MIKE GARRY & The Cassia String Quartet

 St Mary's Creative Space, Chester

Friday 24th June 2022

What an experience! I was left overwhelmed by the sheer power and exhilaration generated by Mike Garry and friends, in an absolutely perfect venue. Spoken word/poetry can be difficult to pull off. Some have the material, but not the delivery (and vice-versa). Mike Garry has both, and delivered in truly magnificent style on a warm summer's evening, in the glorious St Mary's Creative Space, Chester. With his flowing locks, white shirt & jeans, and standing in a hard, cold blast of stage lighting, Garry looked messianic. Here was a beautifully theatrical, yet heartfelt performance. The man seemed possessed, and would wander away from the microphone stand at odd moments, to deliver gutteral cries towards the high ornate ceilings of this former 'church on the hill'. 

Mike Garry & The Cassia String Quartet (Photo: David Hynes)

The evening began with our MC, Jem Stuart, an affable personality who delivered a selection of poems with some rather choice remarks about Tories and their glorious leader. Stuart is a very likeable chap, and nattily dressed for the occasion. His material being direct, amusing, and delivered in a cheeky, matey style. A delicious little starter for the hearty main meal to come.

Jem Stuart

Next up was Tosin Salako, a vibrant young musician who simply exuded charm and good humour. We were treated to four songs, all originals by Salako, and played on guitar. Passionate, intricate playing in a soulful, bluesy style. Personal pieces centred around his single parent upbringing, and life-long encounters with racism and bigotry. Uplifting, joyful, and life-affirming. A talent to keep a sharp eye on!

Tosin Salako

An hour in, and the main attraction took to the stage. Initially unassuming and matter-of-fact, while The Cassia String Quartet took their places, Mike Garry wandered up to the microphone stand, and was suddenly bathed in a harsh white light. In a moment, he was transformed, and became almost god-like. Seemingly filled with a supernatural energy and vibrancy, the poet launched into his material with gusto. Hypnotic, charming, self-affacing, humorous, gritty, earthy, and most of all, human. His passion for the positive approach was all too clear, in a series of poems celebrating the inner goodness and boundless capacity of the human soul. One piece related to his deep appreciation of a former school teacher who nurtured his talent. Another told about his tearaway youth, and turbulent experiences. Often, Garry would stare upwards, and direct his words to the heavens. Arms spread wide, echoing Jesus on the cross, with shafts of dying sunlight piercing the stained glass windows around us. At one point, a woman could be seen dancing to his words (and the atmospheric, subtle strings of the quartet), half-hidden by the church's huge columns. Eventually, she appeared in front of the stage, ripping up paper, and throwing the pieces out to the audience, as she danced down the aisle. At the time, I didn't know who she was, or what she was actually doing, but it certainly added to the overall atmosphere, giving the evening a religious and otherworldly feel.  After the show, I spoke briefly to her, and she said she'd been tearing up a drawing with Garry's words on it, to distribute to people (I wasn't sure why, or if it was an official part of the evening!) 

Mike Garry (sketch, on the night, by Brian Gorman)

A standing ovation was inevitable. Even the surly-looking, difficult to please, five blokes on the row in front of me felt compelled to show their appreciation. It was a truly magnificent evening. Garry is a superb poet, and a superb performer. It was an unforgettable, inspiring, and magical evening. I didn't cry (honest!)

NOW IS GOOD

Alice (Elizabeth Counsell) and Ray (Jeff Rawle)

NOW IS GOOD

Written & composed by Tim Firth

Directed by Joyce Branagh

Chester Storyhouse til 28 May

 

Review by Brian Gorman

 

From the writer of the hugely successful and beloved Calendar Girls, comes this gentle, feelgood comedy musical. Premiered at Firth’s local professional theatre, Chester’s impressive Storyhouse.

For a life-long cynic like me, this unashamedly sentimental yarn could have made for a night of relentless cringing and grimacing. Thankfully, the sheer positive energy in Firth’s writing, combined with the lightness of touch from director Joyce Branagh, made this a real audience pleaser that is virtually critic proof. Inspired by Firth’s late father, Gordon, ‘Now Is Good’ is the story of a father and son who are working together to transform a derelict bank into a home. Jeff Rawle (best known for playing the title role of Billy Liar, in the 1970s tv comedy series) plays the widowed father, and retired builder, Ray. This dishevelled, permanently optimistic character is a human reminder of the much-loved Wombles of Wimbledon Common, as he collects all manner of rubbish from the local council tip, seeking to recycle it into something useful. His son, Neil (Chris Hannon) is a perfect comic foil, constantly exasperated by his father’s recklessness when it comes to issues of personal and workplace safety. Hannon is excellent as the hapless Health and Safety officer, and reminded me of a younger Lee Mack, with superb comic timing matched with some wonderfully deadpan reactions to the chaos around him. Their work is regularly interrupted by a variety of colourful, well-rounded characters, each representing different facets of human nature, all encouraged by Ray to drop in any time for a natter, a cup of tea, and a fig roll. Alice (Elizabeth Counsell) is a cheery, lovable soul, zipping around in her hi-tech motorised chair, and taking delight in her interaction with the do-gooding Ray, and a visiting group of schoolchildren. Her complete contrast arrives in the form of the ever grumpy, fault-finding energy vampire, Ivy (Michele Dotrice). Then there is Ted (Maxwell Hutcheon), a polite, well-dressed old gent, happy to be carried along by whatever tide takes him. These lonely pensioners are united in their various ailments and family woes, not to mention the ongoing struggle with modern technology. Completing the cast is the livewire Alyce Liburd as an irrepressibly perky primary school teacher, trying hard to encourage her young pupils to think for themselves, and not simply be moulded by the system. The message is simple, here: enjoy life. Enjoy your time. Don’t waste time complaining. All we have is the present, and now is good.

