Frances ‘Baby’ Houseman falls for moodily handsome resort dance instructor, Johnny Castle. No problemo? Well, think again!

Johnny comes from the wrong side of the tracks and the path to true love is strewn with prejudice and misunderstanding.

Set in strife torn 1960’s USA, the dialogue is littered with references to the politics of the time.

The escalating Vietnam War divides the nation, while in the Deep South the Civil Rights Movement is challenging racial segregation and ongoing discrimination against black Americans.

Meanwhile at Kellermans, the paying guests obediently sing the Civil Right’s Anthem ‘We Shall Overcome’ around the resort’s cosy campfire oblivious to the injustice dealt out on a daily basis to the resort staff.

The original 1980’s screen-play became a smash hit film.

Dirty Dancing was adapted for the stage in 2004 by novelist Eleanor Bergstein. Her intention from the outset was to create a piece of live theatre which could stand up on its own to be enjoyed by both those who had seen the original movie and those new to the story.

Overflowing with pitch perfect vocals, a stomper of a musical score and raunchy dance routines this theatre production ticks all the boxes.

Jessie Hart’s portrayal of ‘Baby’ is a case in point. From the early ‘clumsy dancing‘ through to those stunningly iconic final ‘lifts’ her metamorphosis from geeky-awkward girl to assuredly-competent woman is a delight.

Leading man Lewis Kirk’s performance as ‘Johnny Castle’ is stunning. Charismatic and with just the right amount of swagger, his steamy dance moves engage the audience with ease. Patrick Swayze may have set the bar high but Lewis has somewhat upped the ante.

Dirty Dancing UK tour - Jessie Hart as 'Baby' & Lewis Kirk as 'Johnny' - © Tristram Kenton

Jessie Hart as ‘Baby’ & Lewis Kirk as ‘Johnny’ – cTristram Kenton

Johnny’s dance partner Penny is played by Carlie Milner whose electrifying performance takes dance to a new level.

The impressive choreography is set to an equally impressive musical score. Act one alone features thirty one tracks, Act two a further eighteen including numbers by Otis Reading, Django Reinhardt, The Drifters plus Marvin Gaye.

Filled to the brim with classic numbers including ‘Be My Baby’, ‘Hungry Eyes’ and ‘Save The Last Dance For Me’ Dirty Dancing is a slick and energetic production.

Go see it; you’re guaranteed to have the time of your life especially when Johnny utters the immortal words “Nobody puts Babe in the corner!”

Directed by Sarah Tipple with Choreography by Kate Champion – Dirty Dancing plays at HM Theatre Aberdeen until Saturday 3rd October

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley, Images © Tristram Kenton.

Jul 032015
 

9_to_5_by_Sid_Scott_1Duncan Harley reviews.

It is 1979 and the workers at Consolidated Industries have it in for the boss.
President of the company, Franklin Hart Junior, is a powerful but lecherous man who makes no secret of his lustful feelings for his secretary, Dolly Parton clone, Doralee Rhodes.

Rightly portrayed as a sexist, lying, egotistical bigot, Franklin piles on the pressure until at last “his girls” can take no more.

Some murderous drug fuelled fantasy ensues and quite by accident a dose of rat poison is poured into Hart’s coffee. He survives but following a series of hilarious events, including a confession of eternal love for Hart by office nark Roz Keith (Hilary Esson), is kidnapped at gunpoint and stripped of both clothes and dignity before being held in bondage in his own bedroom.

The ladies of Consolidated Industries must find a way forward or face a hefty spell in jail.

Aberdeen Opera Company is no stranger to HM Theatre Aberdeen having performed at the venue some five times during the past decade performing shows such as Phantom, Titanic and Sugar.

This seasons offering is yet another highly professional and engaging production.

The original 1980 comedy film ‘9 to 5’ featured Jane Fonda, Lily Tomlin and Dolly Parton in the lead roles which makes for a hard act to follow. Theatrical productions based on star strewn films are sometimes underwhelming.

Fortunately Aberdeen Opera Company’s take on the ‘9 to 5’ story is in itself a hard act to follow. From the opening Parton blockbuster ‘9 to 5’, performed by the full company, the song list fires effortlessly and confidently through classics such as Backwoods Barbie, Dance of Death and Cowgirls Revenge before concluding with a ‘9 to 5’ finale. The truly engaging duet ‘Let Love Grow’ with Violet and Joe (Gavin McKay) is worthy of special mention.

