Harry: “We’ve tried to make it as funny as we can. Whenever I go to a musical and it’s described as ‘hilarious’ I sit there smiling. People laugh because they’re so desperate to do so but it’s what someone described to me as ‘a theatre laugh’. It’s not like a big belly laugh but we’ve crammed this show with big belly laughs. It’s basically a really good, fun night out. Obviously it’s about Tony Blair and it’s a great story. Whether you love him or loathe him you’ll get something out of it”.

What’s the basic premise?

Harry: “It starts off with him as a peace-loving hippie in a band and he then becomes Britain’s most successful Labour Prime Minister before he turns into what he is now, which is basically a kind of outcast. People have very strong feelings about him. I often wonder ‘If you bumped into him in the street, would you ask him for a selfie?’ He polarises opinion but we try not to take sides in the show. Well, we do take sides but it’s not left- or right-leaning. It’s more about the process of democracy and whether we ever get the leaders that we deserve”.

Where did the original inspiration for the show come from?

Harry: “I was struck by the arc of his story. It’s a story of extremes and it’s one we all know, which helps. There’s also an element of nostalgia to it”.

Steve: “I wasn’t a fan of his, I was more a fan of Gordon Brown, and I was amazed that Blair won when Brown was more of an intellectual heavyweight and a more serious figure. But we’ve seen what the public are prepared to fall for, although I’m not saying they fell for anything he didn’t at least attempt to give them. You may not agree with his principals but as Groucho Marx said ‘These are my principals and if you don’t like those I’ve got others’ and at least Blair had some. He still stands by what he did and he acts out of principle, even though he probably enjoys the limelight. Nobody goes into that line of work if they’re a shrinking violet”.

What makes his story ripe for musical comedy?

Steve: “All politicians are really ripe for such treatment but he’s higher-profile than most. He’s quite singular, much in the way Margaret Thatcher was. There have been straight dramas that have featured him and he’s been a big part of Michael Sheen’s career. And if it’s ripe for drama it’s probably ripe for comedy because as we all know comedy is tragedy plus time. In terms of it being a musical, in a sense he was the first rock-and-roll Prime Minister. We call it a rock opera but it’s a musical comedy. [Laughs] We only call it a rock opera because it gives it more pretension. It affords it a mock-serious tone. When he came to power there was the whole Britpop thing, which we allude to in one scene, and he’s obsessed with Mick Jagger and the guitar. Then he had Noel Gallagher round at Number Ten, sort of dishonouring the building and quaffing champagne. It was the last time the Union Jack wasn’t synonymous with fascist, far right, immigrant-detesting gits”.

Can you tell us a bit about the music in the show?

Steve: “I’m just trying to keep the variety and the pace going. Whoever is singing it and what’s being said dictates the style. Then sometimes you can achieve an interesting and funny juxtaposition. Saddam Hussein, for example, has a number that is done like Groucho Marx – to mention him again – more or less because Saddam had the moustache and the cigar, except his moustache wasn’t painted on. It’s a patter song, New Labour is very Britpop, and we begin in a sinisterly operatic, Grand Guignol style because Blair is on his deathbed. It’s like Citizen Kane, where we start with him dying, then head backwards from there. He’s sort of resurrected at the end and delivers the moral, which the audience goes out humming”.

Which other real-life characters are featured? And how much of the story is fact and how much is fiction?

Harry: “We’ve got John Prescott being played by a woman, as is Robin Cook. We’ve also got Gordon Brown, Princess Diana, Osama bin Laden, Saddam Hussein and George Bush in there.

“Obviously we can’t stick to the exact chronology and we have Gordon Brown going to the same university as Tony Blair, but we admit we’re playing with the truth all the way through it and we undermine it with a fairly light touch, at least until things go wrong. We also have Princess Diana coming back as a ghost”.

Steve: “Which to the best of our knowledge has never happened. And there are time constraints. The tour incarnation will be two tight 45-minute acts. In order to get everything in there, sometimes you have to lie to tell the truth. [Laughs] Boris Johnson told me that”.

From doing research, were there things you were surprised or intrigued to learn about Blair?

Harry: “There weren’t a hell of a lot of surprises. I didn’t know about his childhood. Apparently he spent two years in Australia, which we don’t mention in the show because it’s just dull. You can’t cover every aspect of his life. Have you seen his autobiography? It’s massive. Also, one of my bugbears about musicals is that they’re far too long, particularly for the modern attention span. For the tour we’ve cut about 15 minutes. It’s shorter and sharper. There’s not many things that merit more than two hours, including a break for an ice cream. A lot of musicals nowadays are bloated and they’re expensive, and the reason they’re expensive is often because it’s a film they are copying. The way we’re approaching it, at times it’s more like a cabaret show”.

What are you most looking forward to about taking the show around the country?

Harry: “The response will be different wherever we go. When we did it at the Park Theatre in London it was a kind of Labour heartland and there was a cafe opposite the venue with a banner saying ‘Reinstate Jeremy Corbyn’. They absolutely lapped it up, they got all the jokes and often were on their feet at the end. I personally feel that response will be universal, at least if you’re of a certain age. Whether young people will get all the jokes I don’t know but it’ll be interesting to see. And I think it will do really well the further north we get”.

Steve: “You often get a much noisier reception in the north of the country. The further south you go you tend to get slightly more loud smiling rather than the raucous laughter that occurs the further north you go. That’s only a general rule of thumb, of course. One thing we both detest is when people underestimate the intelligence of the audience, what they know and what they don’t know. Ultimately we’ve done something that makes us laugh. You just have to assume you’re not the only two maniacs in the country”.