There are more songs in this production than I expected. It’s jammed with them, and spoken dialogue is rare. Firth’s compositions are all very catchy, light, and cheery, and played by a live eight strong orchestra. Unfortunately, the musicians are all well-hidden under the stage, with only the occasional fleeting glimpse of the conductor’s scalp popping up from a gap in the floorboards. I had assumed the music to be taped, until we saw the band’s (live?) images projected on to a large screen at the curtain call.

It's all very sweet, good-natured, and surprisingly devoid of dark undertones or message. What you see is what you get. Joy and life triumphs! Cynical characters become transformed into shining beacons of hope and optimism. I should have hated it. But I didn’t.

A VIEW FROM THE BRIDGE

 

Nuri Ucuncu (Rodolpho), Rob Turner (Eddie), and Joanna Mitton (Catherine)

A VIEW FROM THE BRIDGE

By Arthur Miller

Directed by Jane Barth

Chester Theatre Company (ends 5^th March 2022)

Review by Brian Gorman

 

Arthur Miller is an undisputed giant of the theatre, with a stunning variety of stone-cold classics under his belt. Many taking place in 1950s America, and presenting the dissection and exposure of the brittle, and soul destroying ‘American Dream’. Any amateur theatre company needs to think long and hard when considering bringing one of his wonderful, and intense creations to the stage. Applaud the bravery, by all means, but it takes a lot of hard work, talent, and sheer arrogance to even attempt to present such material. Well, on this occasion, it has paid off. Handsomely.

The elegantly dangerous looking Richard Hulse opens the show, spotlighted and revealed as our guide and narrator. A device that initially seems simplistic, and possibly the result of a writer fearful that the audience may have problems following the narrative. However, Hulse is superb as the sharp-suited lawyer Alfieri. Confident, endearing, cocksure, striking many a Cagney-esque pose and commanding every scene he is in. There is also something of the Hollywood icon Jack Palance about Hulse; a face filled with what looks like brutal life experience, yet conveying great humanity and empathy. Accents are usually one massive pitfall for any actor (witness Russell Crowe’s woeful Robin Hood in the recent Ridley Scott epic), but Hulse, and his fellow thesps, playing an assortment of Italian-New Yorkers have nailed it.

Richard Hulse (Alfieri)

Full marks to John McGinn’s excellent naturalistic set, and the wonderful window effect, looking out upon the bay; the subtle lighting changes by Ollie Clark creating a perfect atmospheric segue way betwixt dawn and dusk. A mythic romantic otherworld; the dream beyond the characters’ reach perhaps? The simple family home is perfectly realised, although I would have placed our main protagonist Eddie’s armchair a little more face-on to the audience, so we could see his interior life, conflicting emotions, and simmering bewilderment. Miller’s story focusses on salt-of-the-earth dock worker Eddie Carbone, and how his disturbing affection for his adopted niece Catherine, ultimately secures his self-inflicted downfall when she finds love with a charismatic illegal immigrant, and decides to fly the nest. Rob Turner as Eddie made for a curious casting choice, however. I wasn’t convinced that we were seeing the character as Miller intended, despite Turner being an obviously capable and effective actor. If he and Hulse had swapped roles, we would have had a much more dynamic mix. Eddie is loud and vociferous about the automatic respect he should be given for putting ‘food in mouths’, and sheltering his cousins, but he comes across as a pain, and an immature, whinging man-child with a creepy sexual crush on his teen-age niece. I honestly had little sympathy for him, and found it pretty difficult to accept Alfieri’s final words when he admits his respect for the man.

Fiona Wheatcroft is an immaculate presence, as Eddie’s long-suffering, sexually frustrated wife Beatrice. Completely believable in her thick-skinned, saintly perseverance, and her desperate attempts to get through Eddie’s thick, bigoted head. Honestly, what did she see in this guy? Joanna Mitton gives a sweet-natured, sparkling, and nuanced performance as Catherine, and is perfectly convincing in her evolution from devoted niece to the strong-willed young woman in love with her cousin Rodolpho (played by newcomer Nuri Ucuncu). The swaggering, blonde haired Ucuncu is an amazing stage presence, and stole every scene he was in. I was astounded to discover that this was his acting debut, as he displayed sheer star quality, and stage professionalism; director Jane Barth certainly coaxed an exceptional performance from such raw material. Haluk Saglam as his brother Marco, matched him perfectly in explosive passion, and believable emotion. Marco’s anger when Eddie betrays the brothers is perfectly realised, and his internal conflict beautifully expressed. Unfortunately, I couldn’t see much of what happened in the violent finale, due to the scene being played out on the floor in front of the stage. However, we didn’t really need to see much, as the dialogue and performances communicated more than enough.

Joanna Mitton (Catherine) and Fiona Wheatcroft (Beatrice)

This was a superb production that thrilled, surprised, and delighted its audience. Virtually flawless. Jane Barth’s direction is spot on, avoiding any temptation to try anything too radical, and allowing the action to flow naturally. Wonderful, passionate, and intelligent entertainment!

