Every once in a while you come across something that is so good you don’t really have the words to describe it. This however, is not a great deal of use when writing a review of said thing!
Afterwards, while walking across Leeds having watched ‘To Kill A Mockingbird’, it struck me that I didn’t feel that I could accurately describe just what I’d seen and how much I’d enjoyed it. We exchanged superlatives – ‘fantastic’, ‘amazing’ – but the conversation didn’t exactly flow. It seemed we’d been stopped in our tracks. This would only get worse when we walked up the stairs to level 7 of the car park and the knees and thighs overtook the brain in terms of some kind of exhaustion. Still, there was a review to write!
‘To Kill A Mockingbird’ tells the tale of a rape trial in America’s deep south; a local black man is falsely accused of the crime and the story unfolds against the backdrop of horrific prejudice, the Great Depression and a distinct lack of hope or justice.
Aaron Sorkin’s adaptation of this American classic, directed by Bartlett Sher, is particularly special. The story itself is, of course, incredibly well known and well loved but there’s something in the way that the tale is presented here that elevates things just that little bit more. While it’s impossible not to be moved by the events unfolding before you, Sorkin’s script allows for frequent lighter moments meaning that the audience is taken on a very emotive journey indeed across the course of the play.
The cast are superb. The narrative is driven mostly by the children – Scout, Jem and their friend Dill – and we’re taken back and forth between the fateful night when Mayella Ewell is attacked and the events before, during and after the trial. Anna Munden as Scout stands out here; a carefree child at times, yet vulnerable and shocked by what the world seems to be throwing her way in a heartbeat. The relationship between her and Jem (Gabriel Scott), juggling the onset of manhood during these troubled times with the fact that he’s just a boy trying to enjoy what feels like yet another endless summer, is a pleasure to watch. A word too for Dylan Malyn who is brilliantly cartoonish, displaying excellent comic timing as well as a genuine sadness and bewilderment, as Dill.
Aaron Shosanyo delivers an emotive shift as the accused Tom Robinson, displaying a calm frustration at his predicament, rather than the anger that would be so understandably justified.
Richard Coyle’s performance as town lawyer Atticus Finch allows no one to steal the show though. He is quite simply outstanding here. Coyle is superbly convincing, portraying Atticus’s struggle to remain calm, kind and understanding among the racial tension and tremendous injustices that have found their way to the quiet Alabama town of Maycomb. This really is a performance to shout from the rooftops about.
The set is used incredibly effectively too with different settings being rolled into place by the cast as we switch both times and places seamlessly. And while it’s quite sparse, there is no doubting the seriousness of the courtroom or the calm, homely feel of the Finch house’s porch.
Aaron Sorkin’s ‘To Kill A Mockingbird’ is a must see. A simply outstanding piece of work that will take not only your breath away, but maybe even your ability to string sentences to together too. At least for a short while!
You’d think a play that tackles the story of a couple dealing with dementia would represent a bit of a tough watch. And in one sense, it does. But Howard and Sue are so devoted to their football club, Leeds United, as well as each other that the story takes us on a rather different and quite joyous journey. You’ll laugh just as much as you might cry.
Starring Reece Dinsdale and Shobna Gulati, the play is equal parts hilarious, heart wrenching and inspiring. So on Saturday afternoon, while I laughed a lot, I found myself fighting back not only a few tears but also the urge to join in with the Leeds United songs. A tricky headspace for this Newcastle United supporter who simply gritted his teeth and hoped that no one would notice that he may well have been the only person in the theatre not singing the Leeds anthem, ‘Marching On Together’!
Written by Chris O’Connor, ‘Through It All Together’ follows Howard, Sue and daughter Hazel as they try to come to terms with Howard’s dementia diagnosis. Set to a backdrop of Marcelo Bielsa’s first two years as Leeds manager, it makes for a powerful, yet touching piece. As a football fan and Leeds resident for nearly thirty years, I understood the references having lived through the dramatic uplift in the whole city while Bielsa was at the helm. And the play captured that feeling brilliantly while also pulling at the heart strings as Howard and Sue struggle to come to terms with the realities of dementia.