Does The Lowry venue have any significance for you?

Steve: “I remember one time when we there there was an evacuation after the fire alarm went off. We were stood around chatting to all these people in period costume who were doing Jane Eyre in the studio theatre, went back in and launched into a version of Crazy Arthur Brown’s Fire – as had previously been arranged – but it was terrible because the mood was broken”.

Harry: “We were out there for about half an hour, which put the dampers on it. But it’s a good example of a modern theatre that works really well. You’ve got the two auditoriums there and they’re both really well laid out”.

Did you invite Mr Blair to come see it?

Harry: “There’s an open invitation for Tony Blair to come along and half-price for any members of his family. Is it a business, after all. What might he make of the show? [Laughs] I think he’d be heartbroken. I’ve made enquiries. I talked to [journalist and presenter] Robert Peston about it, after he came to the workshop. He knew Tony Blair back in the 1990s and when I asked him ‘What would he make of it?’ he told me that Blair basically doesn’t have a sense of humour. He said Cherie might find it funnier”.

Tony! (The Tony Blair Rock Opera) is at The Lowry, Salford from 2-7 October 2023 before continuing its tour.

The post Harry Hill and Steve Brown on writing a new rock opera appeared first on Quays Life.

For anyone who doesn’t know, what’s the history Black Angel?

Claud: “Paula and I grew up in the 80s. Homophobia was a given and there were no positive images of LBT women of colour which was very isolating. I dreamt of socialising on Manchester’s gay scene greatly anticipating some sort of Utopia. Alas it was not to be. The scene was predominantly white and male-dominated. As a black lesbian I felt invisible. It did not cater for me.

“Paula and I met, by chance, in the village one day. We spotted each other as queer women of colour were few and far between. We shared a common experience. We wanted to hear the music we wanted to dance to, see and meet people who looked like us and provide a space where Black and Asian women could feel safe and express themselves.
Black Angel was born”.

If you could describe a Black Angel event in three words, what would they be?

Claud: “Amazing, diverse, fantastic – words supplied by our incredible clubbers!”

Why was it so important to carve out a space for LBT+ Women of colour in 1997?

Claud: “There was practically no representation for queer people of colour at this time, which was very isolating. It was important because we needed a place where we could be ourselves, have fun, feel safe and meet other people who looked like us. It was great to be out and not be in a minority.”

It’s been 25 years since the inception of Black Angel; what do you perceive as the defining moments of the iconic club night?

Claud: “Premiering the world’s first calendar for LBT women in 2004!”

Why should people come to Black Angel 25?

Claud: “The atmosphere will be amazing. Warm, friendly and welcoming. Great music. Very diverse. All are welcome as long as they respect where they are. Also, funds raised on the night will go towards funding our upcoming documentary, Black Angel: Feel Free to Be”.

What music can audiences expect?

Claud: “The best old school RnB, Hip Hop and soul. The type of music that’s guaranteed to fill the dance floor evoking feelings of euphoria!”

Why is Black Angel still important today?

Claud: “Things have not moved on nearly as much as they need to. We’re still hearing about homophobia on Manchester’s gay scene. We still need a safe space where we can express ourselves. We and our white allies need to vote with our wallets and not attend venues and events that are racist towards us!”

Black Angel: 25 is at Contact Saturday 8th October. To celebrate 25 years since its inception, founders Claud Cunningham and Paula Gannon-Lewis and Paula are making a documentary, Black Angel: Feel Free to Be. The documentary, premiering next year, tells the story of the trailblazing club night and captures the experiences of Black and Asian LBT women at that time. The documentary will be accompanied by a touring exhibition of archive images taken over its 25-year history.

Read our interview with Contact CEO Keisha Thompson.

The post “It was great to be out and not be in a minority” – Claud Cunningham on the return of Black Angel appeared first on Quays Life.

“I’m excited and nervous,” he admits. “I’ve done a few book tours but it’s the first time I’ll have been on stage in front of such large crowds. I’m used to chatting to an audience but not a whole theatre’s worth! But as I always say to people with dogs ‘If you’re feeling a bit nervous do your best not to show it’ so that’s what I’ll be doing.

“And I’m really excited about getting out there. If you have a bit of fun and you go away having learned something about your dog then we’re on to a winner. I love meeting people and surprise, surprise I love talking about dogs,” he says. “Put the two together and you’ve got a theatre tour! And it might sound cheesy, but I want to help people as best I can. The theatre show, as well as being lots of fun, is a chance to do just that.”

A Master Dog Trainer with the Guild of Dog Trainers, Graeme has more than 10 years’ experience with unruly pups and a celebrity client list that includes footballers, comedians, actors and musicians. He makes regular appearances on BBC Breakfast and ITV’s This Morning, and is the author of two bestselling books (the latest being this year’s Perfectly Imperfect Puppy), as well has hosting his own podcast, Talking Dogs with Graeme Hall.

He specialises in providing fast but long-lasting fixes for almost any dog behavioural issue problem – his motto being ‘Any dog, any age, any problem’. And he reveals many dog owners also come to him to asking what their pooch is thinking. “That question comes up a lot and sometimes I get credited with having Doctor Dolittle-like abilities,” he laughs. “I’m certainly not telepathic but there are lots of ways, when you know what you’re looking for, to work out things like ‘Is he or she nervous or is it something else?’ For years on my website there was an article called ‘What’s my dog thinking?’ and that got more hits than things like the mechanics of how to lead-walk your dog or how to train recall.”