NO TIME TO DIE

 *Spoiler Free Review*

I've been a huge James Bond fan all my life. I read all the Ian Fleming books while at school, and saw my first Bond movie  on ITV in the early 70s, as my family were too poor to go to the cinema very often. I was very lucky, in that I saw all the films in order, with no spoilers from a non-existent internet. So, I was able to be entertained by the classic Connery era, experienced the shock of a new Bond (George Lazenby) taking over in 'On Her Majesty's Secret Service' (1969), and Bond being married and widowed by the end of the film. THAT was a huge surprise! Then Connery returned briefly, we had the hilarious Roger Moore years, Timothy Dalton brought a more serious and brutal Bond in the late 1980s, and Pierce Brosnan coasted along with a more glib, slick 007 for the 90s, and then we had Daniel Craig. I was amazed that Craig had been cast, but also overjoyed. I'd seen him in a few things on tv, and thought he was a superb actor. I never thought the producers would take a chance on him, as he didn't fit the usual Bond mould; tall, dark, clean cut, etc. Craig was more of a character actor. A guy who could turn his hand to a huge variety of roles. When I saw 'Casino Royale', in 2006, I was blown away! FINALLY, here was the Bond of the books, with all the gritty, adult, x-rated drama of Fleming's debut novel. Here we saw how Bond became the ruthless, womanising, risk-taking, virtually masochistic assassin. I couldn't believe they included the infamous torture scene from the novel ( a naked Bond, tied to a chair, and having his genitals battered). This was a radical move, and a big risk for the producers, EON. But, it worked! A new Bond was here, and Craig's subsequent films followed a through line, with the character developing into the hero we had known for decades. With 2012's 'Skyfall' we had Bond on the verge of a nervous breakdown, and failing to prevent the death of Judi Dench's much-loved 'M', who had evolved to become a virtual mother to Bond. We also got to see 007's childhood home, a gothic mansion in the wilds of Scotland, and the graves of his parents. We learned how the teen-age Bond had coped with the deaths of his mother and father, and in 2015's 'Spectre' we discovered how he had been adopted, and found himself with a foster brother, Hans Oberhauser. 'Spectre' brought Oberhauser back, who eventually turned out to be Bond's arch enemy Ernst Stavro Blofeld - a real bone of contention for hardcore Bond fans! In Fleming's novels, Blofeld was the mastermind behind the criminal organisation S.P.E.C.T.R.E., but was no relation to his nemesis. By the end of 2015's 'Spectre', Blofeld was caught, and Bond was retiring - literally driving off into the sunset (with his new love, Madeleine Swann). It was a fitting end for Craig's Bond. In his previous films, there had been no happy endings, but here we finally saw our hero at peace, and seemingly content with life. 

So, now we have 'No Time To Die', which picks up right after 'Spectre'. Bond and Madeleine (Lea Seydoux) are living in blissful retirement, and have 'all the time in the world'. What can possibly go wrong?

I had heard many rumours about this new film. It was definitely Craig's last one. There would be an unprecedented surprise ending. Beloved characters would be in serious peril. With a new Bond movie, there are always a thousand rumours, many of which are pure speculation based on 'anonymous sources'. However, what we DID know was that director Danny Boyle had pulled out following disagreements over the movie's ending. Add on a nearly two year delay, thanks to the pandemic, and we had had a hell of a long time to dwell on things. 

I took my seat, on the back row, and braced myself. For a Bond fan, this was a momentous occasion. It had been six years since 'Spectre'. SO much had happened in the world, and our personal lives. Would this new film live up to the hype, and the feverish expectation? Here we go ...

The pre-credits sequence (PLEASE don't call it a 'cold open'!) gave us an unusual start. Bond films tend to begin with a bang, usually dropping in on 007 finishing a previous mission, and culminating in an outrageous stunt. This one is rather more restrained. It is creepy, ominous, and shocking. For once, the focus isn't on Bond, but we soon catch up with him and Madeleine enjoying the splendour of Matera (Italy), coasting along in 007's silver Aston Martin to the strains of John Barry's bittersweet 'We Have All The Time In The World' (first heard in 'On Her Majesty's Secret Service', and possibly suggesting much sorrow ahead for the couple). The car chase we've seen so much of in the trailers is truly spectacular. Much enhanced by a huge emotional aspect, with an angry, determined Bond pulling no punches. A wonderful start, leading into Billie Eilish's suitably downbeat title song. Fast-forward a few years, and Bond has gone back to nature, catching fish and enjoying the simple (yet luxurious) life in Jamaica. Enter Bond's old CIA pal, Felix Leiter (Jeffrey Wright, returning for the first time since 2008's 'Quantum Of Solace'), and a new 'OO' agent, the snarky yet capable Nomi (Lashana Lynch), and soon Bond is back in action, and on the trail of a kidnapped scientist. It's a pretty straight-forward 'mission' for the retired Bond, but things get complicated quickly, when he discovers 'M' (Ralph Feinnes) has a dark secret or two, and the stakes are the highest they've ever been for the Daniel Craig era. 

The cast are all on top form, with Craig leading the way with his best performance yet. Ben Whishaw's 'Q' has more to do than simply supply Bond with his tools of the trade. Here, he gets to tag along with the OOs, and he's there at the heartbreaking finale. There is intrigue, there are betrayals, sacrifices, some ultra violence (Craig's Bond is more brutal than ever), a wonderful villain's lair, and a genuinely terrifying bio weapon that is used to surprising effect at vital moments in the narrative. Bond comes face to mangled face with Blofeld again, in a claustrophobic and incredibly intense scene. Blofeld's entrance here, is one of the very best for a Bond villain, and reminiscent of Javier Bardem's introduction in 'Skyfall'. This is an epic film. It has all the expected Bond action, but it is essentially a romantic drama, with themes of family, friendship, loyalty, and mortality. Hans Zimmer's music adds a sombre, background tension, and explodes into life, when required, with a cracking rendition of the classic Bond theme.

Ana De Armas (as Paloma) has a wonderful, funny, and dynamic scene, as a fellow MI6 agent, helping Bond infiltrate a very peculiar, bizarre and spooky Spectre gathering. She is a fun, endearing presence, in what is probably the most old-fashioned, good humoured action set piece since the 1960s Bond movie heyday. 