Super efficient office manager Violet Newstead (Samantha Gray) steals the show and is the undoubted lynchpin of the production. Now into her tenth year with Aberdeen Opera Company, Samantha delivers a powerful performance both as the competent sassy Violet and as the Snow White psycho-killer dreaming of murdering boss Franklin Hart Junior.

Pistol packing Texan Doralee (Leanne Craggs) and frazzled divorcee Judy (Amanda Watt) complete the leading lady ensemble and Scot Jamieson’s confident and darkly humorous portrayal of the loathsome Franklin will no doubt type-cast him as the leading villain in all future Aberdeen Opera Company productions.

With choreography by Irene Buchan and musical direction by Craig McDermott this is a production which will have the audience to-tapping from the moment the curtain opens. Go see it!

Directed by Judith Stephen – 9 To 5 plays at HM Theatre Aberdeen until Saturday 4th July
Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley, Images © Sid Scott.

May 072015
 
Wicked UK & Ireland Tour. Photo by Matt Crockett

Wicked runs at HM Theatre Aberdeen until Saturday May 30th. Photo by Matt Crockett

By Duncan Harley.

In 1900, American writer Lyman Frank Baum introduced readers to a fantastical land filled with witches, munchkins and a girl named Dorothy from Kansas in The Wonderful Wizard of Oz.
He lived for a while in Aberdeen – Aberdeen South Dakota that is – and went on to write 13 more Oz books before his death in 1919.

His stories, which continue to fascinate audiences to this day, have formed the basis for popular films such as Metro-Goldwyn-Mayer’s 1939 The Wizard of Oz, starring Judy Garland and Disney’s 1985 Return to Oz.

Even The Muppets got in on the act in 2005 with Miss Piggy playing all the witches in The Muppets Wizard of Oz.

Writers as diverse as Stephen King and Alexander Volkov have penned alternate versions of the original Frank Baum stories and in 1995 writer Gregory McGuire added The Life and Times of the Wicked Witch of the West to the tribute list.

Based on Winnie Holzman’s adaptation of McGuire’s novel, Wicked the musical opened on Broadway in September 2003 and tells the back-story of what happened before Judy Garland’s gingham clad Kansas dreamer Dorothy followed the Yellow Brick Road.

Essentially, the story follows the ups and downs of the self obsessed Glinda (Emily Tierney – Kate Modern and West Side Story in Concert) and the green tinged Elphaba (Ashleigh Gray – Susan Boyle in Concert and NHS The Musical) who meet at the Hogwart-like Shiz University for Sorcerers in Gilikan, the Northern Province of the Land of Oz.

The two wizardly undergraduates vie for the Adonis like charms of Fiyero (Samuel Edwards – Robin Hood and Les Miserables) and come under the spell of Steven Pinder the seemingly not so powerful, Wonderful Wizard of Oz.

On one level a dark tale of the West’s fear of alien cultures emerges as the animal kingdom of Oz is suppressed but as the gags proceed at a pace, the theatre audience are led willingly into the feel good, or on occasion feel bad, land of munchkins and flying homesteads.

Wicked UK Tour Emily Tierney (Glinda). Photo by Matt CrockettThe toe tapping dance routines are spellbinding and Stephen Schwartz’s music and lyrics move the story forward effortlessly. The origins of the Tin Man, the Scarecrow and The Lion are effortlessly explained and despite a distinct lack of Dorothy Gale, this is after all a prequel, frequent references to shoes and hurricanes keep the future heroine distinctly in the wings.

Of particular note is the powerful performance of Marilyn Cutts as Madame Morrible, the headmistress of Shiz.

Conspicuously evil and named with the all the comic subtlety of a steam hammer the role is superbly played by a seasoned actor who effortlessly takes girl power to its logical extreme.

Packed to the brim with technical wizardry and special effects, Wicked is also packed with enough show-stopping songs such as Defying Gravity and March of the Witch Hunters to satisfy the most ardent musical fan.

Throw in a few flying monkeys, a munchkin or two plus a cute cuddly lion cub and you have an enchantingly spellbinding show.

Wicked runs at HM Theatre Aberdeen until Saturday May 30th.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley, Images © Matt Crockett

Feb 202015
 

Reviewed by Duncan Harley.