On his TV show, Graeme often jokes that he needs to train the owner as much as the dog. So what, in his opinion, makes a good dog owner? “First and foremost it’s about caring,” he explains. “You’re looking after a little being and it’s very similar to parenthood. You also need to be realistic because it’s quite a responsibility that you shouldn’t take on lightly. Then once you know you can give them a good home, I think it’s about having a bit of knowledge about how dog behaviour works, how you can change that behaviour and how to keep them happy.”

Graeme and his partner currently have three dogs in their Cotswolds home: a Boxer, a Staffy Cross Labrador and a Patterdale Terrier. Growing up in Selby, there were no dogs in the family home because his parents both worked and didn’t feel able to devote the time and care needed.

It was only later in life that Graeme brought home his first dog, a Rottweiler named Axel. His interest in dog training was triggered after he got a second Rottweiler named Gordon. “I thought, these are big dogs and they could scare people if they’re not well-behaved,” he remembers.

At this time Graeme worked for the Weetabix cereal company where he’d worked for 21 years. He was on track to become a management consultant but ended up switching careers, turning what was then his hobby into a business.

Graeme set up Dogfather Training in 2008. His TV career followed after the producers of Dogs Behaving (Very) Badly, came across his website, invited him in for a meeting and felt he was a natural to present the show. And after four seasons and counting, he still can’t quite believe it. “I still pinch myself about being on TV,” he says. “The other week I was at an industry event, bumping into all these famous stars, and they were coming up to me and saying: ‘Can I ask you a question about my dog?’ or ‘Can I have a selfie with you?’ It’s been an amazing journey and I’m very grateful for everything that’s happened.

“The TV show is hopefully educational but entertaining with it, and that’s what we’re aiming for with the live stage show. It should be a fun night and dogs are really funny. Anyone who’s a dog person knows that for sure.”

Graeme is bringing his same popular mix of humour and canine knowledge to the stage show. In the first part he will present his golden rules of dog training including tips for changing your pet’s behaviour, illustrated with real-life examples drawn and behind-the-scenes anecdotes. Then in the second part he opens up the stage to audience questions, sharing his expertise via an audience-driven Q&A. “So, with the first half I know what I’ll be talking about because I’ve planned it, but I’ve no idea exactly how the second half will go because it will vary from venue to venue,” he says. “It’ll be ‘Over to you’ and it will be really interesting. I also think people like the little bits of humour that are in the TV show. I’m not a stand-up comic but it doesn’t mean we can’t have a laugh.”

Does he ever get stumped by the public’s questions? “Oh yeah, all the time. If you ever hear me say ‘Ooh, that’s a good un’ that’s me stumped and giving myself time for an answer. I’ve worked with more than 5,000 dogs now and if you ever make the mistake of thinking ‘I’ve seen it all and nothing can surprise me’ there’ll be a dog along in a moment to prove you wrong.”

As for whether dogs’ owners, like theatre audiences, are different depending on where you are in the country he ponders: “That’s an interesting question. There are certainly areas of the country where people are a little more reserved and may not show their emotions so much, but one of the important things is that you have to praise dogs when they’re good. Mostly that’s about the tone of your voice and the look on your face. Some of us are more heart-on-the-sleeve than others but a dog needs to see if you’re happy or if they’re in your bad books.”

Not surprisingly many people have asked Graeme if they can bring their four-legged friends along to the show. But while discussions are ongoing about whether dogs will be on the stage, there are unfortunately not allowed front of house on the night. “People can leave their dogs at home, but they can bring me their dog-related questions,” he adds. “Unfortunately dogs can’t be in the audience because some of the venues are several hundred seats or maybe a thousand and having hundreds of dogs all badly behaved in one room… I mean, I’m good but I’m not that good!”

Graeme Hall – The Dogfather Live on Stage UK Tour 2022 comes to The Lowry, Salford on 12 June. See website for full tour details.

Me and My Dogs – Phil Trow

The post Dogfather Graeme Hall – a dog needs to see if you’re happy appeared first on Quays Life.

How does it feel to be back in front of a live audience?
Richard: “Ha! I’ll tell you after the gig. Seriously I’m really looking forward to it. I had six shows in the works – some new and some revivals which have all been postponed or cancelled over the pandemic so it’s just great to have a thing which is actually on”.

How would you describe In the Cabaret Club?
Richard: “Jonny has a very enigmatic, original approach to cabaret which has been honed over many years. He’s very good at creating a great atmosphere and thrives on an intoxicating mix of slick spectacle and anything-can-happen spontaneity. I saw him years ago in a tent doing Gay Bingo and it was chaotic and fun. The crowd loved it. So, I always say “YES!” when the Jonny Woo call-to-cabaret klaxon is blown.

It’s billed as a star spangled spectacular with a strip tease lip sync – it there an American Ru Paul’s drag race theme?
Richard: “I’m not sure how Ru would react to the Woo. The strip tease lip-sync is a showstopper with a firework ending that puts July 4th celebrations in the shade”.

“I think Jonny is one of those rare, transgressive, alternative performers who make an amazing impact on the community. He set up The Glory pub in London which has become one of the most enlightened venues in London. I think he’s up there with the likes of Divine and Leigh Bowery in terms of the impact he’s had on the scene. He’ll pretend to hate me for saying that, but I know he secretly accepts a compliment”.