Rami Malek as Safin deserved more screen time, but provides an enigmatic main adversary for Bond. He seems a tortured soul, and when we first meet him, he is both terrifying and tragic. Safin's mannered, precise, and controlled persona is unnerving and unsettling. His final scene with Bond is a welcome return to the hand-to-hand, brutal and murderous confrontations we used to see back in Connery's day. This time, though, the stakes are higher than they have ever been, and (again) the thrills and drama are mixed with real emotion, heartbreak, and empathy. Cary Joji Fukunaga is an actors' director, and every character feels real and engaging. There will be some hardcore Bond fans who will hate this more emotional, human, and empathetic 007. But, 'No Time To Die' is the perfect send-off for Daniel Craig, and the M.I.6 team. For once, the hype was spot on, and the trailers were quite correct - everything has led to this, and nothing will ever be the same again. I felt genuine sorrow during the film's final moments. I hope that nobody has the ending spoiled for them, as it is truly unprecedented, classic, and wonderfully shot, and played by Daniel Craig.

Will James Bond return?

 THE TJM STORY

The long-awaited story of the hugely influential and legendary Manchester rehearsal studios & record label has finally been told. Tony (TJ) Davidson's book was launched this week at the rather plush Stoller Hall in Manchester. I supplied a variety of illustrations for Tony, and enjoyed an excellent evening in the company of 1970s and 80s punk and post-punk royalty. Iain Key sums up the night in his review for Louder Than War (see below).

Yours truly with the man of the moment, Tony 'TJ' Davidson (photo by Ronny Worsey)

Tony on a night out with The Drones! Art by Brian Gorman

Iain's review can be seen here: 

https://louderthanwar.com/the-tjm-story-book-launch-stoller-hall-manchester/

REVENANT

 

REVENANT

Written by Stewart Roche

Lock 91, Century Street, Manchester

Until 29 September

 

Review by Brian Gorman

 

Well, it's been a while! This is my first theatre show since the whole covid ordeal began. Almost two years away, and a great one to start with -

This was my first visit to Lock 91, a cosy, converted 19^th century lock-keeper’s cottage, down by Deansgate Locks. A superbly ideal location for this creepy, evocative, and chilling one man play. A Revenant is defined as something from the past, or something that is back from the dead. A rather suitable title for this 80-minute piece; a UK premiere written by Stewart Roche, and performed by Patrick O’Donnell, who bears an uncanny resemblance to the imagined offspring of Jack Nicholson and Alien’s Tom Skerritt. His wiry frame, jittery onstage body language, and mesmeric stare worked magnificently well in the confined theatrical space, with room for just twenty-five audience members on its church pews and hard wooden chairs.

Patrick O'Donnell

The story introduces us to Carter, a low (micro) budget film director, hired to work on a zombie film set during the Irish famine of the mid-19^th century. We join the story as Carter takes a call in his hotel room, informing him that his leading man has pulled out, and he has no alternative but to employ the enigmatic Vardell. There is a tight 3 day shooting schedule on an island off the coast of County Mayo, at a remote country house, with a small but resolute crew. Complications arise when it transpires that the leading lady is an old flame of Vardell’s, but the smooth talking old louche has retained his old-school charm. O’Donnell gives us some wonderful characterisations, using only his voice and subtle changes in body language and posture. There are no props, costumes, or major stage shenanigans, save for the odd subliminal shift in lighting, and a few traditional sound effects (a sudden knocking at the door is always guaranteed to startle). Atmosphere builds as the isolated cast and crew toil day and night to complete their no frills, no sub text, zombie flick. There is a great evocation of the classic 1970s chiller ‘The Wicker Man’, and one can easily imagine the magnetic Vardell being embodied by the great Christopher Lee. O’Donnell channels Robert Downey Junior’s Sherlock Holmes when supplying Vardell’s dialogue, with a beautiful mix of charm, waspish wit, and seductive menace. Suffice to say, Carter and his bedraggled crew end up with far more than they bargained for, and really should have seen all the warning signs. But, this is also a great satire on the film-making process, as well as the horror movie genre. Whilst seeking to create an imagined horror, the hapless company fail to witness their real-life predicament. Patrick O’Donnell’s wired, wild-eyed energy vividly breathes life into the grand finale, when Carter finally realises just what Vardell is, and what a disastrous casting decision he has made.

Revenant is a lot of fun, and boasts a great performance by the excellent Patrick O’Donnell. I have no idea who may have directed the piece, as there was no information available at the venue. I would suggest to any theatre company, that they have at least a flyer with credits and contact details. No need for an expensive programme, but just something to help promote the work. I’d also be grateful for an interval, as 80 minutes sitting on a hard wooden chair in a confined space numbs even the supplest of derrieres. Thankfully, O’Donnell’s masterly performance made the time fly, and the nether regions survived intact.

 

Brian Gorman

Kasterborous In Bolton

Review

Written by Jonathan Hall

Directed by Liz Hume-Dawson



The King's Arms, Salford 11th July 2019



Review by Brian Gorman




You don't necessarily need to be a huge Dr Who fan to enjoy this comedy-drama, but boy does it help! The attention to detail is remarkable, extending to carefully mocked-up VHS cassette covers and fake stage show flyers placed on the audience seats. Jonathan Hall's bittersweet tale of a typical 1990s Dr Who convention is a fun ride, with more than a few surprisingly shocking moments.

Dean Taylor is fantastic as the burned-out, desperate, booze and drug addled writer, treated as a god by adoring fans, but gradually revealing a cynical and predatory nature. Hardcore Dr Who fans will recognise who this character is probably based on (I can think of a couple), and be aware of certain grubby incidents and behaviours witnessed behind Travelodge doors over the years. Lee Petcher hits all the right notes as the overworked convention organiser, keen to supply his star guests with their every need whilst keeping the packed schedule on track, despite (in the context of the story) the late cancellation of 'star attraction' Bonnie Langford (who played the much maligned assistant, Melanie Bush, to Colin Baker's and Sylvester McCoy's Doctors in the 1980s).

