Review Archives - Page 11 of 24

Sunny Afternoon, The Musical At HMT: Duncan Harley Reviews

Aberdeen City, Featured, Opinion No Responses »

Nov 102016

Duncan Harley reviews ‘Sunny Afternoon, the Musical’ at HMT Aberdeen.

Garmon Rhys (Pete Quaife) Ryan O’Donnell (Ray Davies) Andrew Gallo (Mick Avory) Mark Newnham (Dave Davies)

Picture in your mind’s eye a musical about a 1960s band who, in their day, released around 28 albums, were ranked 65th on Rolling Stone magazine’s ‘100 Greatest Artists of All Time’ list and occasionally, just occasionally, swung from chandeliers.
The Kinks popped pills, used girls and fell out with America. If it wasn’t broke they took an axe to it. If it was broke they swung the axe again just to make sure.

Hotel rooms, promoters and, on occasion, fans bore the brunt of the angst of the tempestuous four.

And then, just to let off steam, they turned inwards and beat the hell out of each other both on – and offstage. Fuelled by a heady concoction of wild music and wild parties, they seesawed repeatedly from giddy success to rock-bottom oblivion and then back up again.

Headed by brothers Ray and Dave Davies, The Kinks did eventually make the Hollywood Bowl, but only after a very rocky ride.

Sunny Afternoon the Musical tracks the band’s career through a finely balanced combination of tribute numbers and snapshots of the band’s progress from the blandness of the Muswell Hill club scene through to the electrifying days on the international music circuit.

On opening night at His Majesty’s Aberdeen, word came that Ryan O’Donnell was unwell and that James Hudson would be playing the part of Ray Davies. He played it well and few in the audience would have even been aware of the substitution.

It was clear from the very start that this is no mere tribute show. Yes, there are musical numbers and yes there are stage strutting scenes, but there are also acres and acres of good solid bio to link the songs with the background stories which inspired them.

As the songs emerge, a tale of sibling rivalry and misunderstanding unfolds. The madly challenged Dave, sensibly dressed in a bright chintzy frock, swung from a chandelier while elder brother and leader of the band Ray tries to keep it together with wife Rasa. ‘A Dedicated Follower of Fashion’ led to the Pepsi cola’d ‘Lola’, and with Dave starting to resemble Ava Gardner on a massive bender, there were brotherly fights and band fallouts galore.

There are minor niggles. That drum solo in act two might be completely superfluous; and the colourfully Union-Jacked 1966 England World Cup Winners’ parade might not go too down too well in front of some Scottish audiences.

The transatlantic duet involving Rasa and Ray was particularly poignant, but it has to be said that although everyone on stage sparkled, Mark Newnham’s portrayal of Dave Davies sparkled most brightly.

His portrayal of the Mick Avory-hating guitarist left little to the imagination. Despite bad behaviour verging at times on the offensive, and a sometimes questionable dress sense, he emerged as a well-cast musical villain.

There’s humour galore. Harold McMillan takes it on the chin and long-dead Who drummer Keith Moon is revered as an eccentric Roller-owning rocker with a penchant for swimming pools.

Virtually all of the classic Kinks hits including ‘You Really Got Me’ and of course ‘Sunny Afternoon’ are up for grabs, and by the finale folk were rocking in the aisles to ‘Waterloo Sunset’ and ‘Lola’.
By the end of the night there was hardly a grey hair in the house.

Directed by Edward Hall with Barney Ashworth as Musical Director, Sunny Afternoon plays at HMT Aberdeen until Saturday 12th November

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © APA

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Begg To Differ: Fin Hall Reviews Ally Begg’s First Book

Aberdeen City, Opinion No Responses »

Oct 272016

ally-begg-book By Red Fin Hall.

What’s the connection between a failed football player, a member of a successful 90s boy band and a TV presenter turned TV producer? The answer: Ally Begg.

Ally was brought up in Newburgh, had trials with Aberdeen FC, was a member of Bad Boys inc, and worked as a presenter on various sports TV channels before landing his current position as producer on beINSPORTS in Qatar.

His book, Begg To Differ, is the fascinating account of his life where everything always comes back to football.

It is an absolute fans’ view of the game, albeit a fan with some notable connections. Like Sir Alex Ferguson.

It is the story of his childhood growing up in the outskirts of Aberdeen and his pestering of his father to go to watch his favourite team, a team that was always at the forefront of his mind, even when he was working for one the rival teams’ television station.

