THE BLOCKHEADS

Photo: India Skye Charlton

Alexander's, Chester (23rd June 2024)

Review by Brian Gorman 

If you're in the grand city of Chester on a sweltering midsummer's Sunday evening, then there's no better place to experience a band than the gloriously atmospheric courtyard of Alexander's Live.

The Blockheads were the ideal outfit for a place like this. Full throttle funky, jazzy, blues rock echoing into the still summer air, and threatening to blow the (non-existent) roof off.

Any band that has to carry on after the sad demise of a charismatic, universally loved frontman like Ian Dury, has its work cut out. Few bands manage to pull it off, but in the manic, frenzied, firecracker figure of Mike Bennett, the Blockheads certainly have.

Playing in the compact, high walled courtyard, there's a feeling of attending a gladiatorial display at a modern day amphitheatre, with a certain theatrical quality thanks to a wrought iron, spiral staircase that the musicians needed to navigate on their route to the stage area. Bennett is the first to appear, entering carefully, unannounced, and casually secreting himself behind the sound desk. Out of sight of the audience (except for a few punters grabbing a beer in the bar), he prepared himself by slipping on a tweed flat cap, whilst crouched on his haunches, and waiting for his band mates to take their places.

Photo: India Skye Charlton

Faces familiar to the old school fans elicited the expected whoops and cheers, as the likes of guitarist Chaz Jankel appeared, and prepared themselves for battle.

Once the gang were ready, Bennett took his place at the mic stand, gave the audience a thousand yard stare, brandishing his black eyeliner enhanced peepers, and screaming out a gravelly, Essex twanged "Oi, Oi?!!"

With the capacity crowd now excitedly revved up, the band ease into their opening song, the tingly, seductive, piano-led 'Wake Up'. A deceptively gentle, yet cheeky, saucy little number that tickles the assorted nether regions of the audience. Mickey Gallagher caresses the ivories in fine, light-fingered style, while Bennett's croaky, Essex lad vocals perfectly channeled the spirit and attitude of Ian Dury. 'Wake Up (And Make Love To Me)' is the perfect opener, and a friendly challenge to the already up-for-it crowd to join in the forthcoming musical gangbang.

Photo: India Skye Charlton

Next up, in a rather similar (throbbing) vein, is 'I'm Partial To Your Abracadabra'. It's a non-stop erotic cabaret tonight, and the audience are lapping it up. Bennett encroaches on the punters on the front line, emitting a penetrating laser beam stare reminiscent of Gort the robot from 'The Day The Earth Stood Still'. The man is a totally wired, pale-faced Baron Samedi, working his disturbing, devilish magic with undisguised glee.  

The hits are greeted with frenzied appreciation, and prove to be evergreen delights. 'What A Waste' is a little more on the melancholy side, but retains the infectious tremble that permeates the Blockheads' creative output. 

Dave Lewis's sax squeals and pierces the dusk, and he manages to wander into the crowd, at one point. The courtyard makes for a truly immersive experience, and with this particular band, you really couldn't ask for a more sensationally integrated gig.

'Sex And Drugs And Rock And Roll' could be the band's manifesto, and has lead man Bennett indulging his theatrical side, wildly gesticulating to the near-frothing crowd. Chaz Jankel's guitar (alongside bassist Nathan King) brings every song to hysterical life, and as the co-writer of their biggest hits, is particularly  welcomed with enormous love and appreciation this evening. 

'Reasons To Be Cheerful (Part Three)', that crazy, early sample of cockney rap is delivered perfectly by Bennett, and gets the crowd dancing like delirious smurfs. John Roberts' savage, primal drumbeat kicks things off. Howling sax from Dave Lewis contributes the somewhat incongruous romantic interlude, and showcases the sheer playfulness and eccentricity of the Blockheads.  Of course, it's the opening bars of their number one chart-topper, 'Hit Me With Your Rythm Stick' that seals the deal, tonight. Bennett raises his game to ever more dizzying heights with this jerky, aggressive anthem, whilst also absolutely nailing the crooning, gentle vocals. The terrifyingly stuttering sax, combined with Mickey Gallagher's jangly, seductive piano is irresistible. This song is a living embodiment of a full-blown, driving, gathering orgasm.

On a sweltering summer's eve, in this boiling cauldron of passion, The Blockheads delivered a truly anarchic, lusty, adrenaline enhanced shafting of the primal erotic shared consciousness. A crazed celebration of the human condition, and all its unbridled, barely contained volcanic power. 

It's SO nice to be a lunatic.

THE GANGS OF NEW YORK

 Grosvenor Park Open Air Theatre, Chester

25th July 2024

Produced by Storyhouse

Adapted by Kieran Lynn

Directed by John Young

Until 31st August

Martin Scorsese's epic 2002 blockbuster movie 'Gangs Of New York' is far from an obvious choice for Storyhouse Chester's annual open air theatre season. In recent years I've enjoyed several sparkling productions of more traditional fare, such as 'A Midsummer Night's Dream', 'Romeo & Juliet', etc. With the Grosvenor Park location providing a generally convivial family atmosphere, with eager punters devouring picnics of expensive cheese and red wine, and the individual shows usually crammed with panto style tomfoolery, shoe-horned-in contemporary pop songs, and a feverish madcap 'anything goes' style, surely adapting this most visceral and bloodthirsty gangster drama was a huge gamble?

Well, indeed it is, but Storyhouse have managed to pull it off. Yes, there's the usual sensory overload of spirited musical numbers, and music hall style audience participation, including the regular breaking of the fourth wall with actors chasing each other through the audience, clambering over the legs of squealing punters, often snatching a drink from an unguarded bottle, or taking a glass out of an obliging audience member's hand (it's as if covid never happened!). But, and it's a big but, these end of the pier shennanigans only just about manage to sit comfortably alongside some brutal and gut-wrenching fight scenes. and tense stand-offs. For those of a nervous disposition, I'd recommend that you prepare yourself for some truly knuckle breaking, full-throated carnage!