There are subplots too. Obviously there’s the drama of Bielsa’s first couple of years but also some of the heartbreak and tension of Covid and lockdown as well as daughter Hazel’s sexuality. But it’s Howard and Sue’s story that takes centre stage. It’s heart breaking to watch Howard’s fear for his future as well as his decline. And he and Sue’s devotion to each other is just beautiful, with Dinsdale and Gulati perfect as the couple. I certainly seemed to manage to get quite a few things in my eye over the course of the play, that’s for sure. But just as a rainy face may not be too far away, there’s always a laugh around the corner too and if it’s not Howard or Sue that make you chuckle, there are always Dean Smith and Everal A Walsh as a couple of Leeds fans and podcasters to help you swallow back the tears.
Football on stage or screen can be notoriously difficult to get right, but O’Connor”s play captures the depth of the love affair that Leeds fans had with Bielsa and his team perfectly. And the cast here are wonderfully on point too, meaning that there is nothing to grumble about for even the most devoted fan. The love for the team is clear, but the subtleties that come with loving your club are there too, meaning that you might well watch laughing knowingly at yourself a bit, as well as the cast.
Both Dinsdale and Gulati are utterly brilliant in their portrayal of Howard and Sue. The couple’s devotion to each other is simply lovely and both actors are a pleasure to watch as they portray the fear and uncertainty that dementia brings. The couple are completely convincing in both their love for each other and their love for Leeds and I couldn’t take my eyes off them…even as they sang those bloody Leeds songs!
‘Through It All Together’ is a powerful, but also absolutely hilarious play. It’s a brilliantly written story that deals with the ups and downs of both areas of its subject matter brilliantly. Described as a love letter to Marcelo Bielsa and football, it’s also a testament to the power of family and our devotion to those that we choose to spend our lives with. A genuine thing of beauty.
I loved every last second of ‘Through It All Together’, even the bits where I was struggling not to blub like a baby!
Funny isn’t it? You think you know someone and then all of a sudden they do something that leaves you just completely and utterly taken aback. No matter how many people you meet and how well you know them, every so often there’s one of them that will do or say something that you would never have expected.
Well, the very same thing happened to me on Saturday. Not with a person I knew as such, but with the characters in a much loved piece of literature. Having first read it nearly forty years ago and then every so often since then, I thought I knew as much as was needed about Pride and Prejudice. I’d even read an updated version with added zombies not long ago, so surely nothing was going to come as a shock. Then, along came Pride and Prejudice (Sort of).
I’d been given tickets as a birthday present a few months ago and although I knew that this was a different take on the classic, I hadn’t really looked at how different the take might be, which made it all the more of a treat when the play started.
Pride and Prejudice (Sort of) tells the traditional tale of the Bennet sisters and their somewhat complicated suitors. Just with added pop classics often provided by a karaoke machine. And some swearing. Actually loads of swearing. As well as a great big lump of anarchic humour and a noticeably feminist outlook on that whole looking for love thing. And the best thing is that it works perfectly!
As well as following the young Bennet sisters and their love lives you can look forward to singing along to the likes of Carly Simon’s ‘You’re so Vain’, Candi Staton’s ‘Young Hearts Run Free and even ‘Something Changed’ by Pulp near the end. You’ll no doubt end up laughing like a drain as well, especially at Rhianna McGreevy’s Mrs Bennet who at times felt like equal parts Peggy Mitchell and Catherine Tate’s Nan, delivering unexpected pearls of wisdom such as “Being a fucking smartarse is unladylike” to her daughters!
There are five actors in the all female cast and all are superb, taking on what must have been the exhausting task of playing every character. Every character including the Bennet’s domestic servants who are sometime narrators of this tale, but excluding Mr Bennet who is simply an armchair with a newspaper attached that’s wheeled on and off the stage and mocked mercilessly for its obvious silence on all things matrimonial. The cast are incredibly talented though with all of them taking on some kind of pop classic as well as turning their hand to the odd instrument along the way. They add brilliant comic timing to Isobel McArthur’s pin sharp, clever script and come up with a riot of a performance.