Lesley Molony is pitch perfect as ex-assistant Jenny Carpenter, still much aggrieved by her character's complete lack of development (a common complaint from many a Who actress over the years!). Jenny is soon to star in a profit-share production of MacBeth, and is keen to demonstrate her thespian credentials to an audience who only really want her to perform her popular lung-busting scream, and join in with a competition to see how many different ways one can say "What IS it, Doctor?" 

Lee Petcher, Luke Perczyk, Liz Hume-Dawson, Lesley Molony, and Dean Taylor

Luke Perczyk is hilarious and affecting as obsessive fan Alan; a young man with a severe lack of social skills, but whose heart is in the right place. Director Liz Hume-Dawson gets the balance between drama and comedy just right, allowing for the belly laughs and the more cringeworthy scenes to sit comfortably together. It would have been very easy to go for all-out farce (Dr Who fans have always been an easy target), or even to explore the opposite end of the spectrum with a serious psychological examination of the perils of fanatical behaviour, and the spiritually demeaning work many a fallen star has to undertake. Thankfully, director Hume-Dawson manages to keep things firmly grounded, and produces a show that entertains without pretension.

Incidentally, after watching the play, I went for a drink in a late Manchester bar, and bumped into Salford-born actor Christopher Eccleston (who played The Doctor back in 2005). He asked me what I'd been to see that night!

Kasterborous In Bolton is a real treat, with an appeal far beyond its target audience.

BOND IS BACK!

'ONE MAN BOND' returns on Friday 5th July, at 1.30pm. Rhyl Little Theatre!

Photo by Shay Rowan

For the millions of fans awaiting Daniel Craig’s latest James Bond extravaganza, here’s something to whet the appetite until agent 007 returns to the big screen.

Following a successful nationwide tour last year, writer/performer Brian Gorman returns to the stage in ‘One Man Bond: Every Bond Film In 60 Minutes’,with an award-winning performance covering over half a century of the most successful movie franchise in history. After appearing at the 2018 Greater Manchester Fringe Festival, Brian won The Salford Star Award for ‘Best Performer’, and has been invited to perform at The Rhyl Comedy Festival on Friday 5th July at 1.30pm.

The show was recently staged at the world famous Pinewood Studios (home of the Bond movies), and the 2018 Starburst Media City Festival in Salford.

Photo by Shay Rowan

‘One Man Bond’ is written by, and stars, Brian Gorman as over 150 characters, including every James Bond from Sean Connery to Daniel Craig, plus M, Moneypenny, Q, and the infamous villains Dr No, Goldfinger, Blofeld, Mr Big, Scaramanga, Jaws, and Raul Silva. It is a whirlwind tour of every cinematic adventure of the world’s favourite secret agent, and his often outlandish missions to save the world time and time again.

This unique production features a single actor, without elaborate props, costumes, or special effects, and takes the audience from the groovy, psychedelic sixties of the super smooth Sean Connery, through to the modern day bone-crunching, and ultra realistic, Daniel Craig. The show lasts approximately 60 minutes (plus an interval).

Brian’s recent work has included writing and co-producing the highly-acclaimed ‘NEW DAWN FADES: A Play About Joy Division & Manchester’,which has toured nationally for the last 6 years, and played to capacity audiences and standing ovations. The show will begin a new tour, later this year, opening at Manchester’s Dancehouse Theatre on 12th September.

Photo by Shay Rowan

Brian was born in Wigan, and studied for a degree in English and Art at Chester College in the 1990s; he then worked at the Chester Gateway Theatre for 12 years, and appeared on stage in a variety of productions including the hugely popular ‘Bouncers’. He is also a writer/artist of graphic novels, his latest being ‘NEW DAWN FADES: A Graphic Novel About Joy Division & Manchester’, which has been both highly popular (now on its third print run) and critically acclaimed. Other books include ‘EVERYMAN: A Celebration of Patrick McGoohan & The Prisoner’, which is based on his one man stage play.

Reviews for ‘One Man Bond’:

“An acting tour de force – brilliantly capturing the essence of each Bond actor and the non-PC absurdities of the Bond series. It’s a show that definitely keeps the British end up!”

– Robert Sellers (Author of ‘The Battle For Bond’)

“ …in an electrifying way, Brian Gorman takes to the stage with real animation, not just imitating but in a way embodying every Bond character he takes on. Hilarious. From the Biff!, Biff!, Wallop! of the fight scenes through the clever characterisations and voices to the inevitable Boom!, Boom! explosions that ripped through the end of virtually every scene.“

– Louder Than War

“…What’s important in a show like this is for all the characters to be distinct and recognisable; thankfully, Gorman is a skilled impressionist, getting the vocal tics of every Bond spot-on and even making us chuckle with his perfect capturing of Roger Moore’s distinctive stance. His Christopher Walken is a treat. This is one fan’s loving and hilarious tribute to the history of Bond movies”

– Starburst Magazine

“Brian performed to an audience of hardcore 007 fans at Pinewood Studios, and they were totally enthralled. Thoroughly recommended show.”

– Bondstars.com

“Nobody does it better than Brian Gorman in ‘One Man Bond’. Unmissable”

– The Shanklin Hotel, Blackpool

Tickets are at a special low price of just £5 for this event.

https://brhylliant.wordpress.com/brian-gorman/

David Lynch Inspired Party Night

From the Facebook page:

"The weird and wonderful club night which takes place in the mind of one of cinema’s most innovative and unique creative geniuses, is now taking place in the real world at Night People on Saturday 6th July!

The main room will host the David Lynch Disco which will include music from his films, his own music and bands/artists who are influences on/are influenced by the great man himself.