Our protagonist is newly-arrived Irish immigrant John Morrissey (an amiable, and oft times feral Oisin Thompson), determined to make a life for himself in 19th century New York city, and succeed in the face of undiluted racism and rampant political corruption. The bustling, virtually lawless mean streets are awash with petty thieves and murderers, with the city barely held together by dirty money, under the counter favours, and old school bigotry. John finds a kindred spirit in the feisty and fiercely independent Maggie (a sparkly, enticing Hanora Kamen). She's an expert pickpocket, who can more than hold her own in a fight, and an icy breaker of hearts. 

John soon finds himself earning some much-needed cash in the murky, dog-eat-dog world of bare knuckle boxing. Cue some tasty, sweaty, half naked skirmishes featuring much spillage of the old claret. Morrissey beats his first opponent 'Chuck Connors' (Tom Benjamin), who just happens to be the champion of local gangster William 'The Butcher' Poole, and a deadly, murderous rivalry is born. James Sheldon has the unenviable task of taking on a role made famous by the great Daniel Day-Lewis, and succeeds admirably. He's a big, gruff, bear of a man. Often wading through scenes of carnage, sporting a blood spattered apron and a leather belt dangling an impressive array of professional butcher's knives. Sheldon radiates menace, his calm swagger justified when we see him burst into action, despatching hapless opponents with Terminator style, balletic efficiency. Bill's tough-as-nails, wife Lize is played in a no nonsense, seen-it-all way by the steely Joanne Howarth, who looks after her brutal husband's interests in an often disturbingly motherly way. 

James Sheldon as 'Bill The Butcher'

A special mention must go to Lucas Button as the naive and immensely likeable police constable Lew Barker. Smitten by the strong-willed Maggie, he soon finds himself caught between his allegiance to the greedy, whiskey-fuelled Mayor Fernando Wood (an often hilarious Robert Maskell) and his reliance on backhanders from Bill The Butcher. When Lew betrays Bill, he receives an almighty beating from Bill, on a par with Brando in 'The Chase' or Christopher Walken in 'The Dogs Of War'. As I stated earlier, the onstage violence is truly effective, with heads regularly slammed against the wooden decking, or on to primitive wheelbarrows and carts that make up the sparse set. There are as many belly laughs and hysterical shrieks of delight from the audience, as there are howls of disgust, surprise, and shock at the snapping of limbs, gouging of eyes, and gut-splitting stabbings. 

Expert movement direction from Lucy Cullingford, and fight direction by Kaitlin Howard, are vital elements which succeed magnificently. Together with a rollicking, and often suitably moody musical score by local artistes ME + Deboe, all the ingredients for a roller coaster theatrical experience are here.

A truly oddball choice for a show, but a very very welcome one that has certainly paid off.

Oh, and to the woman who brought a baby in, then had to take it out crying, ten minutes in - What did you THINK was going to happen?!

A MIDSUMMER NIGHT'S DREAM

Grosvenor Park Open Air Theatre

Reviewer: Brian Gorman

Writer: William Shakespeare

Director: Elvi Piper

 

Shakespeare’s ever popular, and most accessible play is an obvious choice for an open-air production. A Midsummer Night’s Dream, with its Athenian lovers, and ‘rude mechanicals’ mucking about in an enchanted forest, and interfered with (both physically, and mentally) by meddling faeries, is the perfect material for an outdoor performance. This latest Chester Storyhouse production has all the requisite elements for a fun-filled, raucous, knockabout experience, to delight young and old alike, yet there’s something sadly missing. Essentially, it’s the magic. The real magic of the supernatural creatures has gone astray, replaced by pantomime-esque tomfoolery, and lowest-common-denominator japes and pratfalls.

Theseus and Hippolyta, rulers of Athens, are to be married, whilst four young lovers squabble amongst themselves, and a bunch of dim-witted amateur actors rehearse their feeble comedy following an invitation to perform at the royal wedding. Cue the inevitable chaos when the lovers and the hams wind up in the forest, and find themselves playthings of the mighty Oberon and Titania, the supernatural mirror images of the Athenian royals. This play is a gift for directors. It has huge potential for drama, comedy, romance, suspense, and even horror. I have seen thrilling versions where the light and shade has been presented, and the laughs and scares perfectly balanced. Oberon can be terrifying, yet here he is presented as a kindly, twinkly-eyed ringmaster by Daniel Burke. Titania can be supremely sexy, a diva, and a rampant temptress, but is portrayed as a drunken, loud Scottish man by Laurie Jamieson. I presume the character is a man, as he is dressed in traditional male clothing, but who knows. The actors are all fine, and play their roles with great energy and passion, but their efforts are diluted by the directorial choices of Elvi Piper. Molly Grace-Cutler comes closest to achieving a lovely blend of surreal comic timing, and darker flashes of mischievousness as Oberon’s enigmatic assistant, Puck. She spent much of her time clambering over audience members, cheekily chomping on snacks and drinks, and almost coming a cropper when slipping off a bench and almost flattening a chap on the front row! A vital component of any ‘Dream production is Bottom the weaver. The, usually male, overbearing, egotistical, uber ham ‘luvvie’ who ends up being turned into a donkey, then sexually assaulted by a drugged Titania. Victoria Brazier does her best in the role, but this particular interpretation of the character is a little flat, and missing a great deal of the energy and vigour demanded.

          

Designer Adam Wiltshire has decided to forget about the enchanted forest, and elected to choose a circus setting. Fair enough. But, we’ve lost the magic. The faerie inhabitants of the forest have been reduced to clowns and acrobats, bereft of any sense of awe. As with many of these open-air shows, the emphasis is on pantomime style fun and frolics. But, that’s to be expected, when the atmosphere of the venue is one big picnic, with some punters happily chomping on their chicken drumsticks and quaffing their prosecco, whilst jabbering to each other during scenes. There is the audience-pleasing smattering of contemporary pop songs, performed by the talented cast, that provide some entertaining interludes between the shenanigans. The result is a pleasant, undemanding evening, which is probably best enjoyed with a cheese butty and a can of Stella.