Pride and Prejudice* (*Sort of) is without doubt an absolute triumph and I’d go as far to say that if you don’t enjoy it then it might just be you that’s the problem. The show is just really clever and a shedload of fun. If you get the chance, I’d definitely recommend that you go and see it!
Rhod Gilbert is a notoriously dour comedian. A bit miserable and matter of fact. Funny though, but cynical and blunt. And tonight we’re promised that things will get beyond blunt.
Rhod’s latest tour – Rhod Gilbert and the Giant Grapefruit – is all about his battle with cancer over the last 3 years. Well, they do say that we can find humour in anything.
As he takes the stage he’s quick to warn us that things are going to get dark. But we know why we’re here and exactly what the circumstances of the show are. Gilbert has fought and beaten head and neck cancer, after the discovery of a growth – that’ll be the grapefruit – on his neck. Ironically, this was found during a trek in South America to raise funds for his local cancer hospital. And as the man himself says, when life throws you lemons, you make lemonade. But when life throws you grapefruits, you’re never going to be sure quite what to do. But, like comedians are inclined to do, he made a joke out of it and took it on tour.
It’s a very different night of comedy that begins with the comic asking if there are any people in the audience who’ve also had cancer. But it works. There are, I suppose as you’d statistically expect, a fair few audience members who have gone through and recovered from cancer. A couple of people have even had the same cancer as Gilbert and so some of tonight is spent discussing what they’ve been through. It’s never indulgent and always funny (which feels like a weird thing to write even now).
It’s a brilliant show. Gilbert is, as ever, engaging and forthright. Nothing is held back, meaning that a few thousand of us are treated to tales of cancer based constipation that we probably could have done without! But, even when we’re cringeing about it, we’re laughing. Along the way, we’re treated to tales of John, Rhod’s driver while he was unable to drive himself, who is ridiculed mercilessly.
As promised, there are lots of darker moments tonight. It’d be impossible to avoid after a 3 year cancer journey. But it’s actually uplifting. Brutally honest and all the while searching for a bright spot, but it’s dark. I find myself wondering whether or not it’s ok to laugh at times, but realise that the whole room is laughing so it’s probably the whole point. Sometimes, when the chips are down, if you don’t laugh, well you’ll probably cry and I know which I prefer.
There’s a brilliant section near the end of the set where Rhod gives out awards for those who’ve featured in his battle against cancer. I won’t give the game away as some of you might go to see the show in the coming months, but there’s a brilliant tale involving a trip to get treatment that almost ended up in Aberdeen of all places. And remember, Gilbert lives in Wales! There are also awards for those who reached out to Rhod during his last 3 years, some with wise and beautifully written, sage pieces of advice…and others where it’s just plain weird.
The show ends with Rhod now offstage and a video that was made during his treatment. Keeping with the themes of the night, it’s funny while also being really sad at times and we’re given just that extra little bit of insight into Gilbert’s character. Thankfully, it’s been a happy ending and I dare say that there was more than just me in the room who was choking back a few tears as Rhod rang the bell to signal that he’d beaten cancer.
It’s 10.40 on Sunday night and I’ve just got home. My face aches, particularly across my cheekbones and I think I probably need a go on my inhaler. I feel genuinely knackered, but it’s not a bad thing though…just the result of spending some of my evening laughing like a drain in Russell Kane’s company.
I last saw Russell probably over 10 years ago and so, given the amount of time, I’m not entirely sure what to expect. What I do know is that it’s going to be a very physical kind of gig. A bit like Lee Evans but with a better sense of style and far more up to date references.
First up tonight is Jack Skipper, a comedian I must admit that I’ve never heard of. But that’s part of the treat here. I mean, us middle aged types aren’t often out on a Sunday night anyway, but as far as a bit of mystery is concerned, I’m restricted to the pub quiz, the meat raffle and a bit of ‘open the box’ if I’m lucky! So a mystery comedian is fine with me!