Daniel_Betts__Atticus_Finch__2

Daniel Betts as Atticus Finch in ‘To Kill a Mocking Bird’ at HM Theatre Aberdeen until Saturday 21st February.

“Mockingbirds don’t do one thing but make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corncribs, they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird” says Miss Maudie in the 1960 Harper Lee classic.

In this, Christopher Sergel’s stage adaptation of the 55-year-old story, the central tenets of the novel, innocence and generosity, are well portrayed indeed.

From curtain rise to final bow, this production will delight theatre-goers and, crucially, fans of Harper Lee of all ages. It might even bring on a tear or three.

From the moment in Act One when the cast walk on stage, via the auditorium, the lights remain virtually undimmed; signalling to the audience that a degree of unbridled participation may be required.

Crucially, that participation does not require prior reading of the novel. All that is required is some attention and some imagination as the story unfolds.

Readings from the original novel are intertwined with the plot and the theatre-going audience is drawn seamlessly into small town Alabama in the steamy heat of the Depression-hit summer of 1933.

It takes but a few minutes to realise that this is a production like few others.

The set is almost bare aside from a few weathered chairs, some chalk-drawn town boundaries and an old rusted corrugated iron fence.

While novelist Harper Lee’s narrator Scout, played by leading lady Rosie Boore, swings on an old car tyre hung from the solitary tree in the Eastern corner of the yard, cast members recite extracts from time battered copies of the original novel.

This is the US Deep South at its most formidable. A place in time where racially-charged prejudice sits unmoving alongside a slow but inevitable force for reform. A story of injustice is about to be played out and only a very few could fail to be moved.

The tale is well known.

Local black man, Tom Robinson, played by Zackary Momoh of Holby City fame, is falsely accused of the rape of a white woman, and Scout’s dad, Atticus Finch, played by Daniel Betts, defends him despite the foregone conclusion of guilt due to simply being a “nigger”.

Daniel_Betts__Atticus_Finch__J

Daniel Betts as Atticus Finch. Credit: Johan Persson

Robinson is of course doomed, despite clear evidence that the accusers, Mayella Ewell and her father Bob, are lying.

Bob Ewell tries to exact revenge, imagining that he has been made a fool of, and is himself killed.

Scout embraces her father’s philosophy of sympathy and understanding despite her experiences of hatred and prejudice.

There is more. The story of Boo Radley, played by Christopher Akrill, for one; the riot scene where heroine Scout pours her childish innocence on the flame of the murderous intent of the townsfolk; plus of course the unrelenting sense of the injustice of it all.

The undoubted stars of the show are of course the child actors.

Scout’s childhood contemporaries Dill, played by Milo Panni, and Jem, played by William Price describe the unfolding drama.

Faultless, they excel. Alongside Atticus Finch, portrayed by Daniel Betts complete with round glasses and linen suit, they more than satisfy the (soon to be) legacy of Nelle Harper Lee.

For those of a critical nature, the English regional accents delivered via the actor readers of the narrative passages may be an issue, especially for those of us in Scotland. After all, this is a novel with a Yankee inner voice. Aside from that it is a faultless production.

Perhaps in a decade or so Harper Lee’s forthcoming sequel ‘Go Set a Watchman’ will be dramatised for theatre audiences. Meantime this Regent’s Park Open Air production is a must see.

In fact it would be a sin to miss it.

Directed by Timothy Sheader, ‘To Kill a Mocking Bird’ plays at HM Theatre Aberdeen until Saturday 21st February.

Tickets from Aberdeen Performing Arts  Tel: 01224- 641122

Images © Johan Persson

Words © Duncan Harley

Jul 222013
 

So, now we’ve been told why Aberdeen wasn’t short-listed in its bid to be UK City of Culture 2017. No wow factor, no coherent vision, no passion… It’s a pity then that the judging panel weren’t seated in a roasting hot HMT to witness the Great Big Dance Show earlier this month, says Angela Joss.

Produced, for the second year, by our own Citymoves Dance Agency and funded by Get Scotland Dancing, this event showcased and celebrated the region’s dancing talent, from the professionals to those on a big stage for the first time; from the very young to the silver-haired; from the clearly accomplished to those dancing for the sheer joy of it.
Really, if something on the evening’s programme didn’t Get Scotland Dancing, then it was not for the lack of choice.