 

Runs until Saturday 27 August 2023

3.5 Stars

Knockabout Rowdy Fun

PETER HOOK & THE LIGHT: Easter Homecoming

Night One: 

Photo: Helen Millington

Albert Hall, Manchester

Reviewer: Brian Gorman

 

Peter Hook and The Light made their ‘Easter Homecoming’ at Manchester’s magnificent Albert Hall. For Joy Division and New Order fans, this three-day residency was an absolute godsend (Christian or otherwise). Nobody can say that Hooky doesn’t give value for money, or forgets the origins of two of the most influential British bands of all time (in which he was a founder member, bassist, and co-songwriter). On Thursday, things kicked off with a performance of each band’s debut album; ‘Unknown Pleasures’ and ‘Movement’. With its beautiful stained-glass windows providing sparkling dances of light from the setting spring sun, we were bathed in the atmosphere of a virtual pagan celebration. Spacious, yet surprisingly intimate. For Peter Hook, life as a legendary musician, and local hero, had now come full circle. Situated on Peter Street, the Albert Hall is almost directly opposite the Radisson hotel, formerly the Free Trade Hall. In 1976, Hooky and his future Joy Division bandmates had attended the notorious Sex Pistols gig, a seismic event that provided inspiration to the likes of the young Steven Morrissey, Mick Hucknall, and many more proto punks. I thought Hooky might have said a few words about this striking example of psychogeographic synchronicity, but he left the talking to his trusty bass guitar.

Photo: Scott Gouldsbrough

Following a glowing introduction from Councillor Ann-Marie Humphreys (Ceremonial Mayor of Salford), things blasted off with the classic No Love Lost, from Joy Division’s previous incarnation, Warsaw. This was the perfect choice to serve as an overture to Unknown Pleasures, with its doleful, disturbing opening quickly evolving into a driving, hypnotic, angry assault. Magnificent. Here is where it all started. All the clues are here. All the pointers to the future. Innovative, startling, frightening, intriguing, and an instant classic. Hooky’s voice has also evolved, and now has echoes of original vocalist Ian Curtis. A great beginning, and the crowd loved it. Unknown Pleasures’ opening track, Disorder, is up next, and we’re into one of the greatest debut albums ever produced. Sheer post-punk beauty, with its brash, confident, rattling evocation of a sci-fi tinged 1970s rain-sodden Manchester streets. Hooky is in his element, looking fitter than ever, with the rock star swagger, and (thankfully) having ditched the baggy shorts for tight black jeans and heavy boots.

Photo: Max Stewart

Playing complete albums is always a little risky, with the audience waiting for the big crowd-pleasers, and sometimes a little impatient with the lesser-appreciated tracks. But, when those beloved songs arrive, the atmosphere bristles, hands are raised, and the blood pumps. Day Of The Lords, Candidate, and Insight follow, and are respectfully received, with the die-hard fans relishing hearing them played live. The disturbing nature of Curtis’ lyrics, combined with the Hook/Sumner/Morris arrangements prove just what a tremendous creation Joy Division was, and how they managed to create an album that was a classic from the moment it hit the streets. Next up is the all-time favourite New Dawn Fades. This is the one that has everything, with its simple, dark and foreboding beat, leading into a swirling, triumphant, reach-for-the-stars epic mood before Curtis’ melancholic, distressing, and sorrowful lyrics undercut things. It’s as if the music is fighting a losing battle, yet keeping pace with the oppressive lyrics, catapulting the whole song into another dimension entirely. This is as dark, tragic, and desperate as it gets, and Hooky and The Light perform it as though written yesterday. There’s nothing dated about this album, and it retains its awesome, soul destroying, uplifting power.

The plucky opening bars of She’s Lost Control give the crowd another chance to scream their approval, and prepare to bask in another classic. Spiky, energetic, and anthemic. Then it’s Shadowplay, and here’s the rock ‘n roll side of the post punk mood. A lighter tone, a more audience friendly song, yet the unnerving lyrics once again demonstrate how under-rated the track is. Lines such as “I did everything, everything I wanted to. I let them use you, for their own ends” could never bring anything resembling a smile to anybody’s face. I Remember Nothing brings things to a suitably unnerving end. A bad dream of a song, and one wonders how on earth the young men of Joy Division created such darkness without descending into deep depression and despair. It’s hardly a sing-along party tune. And, we’re at the interval.

If Unknown Pleasures heralded the arrival of a whole new sound, a clarion call for the ditching of aggressive punk, and the embracing of considered, raw emotion and genius, with the promise of future success, hope, and admiration, then Movement is an entirely different beast. Following Ian Curtis’ suicide, barely a year after Unknown Pleasures, the remaining band members continued as New Order, and picked themselves up to attempt to rebuild their sound, and their lives. It is a curious album, and more than a little jittery, nervous, tentative, and experimental. Once again, Hooky gives us a track to serve as an overture to the full album. Procession is New Order’s second single, released in 1981, and an obvious bridge from Joy Division to the fledgling new band. It’s another great choice, and despite the ever-present melancholic lyrics, it is uplifting and triumphant, suggesting the band will come through the pain of their friend’s death, and live on. The opening track from Movement is another JD/NO hybrid. Dreams Never End suggests the creativity and ambitions of the new band continue unabated, yet recognise the loss they have endured. It’s a cracking song, with a confident, lighter tone, and a glorious triumphant rhythm. The crowd love it, and we witness the ashes of Joy Division glowing as a whole new animal is birthed. Following the immortal Unknown Pleasures, the performance of Movement has the audience smiling, and respectfully soaking up the tentative New Order sound, with its careful, wary steps towards the perfect, dance and indie fusion that would burst into arrogant life on future albums. For now, this is a rare opportunity to hear this intriguing album played live, and to experience the nuts and bolts being reshuffled, and choices made as to the nature and effect desired by a new dynamic. The Him is pure Joy Division, and the sound is as distressing, dark, and terrifying as any Curtis composition. The whole album is a real struggle, and one can feel the sadness and loss. Unknown Pleasures had Curtis singing about the darkest and saddest elements of the human psyche, but Movement combines those sentiments and allusions with harsh reality. New Order could have easily descended even further into nihilistic murmurings, and Movement was, thankfully, not a sign of things to come.