How did you meet the other performers – Sooz Kempner and Kevin Davies?
Richard: “I met them all through Jonny. I think we did the Latitude festival many moons ago. He put on about three hours of entertainment which was thrown together in a few days and a few phone-calls. It was fearless and quite remarkable”.

What is your part in it?
Richard: “I play piano and write songs for Jonny and the crew”.

Can fans of Jerry Springer The Opera expect to see any of that humour in the show?
Richard: “Ohhh yes for sure! Look out for stellar numbers “Famous Anus”, “Five Ways of Saying it’s Crap”, “The Sound of Sodomy”, “Doctor Death”, “Celebrity Kidnap” I tried to grow up – it didn’t work so I decided to grow down I think we might be doing a Jerry Medley as well”.

How did you keep your sense of humour during the past 18 months?
Richard: “I caught Covid and suffered very badly from it. I thought my time was up. Interestingly, for me, I wasn’t scared but it was, ahem, certainly a buzz kill”.

Can you tell us about your show, The Covid-19 Variations – A Piano Drama?
Richard: “A concert pianist mate of mine got Covid in New York just after the first lockdown. It was a horror show for him.The Guggenheim Museum in New York were commissioning artist to write 3-5 minute pieces to be filmed. I ended up writing the 19 variations which is a piano drama in 19 sections lasting about 24 minutes about getting the disease based on our experiences. It’s very funny at points but also very moving. We’re doing performances of it in Birmingham Rep in August with 19 films made by the wonderful BAFTA winning artist Alison Jackson.

“I like the idea of Piano Dramas. It’s a new thing for me which I like to think I invented. I did another called, “Rhapsody in You” which is about living in the city and I’ve got another on the go called, “Broadway!”.

JONNY WOO’S ALL STAR LATE NIGHT CABARET is at Waterside, Sale on 30 Jul as part of Refract:21, a 10 festival from 22-31 July, to challenge visitors of all ages to see things differently.

The post Richard Thomas – “The strip tease lip-sync is a showstopper” appeared first on Quays Life.

Tell us about your new podcast?

Liz: “Events That Made Me is my lockdown labour of love and an exciting new 12-part podcast. I believe throughout all of our lives there’s one specific event that we can say affected the course of our journey. There certainly has been for me. Coupled with the fact that I spend a great deal of time getting to know the people that I work with and finding out what makes them tick, I felt there was a great way to share some of these events and experiences to help others. And so, my Events That Made Me podcast was born.

“Of course, to create one brilliant launch podcast during lockdown was not enough of a challenge for me! So, I created two. They launched together on June 3, 2020, and featured actress and star of Strictly Come Dancing, Catherine Tyldesley, and the inspiring and flamboyant royal florist, Simon Lycett.

“As founder and CEO of corporate and private event planners, the Taylor Lynn Corporation, I have worked closely with a wide variety of celebrities, business leaders, entrepreneurs and inspiring community leaders over my 36-year career. I have earned a little black book to be proud of. So, I opened the pages on those people who I felt had great stories to share. Expect a diverse mix of future guests! Next up, is Eamonn Holmes. A man who talks candidly about the pressures of being on television and staying at the top of the media game.

“Also, don’t miss out on the bonus episode with each podcast, called ‘Air Extension’. In this I explore and discuss key themes uncovered in the interviews. Looking at how you can use the advice given to benefit business or life goals”.

What is the event or events that made you?

Liz: “I have planned many events that I am proud of and made my professional name. Working with Gary Barlow, Children in Need and HRH The Duke of Cambridge to name a few. In personal terms, I think having my two daughters were moments in my life that changed my perspective. Again, when my first grandchild was born. These were times that I looked long and hard at myself and asked: ‘Are you happy Liz? If not – change something,’ And I did.

Can you tell us how you got your first break in the industry?

Liz: “A chance meeting at Manchester’s Midland Hotel gave me my big break. I was asked to organise their corporate client party. I had never planned an event on this scale before, but I was never one to shrink from a challenge. Seeing a gap in the emerging events management market, I set to work on my first professional event and received rave reviews.

“I’ve always been a natural entrepreneur and had just a few hundred pounds in the bank and my second daughter in tow, when I launched her own company, Liz Taylor Associates, in 1985. I later joined forces with industry colleague Dianne Lynn to form the wedding and event planners the Taylor Lynn Corporation in 1995. The partnership lasted until 2008, when I managed an amicable partnership buy-out. That same year I’m proud to say TLC bucked the recession by topping the £4M turnover mark”.

So, what went through your mind when you were asked, do you know anyone who can organise a client party?

Liz: “I knew straight away that I could do it, and to be honest, I knew that I could do it better than anyone else. I was brimming with confidence. My retail background had given me an eye for detail and creativity, and all the organisational skills needed”.

What was it that made you take the leap from that first venture to setting up your own business?

Liz: “It was the thrill. The buzz I got from the success of that first event and realising that I could make this into a business. Don’t forget there wasn’t an ‘events’ industry as it is now. Just a few event companies based in London. I saw an opportunity. I always had a passion for creating fabulous parties, so decided to put that passion to good use. Also, after the first event a number of the guests asked if I could organise events for them, so I knew there was a commercial appetite for it. They liked what I did, and I liked them telling me so!