He expresses his dis-satisfaction of the way his music career was handled and his decision to quit the business altogether.

How he deals with a catastrophic leg injury and its long term effect on his life, makes you cringe. Not by the writing but by the excruciating pain he has had to suffer.

The book deals with the ups and downs in his life without asking you to feel sorry for him, and subsequently his contentment in life, being married with a child.

All in all, it’s a fine read, a giant step away from the usual football related tomes. Well worth investing your money in.

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This Kitchen Works For Me: Fin Hall Reviews.

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Oct 212016

By Fin Hall.

It’s not very often us country folk venture into the big city for anything else other than work and football: but today we did just that.

Keen to try somewhere new for lunch, we went into a very recently opened establishment, The Kitchen Works in Summer Street.
We had the place to ourselves at this time, but were made welcome.

There was a limited choice of sandwiches available. This was deliberate and made it easy to chose.

We both had the excellent roast beef on a sour dough bun. The chill display cabinet has the selection of sandwiches by the counter. But a fresh one will be made if needed.

With coffee, the bill came to just over £11.

The evening menu also looks good. The dishes, apparently, are smaller portions, not tapas I am assured, which show in the reasonable price.

I prefer places where the menu choices aren’t too extensive, as it means the cook/chef can concentrate on getting quality rather than quantity. It is also licensed in the evening

The wooden tables are laid out along the wall with bench type seats on one side.

Upstairs is a smaller space which looked like it was laid out for a private function.

The industrial style lights hanging from the ceiling and black and white large photographs on the wall, add to the ambience of the room.

My one complaint is that the coffee cups are only half full. Apart from that, it is a place I would return to again. It is good to see new, locally owned businesses opening up.

Coffee shops/tea rooms seem to be the way forward, as barely a week goes by without another pub or restaurant closing its doors for the final time.

Pictures used: Property of https://www.instagram.com/p/BEsktyygeDK/

The Broons at HMT: Duncan Harley Reviews

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Oct 212016

Duncan Harley reviews ‘The Broons’ at His Majesty’s Theatre, Aberdeen.

broons_1c Long ago, childhood Sundays were punctuated by an obligatory visit to Sunday School, and then on to Grandma and Grandpa’s for the Sunday roast. The day of course began with a breakfast of tea and groats, followed by a wee read of the Sunday Post pull-out Fun Section which, then as now, sported a full page sitcom monochrome comic strip featuring Maw, Paw and the entire Broon family.

Although nowadays relegated to page 50 or thereabouts, the Fun Section is still going strong.

Other DC Thomson titles may have gone digital, but the likes of the Broons and Oor Wullie keep truckin’ along in good old-fashioned print.

That is of course until now; for in a bold step for Mankind, the tenement-dwelling Broons of No 10 Glebe Street, Auchenshoogle have taken to the tartan stage to celebrate their Oaken Anniversary in glorious 3D.

Penned by Glasgow-based playwright Rob Drummond, The Broons stage-show takes 80 years of comic-strip familial ultra-conventionality and introduces alien concepts such as personal ambition and – gasp – character development into the endearingly familiar Groundhog Day mix. Alongside the obligatory bonnets and whiskers, the Scottish Waltons are brought bang up-to-date with the addition of laptops and tablets.

As various family members announce radical career plans involving moving away to far and distant places, Torry-born Joyce Falconer’s formidable Maw Broon is faced with the task of trying to keep the whole family together for yet another 80 years, or else face a lonely old age stuck in front of the telly with just Paw for company. The familiar hijinks of life in a Scotch sitting room come under threat and Maw’s deviousness in the face of adversity knows no bounds!

Maggie, admirably played by Kim Allan, starts the ball rolling when she announces her plans to get hitched. Joe then decides to move to London to pursue his love of boxing. The lanky Hen, played by Alaskan born Tyler Collins, is about to take off hiking round Australia to find himself. Euan Bennet’s Horace decides on a career in confectionery, and even Daphne gets a man at long last. What could possibly go wrong?

Sing-along and clap-along are never far away in this Sell A Door production, and the musical numbers cover every tartan-clad genre from White Heather Club ballad to Bay City Rollers brash ultra-pop.

Alongside the music there are frequent bursts of slapstick and lots and lots of one-liners. Some are painfully familiar such as when the desperate Daphne tells Paw that she has met up with a braw new guy while surfing. Predictably perhaps, Paw retorts “An did you fa’ aff your board?” But all in all, this is a skilfully researched production and the familiarity of the dialogue and humour simply adds to the appeal of the performance.

broons_2 A good measure of the audience laughed in all the right places, and that surely must indicate success.