Photo: Scott Gouldsbrough

With the audience a little subdued, it was time for the encore. Hooky dedicated Atmosphere to the late Nora Forster, wife of John Lydon, and delivered an epic, spinetingling rendition of the Joy Division anthem. Following this with an early song, guaranteed to get the energy levels soaring, the sparky, pulsating Digital, we were then treated to a sensational, rousing Transmission, which got the balcony on its feet and cheering. This was what the audience needed, and the cobwebs were completely blown away when the opening notes of Ceremony began. A huge sing-along brought the evening to a wonderful climax, with the unofficial Manchester anthem Love Will Tear Us Apart threatening to take the roof off. Hooky and The Light (Paul Duffy, Paul Kehoe, and David Potts) took their bows, with Hooky providing the icing on the cake by ripping his shirt open, buttons flying, and flinging it out into the near hysterical front rows. Departing the stage, to a recorded version of Blue Monday (a curious artistic decision), the crowd slowly dispersed. Saddened, yet simultaneously elated.

Reviewed on Thurs 6^th April

4.5 Stars

Touching perfection

THE TIME TRAVELLER'S WIFE

Storyhouse, Chester

Review by Brian Gorman

Reviewed on 13 October 2022

 

Book written by Lauren Gunderson

Based on the novel by Audrey Niffenegger

Based on the screenplay by Bruce Joel Rubin

Music & Lyrics by Joss Stone & Dave Stewart

Directed by Bill Buckhurst

 

I don’t think I have ever seen a more spectacular, and visually stunning production as this outstanding adaptation of the novel (and film) ‘The Time Traveller’s Wife’. It’s a great title which promises a great deal, and this brand-new musical with music & lyrics by the mighty Dave Stewart (The Eurythmics) and Joss Stone, completely lives up to all expectations. This world premiere has delighted Chester audiences on its debut run, and is due to transfer to the West End.

Henry (David Hunter) has the power to spontaneously travel through time, disappearing at often inappropriate moments (including on his own wedding day), and reappearing moments later having visibly aged. His predicament is a pretty major hindrance to his relationship with the title character; his wife Clare (Joanna Woodward). The show opens with the wedding day preparations, and a huge invitation card projected onto the towering, monolithic screens that dominate the stage. Anna Fleischle’s design is comprised of several huge blank screens that skate around the stage to form a bewildering variety of backgrounds and locations. Effective use of front and back projection bring a multitude of time periods to life, including 1960s New York when Henry visits his youthful parents, and his infant self.

It's a risky story to tell, live on stage, as the narrative zips around time and space, and things can be a little difficult to keep track of. Fortunately, there is so much happening, so many memorable characters, and outstanding magical effects, that the audience are whisked along on an emotional rollercoaster. I can usually tell when I’m watching something good, as I haven’t the time to get bored. Even with the very best shows, there will be moments when my mind wanders to what pint I’m going to have in the bar, later, or what I’m going to eat when I get home. But, on this occasion, time literally flew by, and we were witnessing a raucous and appreciative full house rising to their feet at the finale.

I’ve never been a fan of musicals. I can admire the talent and effort that goes into them, but I find the often cheesy, camp, and cringingly melodramatic way that characters suddenly burst into song, pretty irritating and alienating. I thought things were heading in that direction when we had the opening, ensemble song ‘The Story Of Love’, and I was prepared for a barrage of schmaltz. However, my misgivings deteriorated immediately once we headed back a few years (onscreen captions were a great help, here), and witnessed Henry’s first meeting with Clare. However, and prepare for some metaphorical head-scratching, it isn’t Clare’s first meeting with Henry. Here, in this flirty, comic scene we are given the show in microcosm. Henry and Clare will meet again, at varying times in their lives, and one or the other will have the upper hand, experience-wise. It’s a wonderful template for romantic confusion, a little slapstick, and buckets of pathos. A stand-out scene involves Henry making a unilateral decision about their complex and problematic relationship, and Clare reacting with extreme anger and hurt. Woodward belts out probably the most effective and moving song (‘I’m In Control’) which had the audience applauding through their tears, and the actor visibly shaken.

As with all time travel stories, the possibilities for entertainment, enchantment, and ingenious solutions to painfully recognisable human problems are limitless. So, with ‘The Time Traveller’s Wife’, we get to enjoy every emotion possible, every hope, and every fear. Henry’s unique ability allows him to encounter his parents, friends, and partner at varying stages of their lives, and their character development. He sees the small moments, and the traumatic incidents that will impact them for years to come. Henry’s personal experience, character, and inner life are effectively communicated by David Hunter’s endearing everyman (part Jim Carrey, part Henry Fonda). He is bewildered, angry, tortured, playful, and often emotionally and physically lost. Every appearance finds him having to immediately adapt to the emotions of the moment, whilst processing equally demanding scenarios just seconds (to him) and years (to every other character) ago. It’s an incredibly demanding role that gives the actor a magnificent opportunity to communicate every facet of the character’s heart and mind, and Hunter succeeds admirably.

Chris Fisher’s illusions are used to enhance, but not overwhelm the narrative. Henry’s regular disappearances, prefaced by the character suddenly trembling and jerking with stress and pain, are simply astonishing at times. Ranging from simple distraction techniques, resulting in the actor exiting unseen, while his clothes fall in a crumpled heap to the floor, we are also treated to complex lighting, animation, and projections that show Henry travelling through time in the form of an epic ballet. Special mention must go to 12-year-old Phoebe Cheffings, who played the younger version of Clare (the role is shared, on different nights, with others) with great skill, tender vocals, and a maturity beyond her years.