It can be quite awkward seeing any new comedian though. I’m always immediately aware of the chance that they might just die on their arse and I was brought up to always try to be polite. What do I do if he’s just not funny? Happily though, Jack raises some decent laughs early on before then dropping a C bomb and really warming us up.
Starting off by talking us through how he’ll pay his kids back for all of the early mornings that they provide him with when he’s hungover, he then moves on to the fact that we’re out on a Sunday night – a miracle for some of us if it’s not on the calendar! Particularly true in our house! He’s an ex carpet fitter, so gives us some jokes and stories about his time in that particular trade as well as his take on his school days and the fact that he feels that he’s just not that bright. Bright or not, Jack Skinner leaves us all with a warm glow and the feeling that we’ve just seen a future star. There’s a hint of Micky Flanagan and a touch of Jack Whitehall, while also having something akin to Russell Kane himself in there, yet Skinner definitely has his own way. He’s funny, relatable and likeable and deserves his success when it comes.
Now normally when reviewing any kind of gig I’ll have some points of reference. So, if it’s a band it’ll be notable songs and if it’s a comedian, it’s the topics they talk about or just a great gag. Russell Kane is very much a different kettle of fish though. I swear tonight feels like it’s 100% off the cuff and it’s all the more brilliant for that fact. It’s obviously not off the cuff at all, but for someone to meander through as many topics, views and stories and still get back to the point time after time, all the while making the entire room laugh uproariously, is a real skill.
It’s not hard to work out why this is called the ‘Hyperactive’ tour. If you know Kane’s live work then you know his style; perpetual motion at what feels like 100 miles an hour. And anyone who just bought tickets for a good night out is left in no doubt as to the name when he bounds out and proceeds to just do circuits across the stage as he talks. Kane is a phenomenon; he never seems to stop and his delivery is incredible coming as it does on the run, during a dance, lying down or just crouching in front of us. Even taking a drink is done while wandering!
Whether there’s a plan or not, Kane’s material is superb tonight and I find myself wondering ‘Is this the funniest show I’ve ever seen?’ about halfway through. The answer is that I don’t know, but that’s the fault of my memory, not Russell Kane. Tonight is very definitely up there though.
In a way, Kane is hugely unprepared for tonight’s show as when he takes to the stage he’s only actually been in the building for 10 minutes or so. Apparently he was stuck in motorway traffic, which not only leads to a glorious bit about Slaithwaite – a place Kane discovers that the locals pronounce as more of a noise than an actual word; Slaawit – but lands him in quite an agitated mood. In turn, this adds even more to the energy of the show!
Quite a chunk of tonight is related to the audience. Kane ‘picks on’ the front row from the off and much fun is had at the expense of Yorkshire folk and their accents and attitudes. There’s nothing at all malicious in this and Russell judges the tone brilliantly so that the whole theatre is laughing as one. Even when he does a brief section about Geordies later on, I can’t take offence. It’s just very, very funny and stingingly accurate!
Kane says himself that he doesn’t tell jokes. In fact some of tonight seems dedicated to almost giving us a sermon about enjoying life, but it’s just hilarious at the same time. There are a good ten minutes spent on gently mocking ‘Gen Z’ as he asks questions of a 17 year old near the front and I find myself veering between wiping tears of laughter away and feeling dreadfully sorry for the lad!
Further down the line, there are riffs on his working class roots, his family, his wife and also the joys of living up north. All of it is priceless, hence the aching face and struggling lungs when I get home.
Only when Russell starts talking about limiting his show to 70 minutes, do I realise that we’re nearing the end. So relentless has he been that it feels like time has flown. Maybe somehow, with his dancing and speed walking around the stage he’s managed to find a way to speed up time? He admits to being worn out and I think every last person in the room feels exactly the same. But we’re all smiling.
Kane leaves the stage to rapturous and well deserved applause and much acclaim. There’s no chance of an encore, but nobody seems to care. This has been a wonderful night spent in the company of someone who appears to be a wonderful human being. And boy, is he funny!
If you get the chance to catch any of the rest of the tour, then jump on it. If not, start preparing yourself for next time!