“I set up using my savings and have never worked with investors – it’s been my own capital invested so that’s made it easier to keep in control of the business decisions and direction. I knew that I wanted to position the company at the top of the market and have remained there since. We may not be the cheapest, but we’ll deliver the best was always my mantra”.

What’s the one thing you wish you knew then, that you know now?

Liz: “That’s a really interesting question. I’ve always been confident in my own skills and ability, so I think it might be a greater understanding of the importance of a company’s financial resilience. Coronavirus has had a devastating effect on the event industry. It isn’t something we could have planned for, but in any business, the ability to be flexible and financially sustainable when something catastrophic happens is vital to survival”.

What’s the strangest event you’ve been asked to organise?

Liz: “Believe me, I have planned some events with packed with unusual requests. We recreated Venice in a Birmingham ballroom (the couple were engaged in St Mark’s Square), planned a Hell’s Angel themed wedding and weddings where pets are the best man and bridesmaids! Only the British bridal market! Three events really stick out though. We created a sensational celebration based on the Penny Dreadful stories; macabre and eerie. I loved the party based on Netflix hit series, Stranger Things, where we transformed underground tunnels in London. And I will never forget the duo of wedding events.

“It was strange because we had limited space, and so on one level we constructed a marquee with a Game of Thrones banquet. Above it, we built a second marquee with a breath-taking wedding reception. A two-day celebration with two completely different parties built on top of each other. A dreamy wedding was transformed into a medieval style party. It was immensely challenging but an exceptional event”.

What is the most unusual venue you used for an event?

Liz: “Hmmm. This is tough. I have planned events in railway arches, nightclubs, on beaches and mountaintops. Every sort of venue you can imagine. I like Victoria Warehouse for its sheer capacity and flexibility. The urban and industrial backdrops also lend themselves so many styles. Villa Ephrussi in southern France was special, as was the Venetian palazzo. But for unusual, it has to be the train on which I planned Antony Cotton’s birthday on. The East Lancs – a fantastic railway and a brilliantly fun venue”.

What have been the biggest changes you’ve seen in the industry over the past 30 years?

Liz: “There wasn’t an events industry as such 30 years ago…so I’ve seen huge changes. It’s now considered an industry for a start, with many universities offering event management courses. I don’t think I would have imagined that when I held my first event. The size of the sector, and the number of people involved in it is immense. It’s grown from a ‘cottage industry’ in the UK to what it was pre COVID-19 so that’s probably the biggest change”.

How can the event industry survive the current Covid-19 pandemic?

Liz: “Yes it certainly can. We will have to adapt and change our business models, and what our events look like but it will definitely survive. We have to adapt and be nimble in order to survive and ensure sound business planning at the same time. I have been working with lots of my peers and suppliers offering them advice and guidance throughout the pandemic and have been buoyed by the resilience and strength of character out there. We will have to change and adapt, and I wish I had the ability to look into the future so I could see exactly what the world will look like in 12 months’ time. As I don’t have that skill we have to work with what we’ve got and take small steps in line with government guidelines”.

What guests have you got lined up for the rest of Events that Made Me with Liz Taylor and are you already planning a series 2?

Liz: “We’ve got a fantastic line up including the renowned broadcaster and dear friend of mine Eamonn Holmes. We learn lots of things about Eamonn, and he’s such a great storyteller. I could listen to him all day. We have an eclectic mix of guests lined-up for this series. Comedians. Sportspeople. Businesspeople. Media personalities. Actresses. And yes, we are already recording a second series! Oh, and don’t forget the forthcoming book. Autumn will be busy for me”.

Hear more from Liz on Events That Made Me available at Apple Podcasts, Spotify, Google Podcasts and more.

The post Celebrity Party Planner Liz Taylor Opens Her Little Black Book appeared first on Quays Life.

How would you describe Baby Fever?
Keisha: “Baby Fever is a devised theatre show that combines monologue, movement and audience interaction. Our young company want to explore the relationship between milestones, mental well-being and materialism. What does society expect of them? Are these things that they want to achieve? If so, can they?”

What does it mean for the audience to have an intimate and interactive experience?
Keisha: “It will be an intimate show set in the round. We don’t want to spoil the surprise but at points in the performers will be looking to the audience for guidance as they share what it feels like to be a young person in these uncertain times”.

Why is the audience limited to 50 people?
Keisha: “The directing company – Theater DEGASTEN – prefer small audiences that allow them to create an intimate environment. There will be an opportunity for each member of the audience to interact with a performer in some way”.

Why did you think it was important to explore milestones alongside mental health?
Keisha: “This all came from the young company and the directors. They started their discussion with milestones but soon the conversation went towards pressure, stress, paranoia, loneliness, lack of trust. All things that are linked to mental health”.

The piece was devised through workshops and discussions with young people. How old were the young people who took part?
Keisha: “The young people are 16-25 years old”.

Did anything come out of the workshops that surprised you?
Keisha: “There were two things that surprised me the most. Firstly, I assumed that most of them wouldn’t want to aspire to the traditional milestones that we see in society – education, job, house, car, baby, etc. But actually, most of them do – and why not?
“Secondly, many of them feel that they cannot aspire to these things. They feel like the structures of society are falling down around them – failing economies, fake news, climate change. Now it seems like those goals are unattainable”.

How are Amsterdam’s Theater DEGASTEN involved?
Keisha: “Elike and Rutger from Theater DEGASTEN are the directors. They started communicating with our young people from the start of this year. They visited them a few times over the summer before starting the intensive devising period mid-September”.