Bill Buckhurst’s direction keeps things tight, and every character has a chance to shine. Short, impactful scenes play out cinematically, and the songs are effortlessly slipped in, contributing hugely to the inner life of the characters, and often segueing seamlessly into the action.

This is a show that is a true audience pleaser. There is romance, action, adventure, drama, comedy, and a triumphant soundtrack. The acting is top notch, the set is amazing, the effects outstanding. What is there not to like?

Well, I could have done without the entire cast reassembling for a grand finale, belting out ‘Love Wins The Day’, which only served to undermine the poignant and heart-rending scenes that would have made for a dramatically effective, and bittersweet, ending. Maybe that’s just me, though?

I still don’t like musicals, but this isn’t just a musical.

 

Tags: Storyhouse, Chester, The Time Traveller’s Wife, Lauren Gunderson, Joss Stone, Dave Stewart, Bill Buckhurst, Anna Fleischle, David Hunter, Joanna Woodward, Phoebe Cheffings,

BOOTLEG BLONDIE

Alexander’s, Chester

Reviewer: Brian Gorman

Reviewed on 10 September 2022

The classy, dynamic Alexander’s Bar, in Chester city centre has hosted a great many tribute bands of late, and aficionados of the 70s and 80s post-punk era are certainly being well catered for at the moment. Just recently, we had the fantastic U2 Experience, live on stage, recreating the sights and sounds of frontman Bono’s Irish rockers, and tonight we welcomed fellow iconic music royalty, Blondie. Here, being celebrated in the form of the mightily impressive Bootleg Blondie.

Billed as ‘The official Blondie tribute band’, the group were formed over twenty years ago, and have the distinction of being endorsed by Debbie Harry, and having played with Blondie’s original drummer Clem Burke, and guitarist Gary Valentine. Add to this the fact that they have been thanked on Blondie’s album ‘Pollinator’, and played at the legendary CBGB’s in New York (a favourite haunt for the original band, back in the 1970s), Bootleg Blondie have a lot to live up to, and had a sold-out crowd to impress. The band arrived a fashionably thirty minutes late on stage, but we were soon tapping our feet to the opening bars of the classic ‘Heart Of Glass,’ and doing double-takes when singer Debbie Harris (yes, that’s how she bills herself) appeared in the classic little black dress, with the single slender shoulder strap; diminutive, with the trademark shaggy blonde bob, scarlet lipstick, and perky confidence. “Once I had a love, and it was a gas …” rang out, and there was no mistaking that high pitched, crystal clear vocal. We could be seeing the real thing, here! Well, it’s about as close as you can get. It’s rare, indeed, to see a tribute band with this degree of constructed authenticity, combining looks, voice, attitude, and body language. The audience, of whom the great majority were female (of all ages), were in heaven, dancing along to all the hits (and, respectfully, nodding along to the rhythm of the lesser-known songs).

Next up was another all-time sing-along classic, ‘Dreaming,’ with its frenetic pace, frantic drumming, and primal punk energy, all iced over by those sheer, sparkling vocals. Ms Harris had it all, even the ‘Noo-Yawk’ accent, used to wonderful effect when she screamed out “Sing, you Mother-F**kers!” The hits kept coming, and the audience were with them all the way, with several fans scrambling up on to chairs to grab a few mobile snaps of the dynamic punk princess in full flow. The proto rap, and hip hop hit, ‘Rapture,’ was perfectly realised, but the biggest applause of the night came for the anthemic, mournful and melancholic disco-funk-new wave masterpiece ‘Atomic’, as Debbie donned stylish shades, and long white opera gloves. A life-sized cut-out of a red telephone box formed part of the stage backdrop, and our charismatic lead singer was soon brandishing an old-fashioned handset and receiver when launching into ‘Hanging On The Telephone,’ and now wearing the classic 70s Vultures t-shirt.

Reaching the half-hour mark, I assumed we were about to break for an interval when Debbie surprised us with a Marilyn Monroe style rendition of ‘Happy Birthday’. Apparently, this was for ‘Colin and Leslie’, and their large party of friends in attendance. However, this simply led straight into another flurry of timeless hits, including ‘One Way Or Another’, ‘Picture This’, ‘Maria’, and the ever popular ‘Denis’. A non-stop roller coaster ride through the Blondie songbook culminated in the ‘final’ song, ‘Sunday Girl’, with Debbie now sporting another mini outfit, this time in blood red. After a raucous reception, the expected rhetorical question “Do ya want another one?” rang out, and we were treated to the epic, Giorgio Moroder disco classic ‘Call Me’ (theme song from the film ‘American Gigolo’), followed by a scorching cover of T-rex’s ‘Get It On’, and a spine-tingling reprise of ‘Heart Of Glass’ for the climax.

Bootleg Blondie delivered exactly what any Debbie Harry fan could have possibly wished for. The uncanny resemblance, and vocals, of singer Debbie Harris, and the magnificent recreation of a stream of immortal classic tunes. The audience were bouncing, and singing along, all night. If the original band ever need a break, they know who to call. 

Tags: Chester, Alexander’s, Bootleg Blondie, Debbie Harry, Debbie Harris, Heart Of Glass, Call Me, New York, CBGBs, Giorgio Moroder

Star rating: 5

Dynamite Blondie Tribute

THE U2 EXPERIENCE

 – Alexander’s, Chester

Reviewer: Brian Gorman

20 August 2022

The popular Alexander’s bar in the heart of Chester city centre hosted a real treat for fans of 80s stadium rock, when The U2 Experience rattled the brickwork, shook the timbers, and threatened to blow the roof off. Billed as ‘The UK’s most authentic U2 Tribute Band,’ the reality certainly lived up to the hype. The Irish rock band have had decades of success, with multiple million selling albums, from their 1970s beginnings through their 1980s heyday, and beyond. Fronted by the almost messianic personality of Bono (these days a very ‘Marmite’ figure, often parodied, but nonetheless a formidable stage presence), this is a band that only the brave or the foolhardy would attempt to replicate, live on stage.