Room two will be converted into the famous Twin Peaks restaurant, the RR Diner, and casino, One Eyed Jacks, while the legendary lounge-jazz band, The Sycamore Trees, will perform a live set of ambient, moody classics. You’ll even be able to sip on damn fine coffee and tuck into some cherry pie!"


Yours truly is involved, and there will be an exhibition of my David Lynch inspired paintings and drawings, plus photographs from my good friend, Shay Rowan!

BACK IN ACTION!

It's been over a year!! I had been uploading reviews to my new website, but have now allowed it to lapse. I shall now upload everything on here.
Update: Am still getting used to being scalped, I shaved my head to film a couple of scenes for the revamped production of 'NEW DAWN FADES: A Play About Joy Division & Manchester', and will see myself projected onto a large screen this September at The Dancehouse, Manchester 12th - 14th, Sheffield Leadmill 16th to 17th, and London's Jacksons Lane Theatre, Highgate 19th to 21st.

Director Sean Mason films 'Dr Dee' (Photo: Shay Rowan)

And, 'ONE MAN BOND: Every Bond Film In 60 Minutes' returns in July, at the Rhyl Comedy Festival. The first performance since winning the 2018 Salford Star Award for 'Best Performer'.
https://www.facebook.com/events/653831401696307/

Receiving the Salford Star award

More theatre/film/music reviews to come!

Marvel Us: All The Marvel Movies. Kind Of

MARVELUS

Written & performed by The Just Us League (Gary Tro & Javier Javier)

The Waterside, Sale

Touring

Reviewed 11^th May 2018

Review by Brian Gorman

'Every Marvel movie in an hour. Kind Of.' Well, if this doesn't sell, nothing will. Marvel seem to have conquered the movie world over the last decade, and with the recent release of the hugely successful 'Avengers: Infinity War' (which has smashed records all over the world, in no time at all), this is perfect timing.

This is theatre stripped to the bone; just two guys in onesies, on a tiny, empty stage (save for a hand-written A3 notepad, handily displaying each film's title in multi-coloured felt tip). A pretty mixed audience ranged from fifty-somethings to teen-agers, with a near equal mix of male and female, which is surely something every producer dreams of. Black Sabbath's classic 'Iron Man' created a suitably tense and dramatic atmosphere, as the lights dimmed, and we waited for our heroes to take the stage. To lighten things up a little, we also had the contrast of Guardians of The Galaxy's breezy, feelgood number, 'Hooked On A Feeling' to get us in the right mood. The 'Just Us League' are composed of New Zealander Javier Javier, and Bristolian Gary Tro; two stand-up comedians (and self-confessed nerds). They make a great team, and like all good double acts, present very different stage personas – Javier is dressed in blue, and is the shorter, more sardonic one. Gary, in red, is the tall, bald, and slighty goofier one. A good natured preamble had the guys bondng with their audience as fellow nerds, and explaining just how they'd decided which Marvel movies to cover, and which to ignore. Taking on the guise of a P.E. teacher, Javier divided the movies into teams A and B. Unsurprisingly (at least to us afficiandos), Team A comprised of Iron Man, Captain America, Thor:Ragnarok, etc. Whilst Team B had Elektra, Blade, and Thor: The Dark World. Special mention was given to the execrable Fantastic Four movies, who Javier neglected to include in either team.

Only 2 people in the audience hadn't seen 'Avengers: Infinity War', which resulted in a short, spoiler-free, sketch “to get it out of the way”, depicting a frustrated Hawkeye sitting at home and desperately trying to imagine his team-mates managing to save the universe without him. Then, on to the show proper, with 2008's Iron Man. I had expected a potted version of each movie, but instead we were presented with self-contained, often seemingly improvised on the spot, sketches that attempted to sum up each film's plot. This threw up some surprising choices (at least to me), focussing on many characters' often unexplored motives and emotions. Iron Man had Tony Stark's best buddy Jim Rhodes/War Machine obsessing over why his calls were not being returned, and WW2's Captain America's Steve Rogers awakening in modern day New York, with all the non PC attitudes that character would likely retain. Each sketch was played with energy and obvious enthusiasm, with many audience members reacting with undisguised delight at many subtle (and some not-so-subtle) comics in-jokes. Javier and Gary seemed to be enjoying themselves immensely, bringing their heroes and villains to life, and high-fiving one front row punter who was the only one to get an obscure joke about Thor!

The God of Thunder sketch was absolutely inspired, with Asgard's favourite son played as a cocky, rich boy describing his 'gap year' on Earth (whilst slying commenting on the movie's shaky plotting). Gary's impression of Chris Hemsworth's cod Shakespearean delivery was hilarious. The popular Hulk/Loki scene in 2012's Avengers had an angry, bellowing Gary throwing around a spare blue onesie, followed by the guys arguing over the cost of this extra costume/prop only being used for one sketch. There followed a comically tearful description of the life of poverty-stricken actors on tour, having to manage with a near zero budget, and the fact that they couldn't even afford to stay over in Sale that night (and were, instead, a taxi drive away in a downbeat area of nearby Altrincham).

The flow of Marvel movies was interrupted by Gary revealing that he never really wanted to do this show, and would much rather be performing a version of Disney's Beauty and The Beast, while Javier looked on, aghast at his friend's love of such obviously unworthy material. The payoff to this sketch came right at the end of the show, when an offstage Gary, on microphone, did a simply beautiful impression of Marvel head honcho Stan Lee, enlightening Javier to the fact that Disney now owned Marvel, and he was lucky they weren't “sueing the ass off you guys!”

This was full-bloodied, breathless, and infectious stuff. Two guys, and their audience, having a simply 'Marvel Us' time!