What did you learn from working with them?
Keisha: “They are very fluid and are mainly concerned with getting to know the young people. They are so invested in conditioning which has brilliant for our young people. They trust the content that they are coming up with. Their concern is more about getting them to understand what it means for them to be performers both for themselves as solo artists and as a company”.

What does it mean to be part of SICK! Festival 2019?
Keisha: “It’s a great opportunity to have our work programmed alongside other amazing artists. Moreover, Tim and Helen have been really present. They’ve met our young people, helped to shape the discussions, attended sharings. They really want to make sure that they hear what our young people have to say”.

Are there any plans for the show after the festival?
Keisha: “Not at this point but you never know. We’re always open to the possibilities of the work going elsewhere”.

Is there anything else you’d like to say about the show?
Keisha: “I’m really excited to share it. The directors and young people have been so honest with each it. We’ve created some really beautiful moments. I think it will be a great opportunity for us all to reflect on our milestones and our well-being in these uncertain times”.

Baby Fever produced by Contact Young Company and DEGASTEN from Amsterdam runs at Stun Studios from 1-3 October 2019 as part of Sick! Festival 2019.

An Irresponsible Fathers Guide to Parenting.

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Tell us about yourselves and how you came to work together –

Tamsin “I am artistic director of Actors of Dionysus (aod), and we specialise in new adaptations of Ancient Greek drama and new writing inspired by myth. I re-trained as an aerialist at the then named Circus Space about 12 years ago, and I really wanted to introduce an aerial/circus dimension in to aod’s work. Subsequently I took a solo piece, Bacchic, to the Edinburgh Fringe Festival which I co-wrote, and then I created another piece about Helen of Troy.

“Everything I See I Swallow is allowing me to explore other avenues in my work away from Ancient Greek drama but further developing my aerial interests”.

Maisy “I am a professional circus artist and I’ve been working in the industry for around four years. I trained at the National Centre for Circus Arts where I specialised in rope, and I graduated with a first class honours degree. I have always been interested in using text in my work, and I’m really interested in the ways in which aerial circus can be used to tell stories and integrate with theatre”.

Tamsin “Steve Cowton, Head of Theatre Operations at The Lowry has followed my work with aod over a number of years. He was aware of my connection with Maisy and was interested in supporting us to create a new piece of aerial work around the theme “Coming of Age”, to preview at their Week53 Festival in 2018 – and this is how the project came about”.

What is the inspiration behind your work?

Tamsin “I’m really interested in the female sexuality aspect of Maisy’s work. There were lots of overlaps in areas of our work; areas that we liked, areas that we wanted to explore, and that was really the starting point for the show”.

Maisy “I worked a lot when I graduated as an art nude model, in a strip club as a cabaret performer and dancer, I trained in shibari which is a Japanese rope bondage art and which we use in the show, and I acted in a porn film which was produced by Erika Lust who is a feminist, activist porn film maker. So I’ve always been really interested in the social, political context of these things in society today; the way that people view sexuality and the way that people treat their sexuality really fascinates me, and I’ve kind of used my life as a bit of a landscape to experiment and discover some answers to some questions that I have about these things. When I found out that Tamsin was interested in these things too, it felt like a really amazing opportunity to make something more than I ever had before about this subject.”

What is the show about?

Tamsin “In a nutshell, Everything I See I Swallow looks at themes of female sexuality and empowerment across a generational divide in a modern context, centred around a mother/daughter relationship. It follows an art curator who discovers that her daughter has been posting semi-naked images of herself on Instagram. Is this freedom of expression or exploitation and what is the difference? Her daughter argues that she feels empowered by her actions, and so begins a battle of wills and beliefs, as the bond between mother and daughter is tested.

“The show fuses aerial rope work and theatre with the erotic art of Japanese rope bondage – shibari – in a fascinating exploration of epic themes in an intimate setting”.  

What do you hope that audiences will take away from the show?

Tamsin “We want to encourage debate and provoke questions. We had a period of so called “post feminism”, where we were supposed to have achieved equality where we clearly haven’t – feminism is often seen as a dirty word and we want to look at the different faces of feminism; from a mother’s viewpoint, and from her daughter. We want audiences not to just think about feminism, but about subjects like what constitutes control, freedom, liberation, when does protection become control”.

Maisy “I would like audiences to come away with a more complex understanding about the issues raised, and to ask more questions. I’d like them to understand how complicated these issues are, and to understand that we’re not trying to represent one argument as being more right than the other. I’d like just to have a really honest conversation where we don’t shy away from all of the questions”.

Everything I See I Swallow is at The Lowry, Salford Quays from 11-12 September 2019.

Read our review of Everything I See I Swallow at The Lowry.

Sneak preview of some of the acts coming to the Lowry with Circus 1903.

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After 24-years leading Birmingham Royal Ballet, it feels fitting for David Bintley to close his final tour with a revival of Beauty and the Beast. As a choreographer, he’s famous for narrative works and in this majestic full-length ballet, the importance he places on story couldn’t be clearer.

The curtain raises to reveal a magical set, opening like a giant book at the heart of the stage. The ballet, first seen in 2003, is among his proudest works. But David’s story with BRB and his heart for the Company stretches far beyond what we see on stage.

Their history together goes back 42 years when he joined BRB, then Sadler’s Wells Royal Ballet, as a dancer. Almost 20 years later, aged 38, he succeeded Sir Peter Wright at the head of the organisation and was keen to continue the supportive ethos inspired by his predecessor.