Ladies and gentlemen, I give you Russell Kane; perhaps the funniest stand up in Britain.
I’ve been slightly fascinated by ballet for most of my adult life. There’s something amazing about a story told solely by dance and something incredible to me about those who can do so. Never in my wildest dreams would I have imagined I’d ever go to watch one though! As a working class lad from the north-east, I didn’t think I’d quite fit the profile for the kind of person who’d go out to watch the ballet and I didn’t think I’d ever get the opportunity.
However, things began to change in the early stages of last year while I was at home recovering from my heart surgery. While mornings were usually spent getting some kind of exercise, afternoons were for recovering from the mornings and by the time the evenings came round I was often fit only for sitting in front of the telly and that was about it! On one such evening, with the living room to myself, I was flicking through the channels looking for a change from the norm and there it was – Matthew Bourne’s Romeo and Juliet. I watched it, captivated.
Fast forward to February of this year and upon opening the final birthday present from my wife, there was a ticket shaped piece of carboard in a huge box. Expecting tickets to a gig or a comedy tour I flipped it over to reveal…tickets to Northern Ballet’s ‘Romeo and Juliet’. While I was surprised and a little bit puzzled, I was also really pleased.
And so, last Saturday, with mere minutes to spare – we were cutting things fine, as ever – we took our seats at the Grand, not really knowing what to expect. So, let me tell you a bit about the ballet.
The first thing that struck the both of us was a little detail about the audience; it seemed like about three quarters of them were drinking white wine in the theatre. Not in the bar, but in the theatre. In fact, while squeezing past a group to get to our seats one woman smiled and told me, ‘Just watch the wine’! Now, I’ve been to lots of theatre shows over the years and never have I witnessed such civilised debauchery! But almost everywhere we looked there was wine flowing.
Whenever I’ve thought about ballet in the past, I’ve heard an orchestra warming up beforehand. That kind of discordant mix of various instruments that I assume is musicians tuning up. I thought this was just a daft stereotype that I was relying on, but sure enough with seconds to go until curtain up, there it was! Even that was a bit of a thrill!
As the ballet started though, the orchestra playing Prokofiev’s soundtrack were wonderful. The set and lighting had a hazy, almost other-wordly feel to it and the sight of Romeo and Juliet on opposing balconies stretching to attempt to touch felt somehow profound. And then the balconies were pulled apart and the two star crossed lovers simply got further and further away from each other.
Another thing to point out here; for a very short while I was waiting for someone to speak. It is after all a Shakespeare play and so, as someone who has seen a fair amount of those in my time, I struggled a little to adjust. However, within what could only have been a few minutes I had relaxed into it and was simply carried away by the story and the beautiful way in which it was being told. I mean, who doesn’t know the story of Romeo and Juliet?
I don’t feel qualified to review the ballet from any kind of knowledgeable standpoint. Those on stage looked magnificent, at the very top of their profession, but unless anyone literally fell over, I couldn’t really judge.
What I do know is just how impressive and emotional the whole thing was. I knew that watching ballet in a theatre would fascinate me and I was in no way disappointed. For the majority of the time there was just so much going on on stage that I’d be trying to watch everything with a keen eye, fully aware of just how much I’d be missing elsewhere on stage. This wasn’t simply about the two main players. Every dancer excelled in their ability to convey emotion and the events of the story and the whole thing was just a feast for the senses (well, eyes and ears anyway!).
I sat watching for over 2 hours, admiring not only the fact that Northern Ballet’s troupe were just so graceful and powerful, but also marvelling at their stamina. As a middle aged runner, I’m thrilled with myself for going for a run for around an hour. I regularly speak to friends about how fit footballers are with the sheer amount of distance that they travel in a game, but the realisation of what these dancers were putting themselves through for such an amount of time couldn’t be ignored. I’m sure it’s something that seasoned ballet fans take for granted, but it was just another thing that absolutely fascinated me about the whole thing.