In Conversation: Christopher Eccleston

In Conversation: Christopher Eccleston

Home, Manchester Sunday 6^th May 2018

Review by Brian Gorman

“It's Manchester; I thought it was gonna be raining!” says Christopher Eccleston, in that famous, gruff, Salfordian accent. On one of the hottest days of the year, the star of some of TV's grittiest, uncompromising, and groundbreaking drama (Cracker, Hillsborough, and Our Friends In The North among them) took a seat, and effortlessly entertained his attentive and appreciative audience. In conversation with Dr Kirsty Fairclough of The University of Salford, the 54 year old actor was in town as a guest of The Pilot Light TV Festival, and fresh from a highly-acclaimed RSC production of MacBeth currently running in Stratford-Upon-Avon. Looking every inch Shakespeare's sinewy, coiled spring of a warrior, Eccleston was a pretty fearsome presence, with that famous chiselled profile, boxer's physique, and awesome Roman nose. Admitting he had always been a bundle of restless energy, you could certainly imagine him in the great classical roles, and it was good to hear that he wants to do more live theatre, following a hugely successful career in television and film.

In conversation with Kirsty Fairclough   (photo: HOME)

Eccleston is very proud of his roots, and credited his family with providing him with a secure upbringing, and a solid set of values. Raised on a poor housing estate, the youngest of three children, he remembered the huge impact that television had on him. His parents regarded the box as an educational tool, and watched many a quality drama, and documentary. Soaps were ignored, as were the everyday lowest-common-denominator fodder. Though not particularly academic, Eccleston was always curious, and determined to question the world around him. Reflecting on his drama school years, he was obviously very concerned that he would probably have never had the opportunity of an acting career if he was starting out today. After graduating from the Central School of Speech and Drama, he initially struggled to find acting work for some years, until his big break came as Derek Bentley in the 1991 film 'Let Him Have It'. He remembered being inspired by fellow cast member Tom Bell, who was impressed at the young man's levels of concentration. Eccleston went on to star in Danny Boyle's low budget thriller 'Shallow Grave', and a regular role in TV's 'Cracker' raised his profile even further. Eccleston credits writer Jimmy McGovern for much of his success, and felt very strongly that an actor should seek to do good work, and not just go after the money. The actor was very candid about some of his more recent roles, and regretted going against his instincts to star in 'G.I. Joe' and 'Thor: The Dark World'. He jokingly blamed his agent for persuading him to do the high-paying, blockbuster films, and enjoying their percentage of his fee, while he would always know that the DVDs were out there.

Asked by an audience member about working with the notoriously volatile Nicholas Cage, Eccleston was very complimentary about his co-star of 'Gone In Sixty Seconds'. He told of one instance when Cage turned up on a hugely expensive motorbike, having bought it on the spur of the moment on his way to the set.

Signing for a young fan   (photo: Simon Ibison)

There were a number of obvious Doctor Who fans in the audience (judging from the TARDIS dresses, Tom Baker t-shirts, etc.), and he seemed happy and relaxed to talk about his time on the show (which he left, after only one series, back in 2005). Never having been a fan, he'd been intrigued to hear that the show was coming back, and was to be written by Russell T Davies, whom he admired after they'd worked together on the epic religious TV fantasy 'The Second Coming'. Trying to get a handle on the character, he'd been out running when he realised that The Doctor would be a pretty lonely character after becoming the last of his race (The Time Lords). With a huge grin on his face, Eccleston proudly stated “And, I can do lonely!”. He regretted his overall performance, though, admitting that he never felt comfortable with the comedy elements, and that he'd played the part “too broad”. No mention was made of the circumstances under which he left the show, but he did remark that he considered every actor to play The Doctor as having been stronger in their second season (apart from the great Tom Baker, who hit the ground running). He'd taken the role as he felt he needed to broaden his range, and prove that an actor should be able to play all kinds of characters. Taking his life in his hands, with a mischievous twinkle in his eye, he said “We all know Doctor Who is for kids, don't we?” Following a low murmur of good-natured discontent, he pushed his luck further by saying “Come on, it is, isn't it?”

Eccleston wears his heart on his sleeve, and has often been criticised for being outspoken, prickly, and rather straight-laced. However, he was on excellent form here, and genuinely seemed to be enjoying himself. He indulged one young fan (Richard Lloyd), when demonstrating a laser engraved portrait of himself as The Doctor, by shining the light from his mobile phone through the piece, and delighting the audience when his face appeared on the white surface of his chair.

The Doctor appears!   (photo: Matthew Rimmer)

Eccleston as MacBeth    (photo: RSC)

 A discussion about his current role as MacBeth saw the actor energetically striding about the stage to describe the RSC set, and the fact that a huge clock, counting down to zero (and the end of his character's life), was visible at all times. This necessitated the actors getting their timing spot on, but Eccleston said he was never aware of the countdown during the performance, and it was up to MacDuff to kill him either slowly or quickly at the end.

This was a passionate, charismatic, yet relaxed and immensely good humoured Christopher Eccleston. A man with his feet firmly on the ground, and an undiminished energy and desire to do good work. “I don't want to do rubbish. But, sometimes, I've ended up doing rubbish when I've gone against my instincts”. He insisted that an actor should look for good writing, and that it would always show them in a good light. His nightmare, he joked, would be for him to be forced to watch a DVD double bill of 'Thor: The Dark World' and 'G.I. Joe'!

AUNTIE & ME

Theatre review

Written by Morris Panych

Directed by Brainne Edge

The King's Arms, Salford

Reviewed 27^th July

Review by Brian Gorman

Rating: 4.5 stars

The dark, claustrophobic, and (on the occasion of this summer's evening) sweltering atmosphere of the upstairs theatre, at The King's Arms in Salford, is perfect for this gloriously gothic and peculiar little piece (which runs at around 75 minutes, without an interval). Imagine, if you will, Alan Bennett and Samuel Beckett having a good old evening in, downing the grape juice, and getting off their heads on crack cocaine. Well, maybe that's pushing it, but I'd guess that 'Auntie & Me' is what they'd come up with. Especially if they'd had the cheese, too.