Sequenced lighting, onscreen visuals, video clips, and special effects combined to make this a truly spectacular experience, with the four band members uniting to faithfully recreate the U2 sound. Chris Field performing as Bono has a nigh impossible job, attempting to mimic one of the greatest stage performers of all time, but he does so magnificently. There’s the sheer power and studied arrogance, combined with vocals that soar impressively to the heights that the songs demand. Complete with ever present dark glasses, and black outfit, you could be forgiven for thinking this was the man himself. A full house was bouncing with unbridled excitement, and even the more elderly attendees were dancing and singing along with newly unleashed vigour. Opening with the pulse-pounding ‘Elevation’, the night got off to a flying start with the audience joining in from the opening lyrics. The pulsating lighting effects, and video screen showing the real U2 in action, added to the overall atmosphere. U2’s sound is very much rooted in the lead guitar of ‘The Edge’, with its glacial, almost angelic vibration, and is instantly recognisable and unique. John Brown has mastered this sound, with the equally superb Clive Witcomb as ‘Adam Clayton’ on bass guitar, and Mark Owen’s ‘Larry Mullen Jnr’ on drums.

Following the crowd-pleasing opener, ‘Elevation’, came one of U2’s best known stadium anthems, ‘Beautiful Day’. Though its charm had been tainted a little when appropriated by ITV’s football highlights programme ‘The Premiership’, it still retains its classic power and sheer joyfulness. Introducing the third song of the night, we now got to hear ‘Bono’ speak. This was another highlight of the evening, as Field delivered a pitch perfect impression, with the recognisable soft Irish lilt. It was time to head back to the very early days, with a fantastic recreation of U2’s first single from 1979, ‘Out Of Control’. A near two-hour set comprised of all-time classics, and rarely-performed album tracks, with stand-out songs being a superbly effective ‘Bullet The Blue Sky’ – which had The Edge moving through the delighted crowd, and a moving, barnstorming tribute to Martin Luther King with ‘Pride’. There was also time for a humorous dig at the Bryan Adams song ‘(Everything I Do) I Do It For You’, when Bono drolly mentioned that the song that knocked Adams off the top of the charts (after a record 16 weeks) was U2’s ‘The Fly’ (which they duly performed with gusto!). The first half of the show ended with another singalong to the epic, frantic ‘Vertigo’.

‘City Of Blinding Lights’ opens the second act, and we’re up and running again with another great track. It’s a more low-key, gentle, romantic, and melancholic U2, here, but with that same soaring, stadium friendly quality. An early 1980s fan favourite ‘Bad’ showcases the epic U2 sound, with the song building and building, and demanding more and more from the Bono vocals. Written about a heroin addicted friend, it’s a real emotional rollercoaster, ending with a wailing, heart-rending lyric “I’m wide awake; I’m not sleeping”, echoed by the mesmerised audience. The song fades away, and the audience are now primed, as the band segue into the haunting, dream-like opening notes of the immortal ‘Where The Streets Have No Name’. A rattling, steamrollering, chugging juggernaut of a song, The U2 Experience showed just what they could do, and had the audience cheering like crazy at their masterful rendition of the 1980s classic. Closing the evening with the truly inspiring and uplifting ‘With Or Without You’, there were more than a few tears rolling down the smiling faces of the audience. The vocals, guitars and drums fused together into one almighty, spiritual force of nature, and blew every lurking demon away. This was truly U2, in spirit, and an awesome – in every sense of the word - experience.

This review was first published by  https://www.thereviewshub.com/

Tags: Chester, Alexander’s, U2, The U2 Experience, Chris Field, John Brown, Clive Witcomb, Mark Owen, Bono, The Edge, Adam Clayton, Larry Mullen Jnr

Star rating: 5

Spectacular Rock Recreation

THE WEIR

The Live Rooms, Chester

Reviewed on 10th August 2022

Writer: Conor McPherson

Director: Marian Newman

 

This really isn’t the most audience friendly play. All dialogue, a single set, little movement, and relying totally on the cast’s ability to hold the attention of the audience. Thankfully, Chester-based theatre company Against The Grain pulled it off.

The setting is the cosy bar of a small pub, in a rural southern Irish town that time forgot. In a smart move, the company decided to use the actual small bar at Chester’s Live Rooms, which automatically lent a realistic and atmospheric feel to the evening. There was little that could have been done about the heat, on such a hot summer’s night, and with a lesser quality production this could have seriously distracted the audience. However, our attention was held throughout, the ensemble cast were uniformly strong, and The Weir cast its spell superbly well.

Jim (Stuart Evans), Finbar (Dhugal Fulton), and Laura Smith (Valerie). Photo: Steve Cain.

The Weir is deceptive, initially suggesting that we are simply witnessing a collection of supernatural tales, told by a motley group of characters who each have quite a sad, unfulfilled life, and the theme being that the human understanding of the immediate ‘real’ world is no more comforting or complete than the ‘other worlds’ - the non-tangible, the ethereal. However, it is far cleverer and much more terrifying than that.

Director Marian Newman allows the humanity of the writing to shine through, and completely trusts her cast to deliver the magic. There is no reliance on lighting or mood music to create the ‘spooky’ atmosphere, and no shock tactics. Credit to Steve Lincoln’s subtle and controlled use of sound and lighting. When the chill wind begins to swirl around the pub, the sound is almost imperceptible, and at times I wondered whether it was actually coming from outside the venue. A fellow audience member stated, later, that they could actually feel the cooling effect of the wind at times (this is pretty remarkable, as the oppressive heat was constant in the room).

Jack (Mark Newman), Brendan (Simon Phillips), Jim (Stuart Evans), Valerie (Laura Smith), and Finbar (Dhugal Fulton). Photo: Steve Cain.