On a day when an unpleasant group had demonstrated in Castlegate to promote their view that multi-culturalism is dangerous, Scottish country, Bollywood  and Irish features co-existed harmoniously and Aberdonians and visitors alike were shown further proof that the SDL promote errant nonsense. 

In any case, judging by the peaceful counter-protest against the SDL’s intolerance, the dancers were preaching to the converted.

In a full 35-dance programme, which included tap and jazz, it would be unfair to pick out only a few highlights, although Quicksilver, with an average age of around 65 and with hair colour which one imagines gives them their name, delivered a moving and amusing Summer Gloves and Satin Sandals.

It centred on the act of ironing men’s shirts and segued into a tango with the garments until the audience could almost see the virtual partner inside. This inevitably brought to mind thoughts of widowhood and divorce, which will undoubtedly have touched the lives of at least some of those women.

In a similar vein, performances in previous years from Step Forward, an integrated group for people with and without learning difficulties, have always been life-affirming, for the dancers’ purity of enjoyment and downright joy in movement. The group’s rendition of Singing In The Rain was a brolly-twirling success, bringing a much-needed shower to freshen up the auditorium’s sultry atmosphere.

And there were boys! At last, we appear to be leaving a period of dance history where male dancers have been perceived as cissies. Perhaps Billy Elliot is more than a fine film and stage production and has influenced a freer-thinking generation.

HMT suddenly had a stage full of lads who delivered a creditable jazz performance followed by a rollicking hip-hop skirmish to the music of the Beastie Boys, Eric Prydz and PJ & Duncan.

If there has to be any criticism, then the show’s stated aim of including as many groups and dancing styles as possible made this, perhaps, an over-long evening, especially for little ones present, and the stifling heat didn’t improve matters.

However, it’s hard to see what could be left out, and an evening of such variety and inclusiveness sent the audience out into the night, buzzing and delighted, possibly thinking that we don’t need the validation of a judging panel to tell us that there’s some inspirational cultural activity going on, right here, right now.

Photos by Sid Scott, for Citymoves Dance Agency – 2013

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Aug 312012
 

Voice’s Old Susannah looks at events over the the last week … and once again, what a week it’s been in the ‘Deen. By Suzanne Kelly.

Vibrant and dynamic adjectives are being used to describe the Labour, Lib Dems and Independents who voted against the beloved web.

Conspiracy theorists say that these ungrateful refusenicks have brought civilisation to an end, even that they secretly scheme to bring the monolith design for the gardens back.

Such villainy!  It is hard to believe that some LibDems were not swayed by the powerful, intellectual charismatic persuasion powers of Aileen Malone.  But they weren’t.

Old Susannah failed to make it to the 28 August Housing & Environment Committee; alas I missed the debate on the deer.

Pete Leonard’s reports on the tree for every citizen and deer cull say the whole thing is ( a) finished, and ( b) a success.  Result!  Funny how something can look like a ‘cost-neutral’, complete success to someone, and yet seem like a shambolic, environmentally unsound, unwanted, exorbitant, barbaric disaster to the rest of us.

As I wasn’t there, I missed the chance to see former Convener Aileen Malone show up to defend her scheme and those who implemented it for her; I’m sure her speech to the new H&E Committee was as moving as her speech during the Union Terrace Gardens debate.

On that occasion she said how important it was for councillors to listen to the people.

During the deer cull she embodied this tenet by ‘accidentally’ deleting emails protesting the cull, ignoring 3 community councils which implored her to stop the cull, and taking delivery of a 2,500 signature petition against the cull.

Oh, HoMalone listened all right. She just chose not to pay any attention to what she heard.  I say that I missed her defence of the scheme at the H&E Committee – but even though I was not there, she – being a person of honour and principle must have put in an appearance rather than leaving Leonard hung out to dry.

Any shirking would have been cowardly and an admission of ineptitude.

We will be toasting Neil Cooney with several brewdogs; he has said there will be no further culls simply to plant trees.  Perhaps he will be able to resurrect the scheme of keeping Tullos Hill meadow as, er, a meadow, even if Pete Leonard says that is more expensive than trees, tree guards, deer fencing, mechanical diggers, gorse stripping, and pesticide spraying for a few years.