Kemp (Sean Mason) is a sad, pretty pathetic, and morose middle-aged sadsack, who receives a letter from an aged aunt on her last legs, and promptly heads off to see out her last days, and plan for the funeral. Except, she doesn't appear that pleased to see him, and manages to hang on, for what seems to Kemp, like an eternity. 

Here we have two actors on stage (Mason, and a suitably grumpy, and almost mute, Siobhan Edge), but 'Auntie And Me' is essentially a one man show. Sean Mason excells in the part of Kemp; a hybrid of Fawlty-era John Cleese, and Allo Allo's Gorden Kaye. He's a dishevelled, somewhat effeminate, well-educated, yet hapless fellow, scarcely able to deal with his own everyday life, nevermind having to look after a bed-ridden relative. With barely a flicker of response from Auntie, Kemp rambles on at length, and we eventually begin to sympathise with his sad, lonely existence. It soon becomes apparent, though, that Kemp needs Auntie, as much as she now depends upon him.

Photo: Shay Rowan

This is classic British tv sit-com, reminiscent of the much-loved Steptoe and Son, Rising Damp, and Porridge. Mis-matched characters, seemingly unable to barely tolerate each other, yet harnessed together by fate; with a grudging empathy and respect slowly developing. The youthful Mason has a puppyish demeanor, but expertly portrays the aging Kemp, and his world-weary outlook. The struggles with his 'black dog' of depression, and aching need for love and acceptance are conveyed beautifully. We feel for this guy, and his pain is all too obvious. Edge's granite-faced, almost comatose Auntie, is a perfect foil; her moments of stage business all the more effective following the long periods of sitting in bed, listening to her reluctant carer's woes.

Director Brainne Edge keeps a tight rein on the emotions, and allows the characters space to develop gradually. There are no frills, and they aren't needed, as this is a strongly-written piece which concentrates on character and atmosphere. The amiable, yet impotent Kemp does have his more serious moments, particularly when the inner emotions break through, and Mason explodes in terrifying fashion.

Auntie and Me has two perfectly-controlled performances, and works superbly well. Old-fashioned on the surface, but with depth, pathos, and even a little bit of Orton-esque farce. This production deserves a much wider audience.

Tags: Auntie and Me, Morris Panych, Sean Mason, Siobhan Edge, Brianne Edge, King's Arms, Salford

THE DEAD, LIVE

Carly Tarett & Howard Whittock

Theatre Review

Written by Daniel Thackeray

Directed by Alex Shepley

The Met, Bury

Reviewed on 13^th July

Review by Brian Gorman

4 stars

Lawrence Dodds is a run-of-the mill stage medium, a mix of Peter Falk's crumpled detective Columbo, and Ken Stott's down-at-heel Inspector Rebus. Dodds seems to be a dead man walking, a guy at the fag end of his career, and lacking the starry charisma (shallow though it is) of a Derek Acorah. In a perfectly-pitched opening scene, we find Dodds downing more than his fair share of cheap whiskey, whilst schooling nervous new assistant Rachael Connor (Carly Tarett) in the dark arts of audience exploitation. We are told everything we need to know about this amoral charlatan. He's a complete fraud; and he appears to have no shame about it. Using simple word play, Trump-esque self confidence, and NLP (Neuro Linguistic Programming) – owing a debt of gratitude to the likes of Derren Brown, Penn & Teller, et al, he elicits crucial snippets of personal information from audience members, and makes them believe he is actually channelling deceased relatives. Rachael duly plays her part, pretending to be an innocent punter, but the evening takes a very dark turn when an unexpected (and, as we discover, rather unwelcome) guest threatens to humiliate Dodds, and uncover the spiritual shennanigans. 

Lawrence Dodds  (Howard Whittock)

With only two actors on stage, this is a tight, atmospheric, and unsettling piece, which utilises the minimum of props and stage set to maximum effect. As the story takes place in a theatre (on this occasion, the lovely new 'Box' studio at The Met, in Bury), and part of the action has Dodds inter-acting with members of the (real) audience, we are sucked gently, and efectively, into the unquiet world of writer Daniel Thackeray. Chilling sound effects, effective use of complete blackouts in the confined space, and a quite terrifying, yet simple, onstage ghost effect makes for a nervy evening for those of a delicate disposition. Howard Whittock plays Dodds with the distracted air of a man barely conscious of the physical world around him. He is disturbingly placid, and distinctly unmoved by the emotional and spiritual wounds he is delicately fingering. Carly Tarett grounds the piece, with a realistic and wholly sympathetic performance as the callow young Rachael, who grows a backbone when things begin to fall apart. Anne Baron plays a third, rather chilling and unsettling, character in the play, but I won't spoil anything by saying any more!

Writer Daniel Thackeray with actor Howard Whittock

Thackeray channels the great Nigel Kneale (creator of tv's 'Quatermass', and cult classics 'The Stone Tape' and 'The Year Of The Sex Olympics') in his sparse, unshowy script. The dialogue is lean, crisp, on the nose, and sharply effective. Alex Shepley's directing avoids the pitfalls of trying too hard to scare her audience, and wisely allows the actors to inhabit their respective characters, and let the story gradually unwind to its chilling conclusion. The scares are subtle, and the atmosphere grows naturally, rather than being delivered fully-formed. This is a hugely enjoyable piece, which certainly leaves the audience hungry for more. My main quibble with the production is the short running time (just under an hour), and the fact that things end rather abruptly. However, one shouldn't really complain too much, as there are far too many shows that shamelessly outstay their welcome. Scytheplays' 'The Dead, Live' is short and sweet, but delivers a heck of a sting.