Amiable barman Brendan (a subtle, low-key performance from Simon Phillips) arrives to open up for the evening, and is obviously none too concerned with security, as he soon leaves the bar unattended, with the front door unlocked. In strolls the evening’s oldest regular, garage owner Jack (Mark Newman) who proceeds to casually serve himself a drink (popping the money into the old-fashioned till). The scene is set. This is a pub that is also a home, and a refuge, to the inhabitants of this remote rural backwater. Brendan and Jack chat amiably about everyday matters, and are soon joined by young gambler Jim (Stuart Evans); we soon discover that they are all quite lonely at heart, and this unassuming little alehouse is their refuge. There are rumours about the relationship between their well-to-do friend Finbar (Dhugal Fulton) and Valerie, a young woman who is looking to move into the area. When all our characters are assembled, Jack kicks off the storytelling with a local myth about a ‘faery road’ that was rumoured to pass through a local house. Newman’s comical, disgruntled, slightly naïve character modestly relates an unnerving warning about interfering with the unknown, and the actor subtly shifts from gentle comedy to undulating shades of deepening anxiety and deep-rooted fear. Probably the most disturbing tale is related by Jim; a chilling real-life experience involving the spectre of a paedophile and their attempts to continue their activities beyond the grave. Serious and unnerving as the various tales are, they are never allowed to seduce the audience into a melancholic, unsettled mood. McPherson’s characters are beautifully well-rounded, and the talented ensemble cast remind us of their humanity and flawed nature, as they regularly pull the rug out from under each other, and good-naturedly prick the bubbles of pomposity. Laura Smith’s Valerie is the alien newcomer. The men buzz around her, each seeking to impress, whilst cheekily undermining the flash, but thin-skinned Finbar. Quietly observing her comically eager suitors, and their almost desperate desire to cater to her every need, Valerie eventually delivers her own disturbing tale, of a tragic untimely death, and a terrifying aftermath. Her story hits hard. Smith has a wonderful voice for the stage, and held the audience spellbound with a heartfelt, quietly emotional delivery of intensity and gut-wrenching sorrow.

Brendan (Simon Phillips), Jim (Stuart Evans), Jack (Mark Newman), Finbar (Dhugal Fulton), and Valerie (Laura Smith). Photo: Steve Cain.

This was an excellent production, and deserves to be seen in a larger venue. A brave venture for an amateur company (although, you’d be hard-pressed to consider this show as anything less than 100% professional).

PETER HOOK & THE LIGHT - JOY DIVISION: A CELEBRATION

 

O2 Apollo, Manchester

Reviewed on 29th July 2022

First published for The Reviews Hub

Peter Hook, legendary ex bass guitarist with New Order, made a triumphant return to Manchester with a storming, emotional, and thrilling celebration of his previous band Joy Division. Performing, in full, the classic albums Unknown Pleasures and Closer, with an opening selection of New Order tracks. The faded glory of Manchester’s cavernous and ornate Apollo theatre provided a superb atmosphere for this almost religious musical experience. Joy Division made only two albums before their charismatic lead singer & lyricist Ian Curtis killed himself in 1980, and this celebration was initially scheduled for 2020, the 40^th anniversary of his death. Hook has spoken often of how traumatic his band mate’s death was, and how it was a miracle that the surviving members carried on under a new name, and became one of the biggest bands of the 80s, New Order. Peter Hook & The Light had been scheduled for 8pm, with ‘no support’, but Manchester DJ Mike Sweeney’s band, The Salford Jets, had actually been on stage from 7pm. Unfortunately, many of the audience missed them, as the auditorium only began to fill up in time for the main act.

Beginning in sombre, subdued mood (the delicate lighting reflecting this) with New Order’s supremely emotional and beautiful instrumental ‘Elegia’, the scene was set in fine, respectful style. In English literature, an elegy is a lament for the dead, and this haunting, minimal, and sparse piece of pure atmosphere, not unlike Mike Oldfield’s Tubular Bells, was a perfect fit for Hook’s sublime guitar skills. Written in memory of Ian Curtis, this performance of ‘Elegia’ was hugely effective in successfully conjuring up the spectre of his lost friend, and reminding us all of why we were here, and what we were celebrating. Hook had the audience in the palm of his hand from this point on. What a beginning!

The band then powered on through a short selection of New Order favourites, performed with gusto and sheer rockstar aggression. One suspects this was a desire to give the audience some (relatively) upbeat numbers, in preparation for the more doom-laden presentation of Joy Division’s 1979 debut album, Unknown Pleasures, with its more enigmatic, sorrowful, and often deeply distressing lyrics. The New Order opening section culminated in the jaunty, The Perfect Kiss. With its classic dancefloor energy, an ode to youthful, carefree romance, surreal chirpy croaking frog chorus, and memorable lyric ‘let’s go out and have some fun’, this was perhaps a cheeky ironic nod to the distinct lack of ‘fun’ on the Unknown Pleasures album.

For a man who has been at the top of his profession for nearly five decades, Hook looked in great shape, and his voice was on top form. Doing full justice to Joy Division’s enduring tracks, particularly the audience favourites ‘Shadowplay’ (a real barnstormer), and ‘New Dawn Fades’ with its searing, sorrowful, suicidal lyrics (‘a loaded gun won’t set you free, so they say’), the song rises and rises with painful, almost unbearable intensity. Curtis’ voice, and inner life, had been so much at the heart of this blistering epic, but Hook channelled his friend’s heart and soul into every line, and every guitar stroke. The pain was palpable, as the memories of forty two years ago could surely never be purged. Peter Hook always comes across as thick-skinned, and more than able to handle the pressures of life, but being forever symbiotically connected to such an abyss of despair must take its toll. Happily, ‘Hooky’ (as he is affectionately known by fans and friends alike) has channelled this primordial energy of chaos into his performance, and the result is sheer elation. Yes, Joy Division’s music (written by Hook, and his ex-bandmates Bernard Sumner and Stephen Morris) is certainly dark, and perhaps excavates the very depths of the collective human soul, but it is also inspiring, life-affirming, and can transmute tears into joy. Hook’s energy alone fired every song into the spiritual stratosphere, ably backed by his talented son Jack Bates (taking on bass guitar duties, on certain songs, allowing his father to concentrate on the vocals), and guitarist David Potts creating a tight knit unit.