Very much a family variety show and with an element of traditional Panto showing through at the seams, The Broons does push the boundaries a wee bit on occasion. The long suffering Auchenshoogle vicar, a grandfather of four, is the willing recipient of a gay snog or three; and in a scene worthy of a Waltons bedtime routine, Paw Broon very nearly gets his oats.

But, so help ma boab, it’s all in the best possible taste and if The Bairn can take it then weans of all ages will simply love this show. Plus of course Oor Wullie makes a cameo appearance as himself, and that can’t be bad.

The Broons plays at His Majesty’s Theatre Aberdeen until Saturday 22nd October.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

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

The Cheviot, The Stag And The Black, Black Oil – At HMT

Aberdeen City, Featured, Opinion No Responses »

Oct 052016

The Cheviot, the Stag and the Black, Black Oil – at His Majesty’s Theatre Aberdeen. Duncan Harley reviews.

the-cheviot-production-image-9-photo-credit-tommy-ga-ken-wan-1

Performed by the Dundee Rep Ensemble as a Highland Ceilidh, Cheviot has been brought bang up to date.

Written by the late John McGrath, The Cheviot, the Stag and the Black, Black Oil tells the story of forced economic change in the Highlands.
First performed by 7:84 Theatre Company in 1973, the Ceilidh play pointedly compares the sheer brutality of the landowning capitalists of the Clearances to the often callous exploitation of Scotland by the predatory capitalists behind the oil boom.

As an unconventional piece of popular theatre combining radical politics with drama, plus music and song, Cheviot predictably attracts mixed reaction.

The Establishment was seemingly not much impressed with the original production, and sheafs of appalled letters were written to The Scotsman. The general reaction ranged from deep hostility from supporters of global capitalism, to a feeling of empowerment amongst nationalists who, despite the extreme Socialist views expressed in the play, sensed that an unlikely ally had emerged to challenge the mores of the day.

Cheviot played to audiences as small as twelve, in Fraserburgh of all places, on that first tour; but persevered and went on to tour the Highlands and beyond, gathering larger audiences along the way. Village halls which had never seen a live play performed were the venues. Folk in far-flung places whose own grandparents had witnessed the Clearances first hand became both spectators and willing participants in this new theatre.

I first saw Cheviot in the 1970s: yes, I am that old, and for free. Strathclyde Regional Council, God rest its cotton socks, had hired a Glasgow performance space so that John McGrath’s take on Scotland’s turbulent economic history could be played out to a wider audience.

What did I make of it then? I can recall the surprise at getting the afternoon off from work, and I can still remember wondering what on earth the city fathers hoped to achieve by exposing both me and my fellow workers to cutting edge agitprop theatre, since we were on the verge of revolution most of the time already. Perhaps they thought that Cheviot might just calm us all down a wee bit.

The show’s pedigree is unquestionably anti-establishment. Estate Factor Patrick Seller burns down a croft house with poor old granny still inside; the loathful Duke of Sutherland evicts 15k of his tenants to make way for 200,000 sheep; Highland regiments are sacrificed on a colonial whim, and Highland culture comes under sustained attack from the capitalised aristocracy.

The Astors, David Cameron’s family and a toupee-topped golf course magnate with Lewis connections all take it firmly on the chin; all in the best possible taste of course, and with unforgettable sing-along ditties, including:

“we’ve cleared the straths, we’ve cleared the paths, we’ve cleared the bens, we’ve cleared the glens, we’ll show them we’re the ruling class.”

Performed by the Dundee Rep Ensemble as a Highland Ceilidh, Cheviot has been brought bang up to date. The timeline of the original production concluded with the discovery of North Sea oil, but now concludes with the oil exploration downturn which Mark Carney has described as:

“a challenging environment which, given global prices, may persist for some time.”

The cast of ten play multiple roles and generally this works really well. A coat rail of costumes stands to hand, stage left, and fast changes are the order of the day.

As Irene Macdougall slips effortlessly into the gown of Sutherland’s infamous estate clearance manager James Loch, Billy Mack is swapping Queen Victoria’s crown for factor Patrick Seller’s top-hat.

Stephen Bangs moves fluidly between his role as the plaid-clad Sturdy Highlander and that of the totalitarian bible thumping preacher, while Barrie Hunter’s Duke of Sutherland alternates with both an old man and an old woman.