At this point, I wish that I had more knowledge to impart, but about as far as I go in this particular area is knowing the names of some of the moves. I’ve little or no idea what they look like though. What I can comment – again – on is just the level of skill involved. The choreography must have to be so incredibly detailed that for a mere plodder like me, it doesn’t bear thinking about. I watched in awe as dancers spun and soared in perfect time together and dovetailed across the stage with great agility and power in order to tell the story. Beforehand, I’d wondered if I might drift off given that the whole show was well over 2 hours long, but it really wasn’t an issue and I was invested in the tale from minute one.
I can’t finish writing without singling out Kevin Poeung, who played Mercutio and gave an incredible performance. He was just impossible to ignore and brought real personality to the role, adding just a dash of comedy and mischief where it was needed in order to accurately give us the unpredictable Mercutio that we would have expected. In short, Kevin’s was a brilliant and thoroughly entertaining performance among a cast that really were fantastic.
Watching Northern Ballet’s Romeo and Juliet was a genuine thrill for me and I’d really recommend going to see anything that they put on. And this wasn’t just something I think I can tick off some kind of bucket list, either. I’ll definitely go back to the ballet sometime in the future. So, if like me, you’re wondering what a ballet might be like, I could only recommend that you too take the plunge.
Bob Cratchit’s sideline as a gangsta rapper was clearly of no interest to Scrooge who much preferred grime.
Labelled as ‘Laura’s Ridiculous Idea’ and granted its own Facebook Messenger group in order to get things organised this version of a Christmas classic was always going to be a tall order to pull off. But boy, did they manage it!
Late last year and indeed last decade, following a casual phone conversation, the idea was put to staff that the English Department at Thornhill Community Academy in Dewsbury should attempt to put on a version of Charles Dickens’ ‘A Christmas Carol’. The usual avenue of getting an outside theatre group in had proven far too expensive, but we still wanted our kids to have some sort of theatre experience. In a school that prides itself on doing things our own way and constantly striving to go the extra mile there was nothing else for it. We’d do it ourselves.
A wild idea? Yes. A bridge too far? Well, given that this was the famous ‘Educating Yorkshire’ school, then surely nothing was impossible. Needless to say, following several meetings and conversations as well as a few begging requests for props and costumes on social media, an ensemble cast was put together and a play began to take shape. A script was found, music and scenery arranged and staff put themselves forward for several roles each, some with a great deal more enthusiasm than others *coughs* Mrs Sinclair. (Episode 3 of Educating Yorkshire if the name rings a bell. Believe me, she’d want you to know).
Our production was to be put on twice in one day. A morning performance for the whole of Year 11 – and any staff that could make it along – and then a matinee performance, if you will, for Year 10 during the last hour of a busy day.
By the day of the performances the cast had managed to run through a whole two (count ’em) rehearsals. After all, any English department is a busy one, but let me tell you, the work we do here at TCA takes up an extraordinary amount of time. And thus, rehearsal time was at a premium. However, everyone in the camp – and also a lot of the pupils who would be in attendance – were excited and showing no signs of nerves on the morning of the performance. I say everyone, but personally I was terrified and all I had to do was work backstage and press a button occasionally.
Now although ‘A Christmas Carol’ is quite a serious play it was evident from the time the curtain went up (I mean, we have no curtain, but when writing about theatre, dahling…) it was clear that the objective of the whole cast was to have some yuletide fun. And so, while Scrooge (TV’s Matthew Burton) made his entrance he was roundly, and in an exaggerated fashion, snubbed by those making merry on the stage before we cut skilfully to his counting house – a beautifully prepared couple of desks and a different backdrop.
The pre-Christmas merriment continued as the play went on. The undoubted star of the show, Mrs Sinclair, brought out many a laugh, not least with her portrayal of Scrooge’s charwoman. Bent double, moving like some kind of hunchbacked Mick Jagger and in possession of what can only be described as a hybrid regional accent it was hard to keep a straight face as she asked, “Warm yer bed, sir?” Of course, this was a moment that one wouldn’t find in the novella, but it kind of set the tone for the rest of the action.
Emma, Laura & Bryonny proving that for actors sometimes words just get in the way.