‘She’s Lost Control’, a quirky, popular track about a girl that Curtis saw suffering a violent epileptic fit (which he often endured himself, sometimes on stage during a performance) got an almighty roar from the crowd, as the staccato opening bars blasted out.  Unfortunately, a good few people headed for the bar as the final, lesser-known tracks were performed. A great pity, as it was a rare opportunity to hear them live, and were given just as much care and attention as the hits.

‘Closer’, the album released just two months after Curtis’ untimely death, contains ever more doom-laden lyrics, and saw the band reaching new heights of creativity. Curtis, though, was struggling, and confessed that he felt he was in ‘a whirlpool, being pulled down, drowning’. Once again, Hook’s energy and exemplary guitar skills brought the album to majestic life, with every song feeling fresh and contemporary. Despite the searing jet-black emotional honesty of the lyrics, and the memory of where they led Ian Curtis to, Hooky’s rendition transforms them into something more triumphant and inspiring. Closer’s final track, ‘Decades’, is as dark as it gets. Curtis’ lyrics seem to be imagining a future after his death, perhaps attempting to foresee how his band members would carry on. How this must feel for Hook to sing and play, forty years later, is difficult to guess at. Yet he delivers it with power, and reclaims the song’s sepulchral energy.

Following the albums, it was time to cheer everybody up a little, and give the audience something to thrill, inspire, and get them up on their feet. The awe-inspiring, transitional epic ‘Ceremony’ was greeted with screams and cheers, while Joy Division’s only hit song, ‘Love Will Tear Us Apart’ ended the evening on a spectacular high. Again, Curtis’ lyrics (about his failing marriage) aren’t particularly uplifting, but the music is truly joyful, and Hooky belted it out with heartfelt passion. Stripping to the waist for the standing ovation, we had primal, human, animalistic purity. Peter Hook & The Light shone brighter than an exploding star, and celebrated their lost friend with love. This was an experience.

Touring.

Reviewed on 29 July 2022

https://www.thereviewshub.com/peter-hook-the-light-joy-division-a-celebration-o2-apollo-manchester/

LITTLE WOMEN

Amy (Joelle Brabban) and  Laurie (Samuel Awoyo)

Grosvenor Park Open Air Theatre,

Chester 

(This review was originally written for The Reviews Hub)

Following last week’s opening production of ‘Romeo & Juliet’ in Chester’s majestic Grosvenor Park, the annual Storyhouse Open Air summer season continues with the perennial coming-of-age classic ‘Little Women’ by Louisa May Alcott. But what a contrast! Last weekend we were baking in temperatures rarely seen before. Tonight, it was rain, rain, rain. The cast continued, however, and valiantly defied the elements to deliver a first-rate show, despite the many empty seats and the constant downpour. Departing from the novel’s original American Civil War setting, this brand-new version occurs during the first world war, and takes place in Chester itself.

The Marchs are a close-knit family, the father has gone off to fight in the war, and the quartet of energetic teen-age sisters simply want to love life. Jo is the feisty intellectual one, desiring to be a writer, and railing against the subjugation of women in society. Opening with a suffragette rally, the theme is set – Live Your Dream!

Meg (Haylie Jones) and Jo (Paislie Reid)

Paislie Reid’s Jo is a whirlwind of energy, striding about in often ‘manly’ attire, and refusing to conform. Slight of stature, but fierce and bold; a match for any man. She is complimented perfectly by Haylie Jones’ Meg, who gives as equally strong a performance as she did playing Mercutio a week ago. Molly Madigan (with one arm in a sling) breaks the audience’s heart as the tragic Beth, and gives a simply beautiful speech at one point, with the actor soaked to the skin by the downpour. She also excelled in a gentle, delicately emotional scene where she is taught to play piano by the repressed and melancholic Mr Lawrence. Unfortunately, in a different scene, she slipped heavily on the rain-sodden set, causing the audience to gasp in horror. Such are the risks of open-air theatre. Completing the foursome was the excellent Joelle Brabban as the temperamental Amy.

Mr Bahaer (Eddy Payne)

Samuel Awoyo was sweet-natured, and comically awkward as the shy Laurie Lawrence, with Robert Maskell giving a beautifully understated performance as the grief-stricken Mr Lawrence. Eddy Payne, who easily stole the show last week as Benvolio, threatened to do so again as the put-upon German schoolteacher Mr Bahaer. Payne seemed on fire, and revelled in additional smaller roles, including a supremely nervous and terrified soldier, and a horrendous spoilt rich brat; he even played the part of a giant bumble bee, whilst making surreal buzzing sounds with the help of a kazoo! Nicola Blackman, so hugely impressive and hilarious as Juliet’s nurse last week, was equally outstanding as the monstrous Aunt March, and a karate-chopping nun! Alice Keedwell was an understated, loving Mrs March. Oliver Nazareth Aston as the sensitive and loveable post man, John Brooke, and Samantha McIlwaine as the snooty and awful Sally completed the cast.

This adaptation by Anne Odeke may upset a few purists, but works well in making the characters and settings more relatable to a modern audience. Women are still suffering under a patriarchal society, teen-agers are still battling with the emotional and physical turmoil of becoming young adults, and we still try to shut out the never-ending news of far-off wars whilst living our lives as well as we can. Director Natasha Rickman addressed all these issues, whilst keeping the pace buoyant and entertaining, and allowed the inner lives of the characters to break through. Following the cast ‘curtain call’, the sight of a giant teddy bear sitting sadly, in the heavy rain, seemed to sum up the all too melancholic nature of life.

 Runs until 28 August

https://www.thereviewshub.com/little-women-grosvenor-park-open-air-theatre-chester/

Photographs: Mark McNulty