The audience have a big part to play too. This is Ceilidh after all. It’s safe enough to sit in the front row, so long as you don’t stick your hand up too high; but be warned that this production takes audience participation to entirely new levels.

Early on, during a warm-up Canadian Barn Dance, half the audience appeared to be heading off out to Union Terrace as Musical Director Alasdair Macrae called out the steps.

A hilarious sing-along parody of the Alexander Brothers stalwart “For these are my mountains and this is my glen” follows, before the more serious business of lampooning the men who own your glen begins in earnest.

Irvine Welsh‘s Trainspotting Renton, AKA Rent Boy, infamously cried out that:

“It’s SHITE being Scottish! We’re the lowest of the low. We’re ruled by effete assholes. It’s a SHITE state of affairs to be in … and ALL the fresh air in the world won’t make any fucking difference!”

He may have had a point, although McGrath might have disagreed on the finer detail of Renton’s argument. Cheviot, for all the humour – and some of it is very black indeed – takes the stance that the people don’t own the land under their feet; but perhaps they should!

Today’s Cheviot continues to hit the zeitgeist. The message of this play is as relevant today as it was when first performed in the early days of the oil boom. Nothing quite like it had seen before and if you are a newcomer to McGrath’s work, Cheviot will be nothing like you have ever seen before.

Make up your own mind, go see the play. I guarantee that you won’t be disappointed.

As John McGrath once said:

“Cheviot is the music of what is happening.”

The Cheviot, the Stag and the Black, Black Oil performs at HMT Aberdeen until Thursday 6th October

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © Aberdeen Performing Arts

Chicago The Musical at HMT: Duncan Harley Reviews

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Sep 292016

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

chicago_john_partridge_as_bill2 Take 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_rox2 Emmerdale’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

Northern Sky By Pete Coutts: David Innes Reviews

Aberdeenshire, Opinion No Responses »

Sep 012016

A well-respected member of NE Scotland’s impressive and eclectic musical community, united in its determination to preserve and enhance the area’s cultural heritage, Pete Coutts’s solo debut album Northern Sky, sees him dig deep into Doric melodic and vernacular traditions. David Innes reviews.

Northern Sky falls almost naturally into the complementary spheres of song and tune, with the track sequencing naturally alternating between both, pleasing on the ear, avoiding the intensity of instrumental overload, and giving the contents welcome breathing space.

It’s no surprise given the collaboration of the cream of NE traditional musicians on Northern Sky that there is ensemble playing of great aplomb throughout.

‘In & Oot’, with Coutts’s own scintillating mandolin, Jonny Hardie’s fiddle and Brian McAlpine’s accordion, is a sumptuous traditional piece, whilst ‘Allathumpach’ impresses in its instrumental precision and interplay as the melody winds itself around a punchy rhythm.

‘Villa Rosa’ serves up much of the same, its stabbed rhythmic punctuation supporting an angular, almost-geometric spiralling tune. And whether intended or not, the sparkling coda of ‘Strichen Gala – The Road To Aikey Brae’ has the precision and spikiness of that other Pete’s ground-breaking ARP parts on Who’s Next.

When it comes to Coutts’s songs, he displays masterful understanding of folk and bothy ballad structures, sentiments and feel. ‘Belhelvie’ documents a motor-age agricultural tragedy voiced in Coutts’s Doric phrasing and timbre with Ali Hutton’s bluesy whistle underscoring the mood. There is a stamp of authenticity too, given that the ballad’s protagonists are the singer’s own direct ancestors.

‘Sail & Oar’ is carried on a fine melody, sweetened by co-writer Jenny Sturgeon’s harmony and it evokes the atmosphere of Peterhead’s labour-intensive fishing industry, with well-crafted instrumental passages honed to the narrative.

‘Casting The Peat’, celebrating the endeavour employed in cutting fuel in Coutts’s own Cyaak (some say New Pitsligo), the global epi-centre of peat production, is narrated in the farm bothy tradition, but Coutts’s obvious affection for his subjects on both land and sea makes these arduous and dangerous operations sound almost pleasurable.

And whilst the life of a farm servant was tough, and bothy ballads written for local entertainment often coarse, Pete’s original ‘Will Ye Byde’ touches on the familiar tale of the unscrupulous farmer, but its theme is tender and caring as the worker, departing at the term end, gently declares his passion for the quine he’s leaving behind.