“I never wanted to be a director, but everything suddenly came together,” he remembers. “I wanted to be in a place where my work would be of use; where it would become part of the Company’s history – that it would mean something. The best way to do that was to be the director of a company.”

Since then, David has choreographed more than 22 ballets and commissioned a further 21. However, it’s clear his roots with BRB run deeper than personal artistic achievements.

“The works mean more to me than just the work itself,” David explains. “They are part of a period of my life. When I revive a work it’s not just the work but what one has memories of. Like one of the pas de deux in Carmina Burana. I know the date I choreographed that because it was the day my son was born.”

Carmina Burana was David’s first piece as newly appointed director in 1995. He took the show to South Africa shortly after, making BRB the first major ballet company to visit following the country’s first free elections. Ten years later he revived the show for his debut with National Ballet of Japan. The collaboration led to him becoming its director, a role he held for four-years, in addition to his role at BRB.

While these are the recorded moments, David’s strongest memories are often outside the lights of the stage.

“The things that really stand out to me are not the ballets or the performances, but what the company can do and what it can mean outside of the show,” he says.

There’s joy in his voice as he recalls the work of BRB’s education team in South African townships. Enthusiasm spilled into the rest of the Company and by the end of the tour everyone wanted to get involved. “On the final day we had 500 kids from all over Pretoria and Johannesburg doing a workshop with the Company. All 500 of them performed the leading girl’s solo from Carmina Burana. There wasn’t a dry eye.”

Another personal highlight was their 2011 Japanese tour. Falling two months after the Tōhoku earthquake and during the ongoing disaster in Fukushima, the Japanese National Ballet saw BRBs presence as a demonstration of solidarity with its people, strengthening an artistic partnership that continues today.

“It was a very emotional tour,” says David. “The Japanese greeted us little short of ecstatically. For us to be strong enough, brave enough and trusting enough when much of the world ran away was a fantastic thing.”

Closer to home, David encouraged life-changing projects such as Bally Hoo, working with 200 youngsters from deprived backgrounds to produce a full-length performance of Romeo and Juliet. The two-year project was filmed for a Channel 4 documentary, Ballet Hoo! – Ballet Changed My Life. It was a remarkable example of community outreach. More remarkable – BRB’s commitment didn’t end when the cameras stopped rolling.

“Bally Hoo was a massive project which caused a lot of disruption and a lot of patience and commitment from all the dancers,” David admits. “We are still in touch with some of those young people. We have a group that regularly gets together.

“I’ve always been pleased that our presence in Birmingham goes beyond simply being a performing arts company. We are part of the social structure – to me that is the true value of any kind of art.”

David understands the impact dance can have on a child’s life. Growing up in a village outside Huddersfield, at age 4 he fell in love with performing on the Sunday School stage. At 16, he trained at the Royal Ballet’s Upper School under Dame Ninette de Valois and Sir Frederick Ashton, before joining Sadler’s Wells Royal Ballet at 19.

His role as Director of BRB has allowed him to spot and nurture new talent. He rarely hires dancers at a high level, preferring to bring them through first year corps de ballet so they have a depth of understanding and respect for what it’s like to be a dancer at all levels of the Company.

In addition to the 60 dancers under his guidance, David expresses genuine care and value for the 100 staff working for him across all areas of the Company. His stability in the role has maintained a family atmosphere while instilling confidence to push artistic boundaries.

“The public wants to see new things as well as old,” he says. “The great thing about classical ballet is it has absorbed every other dance influence of the day since 1600. I like to bring new trends from theatre into dance. It’s a question of what is a novelty and what is an innovation? Novelties are easy and true innovation is harder, but that’s what we chase.”

Throughout his career, David has shown great innovation in commissioning new music for ballet, including for Beauty and the Beast’s score from Canadian composer, Glenn Buhr.

“To me, working with a composer on a new piece is infinitely more satisfying than finding something on a record or online,” he explains. “I make dance because of music and, for me, the relationship between music and dance is fundamental.”

One of his greatest legacies is the hugely ambitious, Ballet Now – a ground-breaking initiative supporting choreographers, composers and designers to develop new work of world-class potential.

“It was an idea we never thought we’d attain,” he admits. “It was me and our previous development director and we just shot for the stars. For a couple of years nothing happened. We were very lucky to get a big sponsor in the Oak Foundation and suddenly it came together.”

David leaves BRB in July 2019, his place in the Company’s history firmly set as one of Britain’s most successful classical choreographers. His last piece takes the audience almost back to the beginning, with one of his first major successes, Hobson’s Choice from 1989.

“There’s a point where you have to go back to the beginning again and completely reassess everything that you’ve done and everything that has to be done,” David reflects. “I feel it’s just time for somebody else to look at it.”

Looking forward to more creative freedom as a freelance choreographer again, he already has commissions lined-up in China, Japan, Florida and Bordeaux. Not surprising for a choreographer who has transformed BRB into one of UK’s major cultural exports with tours and co-productions stretching every corner of the globe. And testament to David’s strong international legacy, the greatest dancer of our generation, Carlos Acosta has been attracted as his successor.

“Carlos is a world superstar as a dancer and will open a lot of doors internationally,” says David. “I hope he is as successful in his career as a director as he was as a dancer – that will be great for the Company”.

Beauty and the Beast is at  The Lowry, Salford Quays on 20 – 23 March 2019 and on national tour until May 2019. For details or to book tickets, visit brb.org.uk.