I guess Pete and I went to different accounting lessons.

we have to deal with an awful lot of garbage here in Aberdeen

The dust is not settling very well on the granite web, which has been toppled.  What a shame.  Rather than us having shiny walkways in the sky to enjoy rain, snow or shine, to walk up and down on, to fall off, it looked for a moment as if all that lovely £50 million was going to be wasted helping people in Africa.

To put things in perspective, we have to deal with an awful lot of garbage here in Aberdeen:  vacant and decaying properties acting as beacons for arsonists; closed shops, litter that never gets cleared, social problems and services slashed by the previous administration.

The relatively simpler problems which pose minor irritations in Africa include famine, infant mortality from disease and hunger; kidnapped children beaten into soldiers, civil wars, a plague of AIDS, illiteracy and so on.

When I learnt the web was not going to be built, I remembered Sir Ian’s words as told to the Press & Journal:

“Sir Ian Wood said last night that projects in Africa would benefit from the £50million he has offered toAberdeen– should the City Garden Project be rejected” – Press & Journal, 11/02/2012

How wonderful!  I wondered if there was going to be an African granite web, perhaps with some fir tree bosque and underground parking – that would cheer the starving multitude a little.  But like the web, this promise seemed almost too good to be true.

But then something unforeseen happened – something which has never happened before:  Sir Ian changed his mind.

No – Sir Ian is going to leave the money on the table for a year in Aberdeen.  Fine.  It’s his money (if he actually has all this in liquid assets he is a lucky man indeed).  Perhaps it’s time to turn to the dictionary for some assistance with the relevant issues.

Life Expectancy: (compound noun; English) – Statistical figure showing the mean for a group of people or living things to determine the typical time span from birth until death.

Old Susannah wondered which group of people needed £50,000,000 more – Aberdonians to turn their only city centre (common good land) garden into a giant web with an outdoor theatre next to a theatre?  Or Africans for food, shelter, education and healthcare.

Just for the record, the UK’s average life expectancy is about 80.5 years.  If, however,  you are in parts of Africa, this can be slightly lower – say about  56.5 years if you’re born in Niger,  50.6 years in Chad, 46.2 in Rwanda and give or take a few days you get 43.5 years to live if you’re born in Zimbabwe. Figures are not available yet on the life-extending benefits of granite webs.

We live longer in the West; that’s why we need more places to shop and more theatres to entertain us.

A town of Aberdeen’s size and stature can hardly be expected to get by with a Music Hall, an AECC, a HMT, a Lemon Tree and a dozen private music venues (plus concerts now and then at Pittodrie) – no, we need to build an outdoor theatre in front of HMT while we subsidise the operation of the other publicly-owned theatres.  Simples.

On the other hand, if you are likely to be killed in some form of tribal gun battle, die in childbirth, or die as either a starving infant or a child soldier, you don’t really need as many different diversions for your leisure time.

So, in a year Sir Ian may send his £50 million to Africa, if Aberdeen hasn’t begged him to put up the web, repenting of last week’s decision to just fix what we have for less than the £140 million web. Africa will just have to wait and see.  And if a few million people have an extra year of hardships, then so be it.

Petition: (Eng.verb) to entreat, often formally with writing and backing of others, for a desired outcome.

I can’t help but notice how many different petitions have been started since the City cruelly turned down the chance to borrow £92,000,000 to build a bosque and a sensory hippy trail thingy (no, I don’t get it either – ask Paul at Gray’s  School of Art).

There are petitions demanding Labour resign, petitions denouncing Barney Crockett and others, petitions saying the granite web was the marvel of the age.  Even Kevin Stewart, last seen explaining why our vulnerable and disabled had to suffer services cuts, has come out of the woodwork and made a very clever motion in the Scottish Parliament.

I was involved in petitions to save the Tullos deer and save Union Terrace Gardens.  This confused some people who called me a tree-hugger, and were baffled that  I didn’t want 89,000 trees on Tullos Hill if it meant destroying what was already there.

But now I have a new petition.  Do have a look, and if you agree, please feel free to sign and to share.
petitions/sir-ian-wood-send-your-£50-million-to-africa

Dummies:

Dummies are being used to guard parking spaces in Old Meldrum; evidence suggests this scheme probably originated in the higher levels of ACC management.

The dummies are thought to be on secondment at the highest levels of the Housing Directorate.  I am asked to point out that any resemblance between the dummies in Oldmeldrum and any former city councillors is purely coincidental.  And obvious.

Next week:  more definitions.

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