Nick Drake’s ‘Northern Sky’ provides both the album title and the opportunity for a faithful interpretation of a landmark song, but subtly-added Celtic inflections and flavourings ensure that it fits seamlessly with Coutts’s theme on an album which will prove to be a worthy addition to the cultural library of NE Scotland.

This review was written for the reviewer’s own webpage/blog (he’s not really sure which – it’s an age thing) www.bluesandmoregain.com

Made In Dagenham – The Musical: Duncan Harley Reviews

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Aug 262016

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

Made_in_Dagenham_3a The 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_1 Based 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

Aberdeen In 100 Dates – New Book Launched

Aberdeen City, Opinion No Responses »

Jul 292016

By Duncan Harley.

Aberdeen’s Gordon Highlander Museum was the setting for the launch of Mearns author Elma McMenemy’s new book ‘Aberdeen in 100 Dates’.

A professional Blue Badge Tourist Guide, Elma has more than 30 years experience of working with Scotland’s visitors and has built up a vast repertoire of tales showcasing the rich and varied history of both Aberdeen City and the hinterland of the North east.

Her previous book focussed on the often macabre and bloody history of Aberdeen and in this new collection of local tales Elma leads the reader on a journey through 100 of the key dates which have shaped the development of the city.

Aimed, as Elma explains, at “people who would not normally open a history book” the publication has already proved popular especially with fellow tour guides who plan to use it as a research tool when preparing guided tours around Aberdeen and the North east.

“Its easy to talk to a coach full of tourists” she says,

“but putting words down on paper is quite another thing. Aberdeen is such a brilliant and helpful place. No-one I have asked has so far refused to help me in my research!”

The book presents as a sound-bite tour-de-force of popular folk and historical tales. With one story per page and illustrated throughout with line drawings, there’s plenty to interest even the most informed reader and visitors unfamiliar with the North east will undoubtedly be tempted to delve deeper into many of the stories highlighted within the 124pp.

Dedicated to a godson “who loved all sort of trivia”, the 100 dates kick off with an examination of the arrival in Aberdeen of Christianity courtesy of St Machar, a 6th century disciple of St Columba. Given that each tale is restricted in length to approximately 230 words, the author manages to pack in a good amount of information and leads the reader quickly from St Machar’s arrival on Iona on to the miraculous tale of St Machar’s Well and the eventual founding of Aberdeen’s St Machar’s Cathedral.

On June 5th 1815 we learn that a large mob “not falling short of half a thousand, attacked the White Ship, a house of ill repute run by Meggie Dickie”. The military were seemingly summoned to arrest the ringleaders one of whom was transported for seven years. Resurrectionists feature in the story of another Aberdeen riot, this time dated 19th December 1831.

Seemingly a mob burned down the local anatomy theatre after discarded human remains were found nearby. Who said Aberdeen was a boring city?

Bloody Harlaw, the founding of Aberdeen Golf Club, the epic tale of the Scottish Samurai and the Royal connections of William McCombie and his prize Aberdeen Angus Bull, Jeremy Eric, feature alongside the “crushing defeat of Rangers in the 1982 Scottish Cup” and the tragic gas explosion which, in 1983, destroyed the Royal Darroch Hotel in Cults.

The two concluding stories are bang up to date and describe the charity auction of Aberdeen’s Dolphin Sculptures and the 2016 discovery of 92 bodies buried beneath Aberdeen Art Gallery. Art critics perhaps?

In short, from quirky to gruesome, there’s plenty here to interest everyone.

Inevitably in a work of this complexity there are debatable issues. Fitting 100 tales onto 124 pages is no mean feat. The Aberdeen typhoid description is a case in point and includes the oft repeated line that there were no deaths.

However given that most local histories mirror this notion, the contention is perhaps forgivable and the three folk who died as a result the epidemic will no doubt forgive the repetition.

A slight criticism is however due, regarding the lack of chapter headings or even an index. Apart from the chronology of year, month and date there is little to inform the reader regarding the content of each section and although Elma’s general introduction clearly sets out the parameters of the book’s historical context, the lack of a formal navigation structure restricts the reader to a dipping in and out approach.

Aberdeen in 100 Dates is published in paperback by The History Press at £7.99
ISBN 978-0750-960311

First published in the Summer 2016 edition of Leopard Magazine.

Jackie The Musical At HMT – Duncan Harley Reviews.

Aberdeen City, Featured, Opinion No Responses »

Jul 212016

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

The 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.

The 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.

Musical 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

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