Find out what it takes to be a Principal Dancer with Birmingham Royal Ballet in our interview with Delia Mathews who appears as Belle in selected performances of Birmingham Royal Ballet’s Beauty and the Beast.

The post David Bintley reflects on a magical 24 years with Birmingham Royal Ballet appeared first on Quays Life.

She talks to Quays Life about her personal response to the Nanjing Massacre of 1937 and the challenge of keeping our humanity while living alongside other human beings.

What is the show about?

Jude: “The show’s about a lot of things. Its starting point is the 1937 Japanese invasion of China, and particular a notoriously brutal massacre known as the Rape of Nanking, but that event leads into stories and questions about national identity, family, memorial, pacifism, the things we choose to remember and the things we choose to fight for”.

What is your personal connection to Nanjing? 

Jude: “I’m half-Chinese but I grew up in England, and until my mid-20s I knew nothing about the Rape of Nanking, or anything else that happened in that part of the world in World War Two. So, I instantly felt a personal curiosity and connection to the events in Nanjing (Nanking is the old English version of the city’s name), because it felt like uncovering a huge part of what it means to be Chinese that I hadn’t known existed”.

The play includes global testimonies and personal accounts – what impact did working with true events from people’s lives have on your writing?

Jude: “I felt a huge sense of responsibility to bring people’s words to life, and also not to misrepresent them. I also found it fascinating and challenging – no one’s actions and morality are black and white”.

What did you learn from other people’s stories about the human impulse to seek revenge?

Jude: “Over and over again, I found my desire to avoid violence was coming up against a visceral reaction to the things I was reading or hearing about. It’s very difficult to judge people who have acted violently when they feel it was self-defence, or even a deserved punishment, because it’s very easy to spot the impulse in your own reactions to things. Overall, I think I learned how hard it is to be human, and live happily alongside other humans”.

You have written and are performing in the play. What did it feel like to hand over the director reins?

Jude: “There were things I knew I wanted out of the production – that I wanted it to feel like a real conversation, not a constructed performance. It was scary and hard to hand over the reins but Elayce and I have worked really closely together and she’s brilliant – she knows when to give me room to explore, and when to kick me up the arse”.

Why is there a 14+ guidance rating? What can audiences expect?

Jude: “The overall tone of the play is deliberately gentle and calm, but I describe some quite violent and upsetting things in quite a lot of detail – which of course is not pleasant for anyone, but it made the show feel inappropriate for children. Some of the material is quite harrowing. But I think there is hope and positivity in it, and maybe even a few moments that will make people laugh”.

What do you hope people will take from the show?

Jude: “It’s not intended to preach. I wanted to ask people the same questions I’ve been asking myself for years about the things I’ve learned. And I wanted to make space for contemplation, and personal reflection. I’m also giving a comprehensive list of all the best food to eat in Malaysia, so I hope people will take that away too!”

Nanjing, written and performed by Jude Christian, is at The Studio, Royal Exchange Theatre, Manchester from 27 February – 2 March 2019 and Birmingham Repertory Theatre, Birmingham
13 – 16 March 2019.

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On stage at the Manchester Opera House, the reaction to the 13-year-old’s performance of the Jackson 5’s ABC is incredible. And his enthusiasm is just as infectious off-stage. “When I was little, I watched performers like Michael Jackson and sometimes TV shows like the Wiggles but when I saw The Lion King in the West End that was when I knew that this is what I would like to do for the rest of my life,” he says.

Yami is so dedicated to a career in musical theatre that he has been performing regularly with We Are Characters drama group and North West Theatre and Arts Company for many years. His love of music appears to have been present since almost infancy, and he tells me that at just three years old he loved to sing along to the full DVD of Paul Simon’s “Graceland” concert on repeat for weeks at a time.

“I just love it so much”, he says. “When I am on stage dancing, singing and acting I enjoy it so much and I know there are people watching me do what I love and having fun.”

So, what made Yami want to come along to the open auditions for the show? “I really wanted to be able to play Michael Jackson and Berry Gordy and Stevie Wonder because they remind me of how I want to be.”

And how does it feel to now be performing on stage as these iconic people? “It feels like a dream but also a bit nervous because having to be as good at singing and dancing as Michael Jackson has got to be one of the hardest things in the world.”

After performing Motown The Musical around the country, Yami is excited to bring the show to his hometown: “It’s like a dream come true, I will be able to show my friends and family and everyone else coming to watch the show that all their support and all my work has finally paid off. I’m excited that they will be able to watch me doing what I love and having fun on a professional show and with professional actors and actresses.”

In fact, it seems to have been fate that Gorton resident, Yami would take on the role of Young Michael Jackson, who performed in Gorton at King’s Hall, Belle Vue in 1972 as part of the Jackson 5. One of Yami’s favourite moments within Motown The Musical is when he gets to perform a medley of Jackson 5 hits.

After such an exciting start on the professional stage, Yami hopes there is a lot more to come, “I hope one day to be performing on many stages and on screen and earning money that I can use to make the world a better place. I would also like to help other children become great performers.”

With such dedication at such a young age, it’s no wonder Yami is bringing the house down each time he performs some classic Jackson Five hits with Motown The Musical.

Read our interview with director, Charles Randolph-Wright and Creative Consultant, Michael Lovesmith.

Motown the Musical is at Manchester Opera House from 26 February – 23 March 2019. See website for full tour details.

Read our review from Manchester Opera House.

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