Other highlights would include the whole cast – those on and off-stage – gesturing furiously towards what we’ll laughingly call the mixing desk – in a vain attempt to get our ‘visual technician’ to change the background when Scrooge tried to talk to Marley’s face in a door knocker that hadn’t yet changed to a door knocker from a street scene. Our ‘visual technician’ was me, left in charge of the clicker for a screen with a PowerPoint on. It had taken me mere minutes to relax and enjoy the performance so much that I forgot my job. A little like my role in the school nativity as one of the three wise sheep (probably) about forty years ago when I got so distracted by concentrating for my prompt that I forgot my one line – ‘baaaah’ – entirely.
Personally, I enjoyed watching the sheer glee on the faces of my colleagues every time they took to the stage. I don’t mean that they were grinning like idiots, but their enjoyment of what they were doing was all too obvious. As a very shy bloke I wouldn’t have dared attempt to act and so the brilliance of the performances in front of me was a joy to watch. The play was worth an imaginary admission fee for the ad-libs alone, but the approach of our actors was just brilliant. Another thing to admire about our talented department.
Later, and much to the astonishment of the audience – and the audible delight of Mrs Bell – Mariah Carey showed up at Fezziwig’s party and the English department gave a master class in how not to dance and how to avoid the actual rhythm of the track. As Scrooge watched on accompanied by a ghost that appeared to be wearing a christening gown on her head, Fezziwig’s Christmas party fairly rocked to the sound of ‘All I Want For Christmas Is You’. Nearby, the all female section of the cast involved at this juncture did their best dad-dancing and all of a sudden it wasn’t so clear to see why Scrooge missed his days with Fezziwig so much. Sadly my request that ‘Horny’ by Mousse T be playing was rather criminally ignored. I mean, what kind of party doesn’t feature Mousse T? And what kind of adaptation of a Dickens classic is complete without teachers dancing to ‘Horny’? Oh, hang on…
Further highlights included Scrooge talking like a parrot – and apologising for doing so – the appearance of a child’s unicorn in place of a horse and carriage and a veritable cavalcade of accents, none of which seemed appropriate and some of which seemed to morph from region to region as the lines went on. Mrs Stylianou in particular, with her hybrid Welsh/Carribbean/Glaswegian accent, brought a certain mirth to proceedings that made it difficult not to laugh from the sidelines. Well accustomed to her bad accents, this reviewer just shook his head. Getting back to the appearance of the unicorn by the way, I have no doubt that one will also appear in a student’s written response about ‘A Christmas Carol’ in the near future, just as guns and cars are referred to in essays on Romeo and Juliet as a result of the Baz Luhrmann film. Fingers crossed it’s not a GCSE exam response!
As the curtain went down (we still didn’t have an actual curtain) and the players re-appeared to take their bow there was rapturous applause from those in the cheap seats. The assembled staff and students had clearly enjoyed their hour’s entertainment.
There was a special and deserved round of applause for our director, Dr Laura Price (not an actual medical doctor; a fact we have to confirm at our school on an all too regular basis) who had worked ridiculously hard to make this all possible, as well as taking on at least three roles too.
And therein lies the ‘thing’ about my place of work. This play was the epitome of what has become our mantra over the years – work hard, be nice. I’ve worked at schools where staff would gladly put on a show, but all too often these could turn into a vanity project. The staff panto at a previous school, for instance, was clearly always just a chance for the head to feed her ego by playing an overblown villain. This was anything of the sort. The people involved certainly didn’t need any more work. In amongst the planning, teaching, exam marking, after school lessons and other extra curricular work that we do, the thought of putting on a play was indeed a ridiculous idea. But the people that I work with will stop at nothing to help our kids. And so, vanity and in some cases dignity were put to one side, in the name of education and in order to give our pupils an experience that they otherwise would be very unlikely to have (and by that I mean a theatre visit, not just a chance to see their teachers dressed up and messing about). As I said, work hard, be nice.
It’s no exaggeration to say that this show was a triumph. It wasn’t slick or enormously polished, but it was a whole world of fun and I have to say my admiration for the people that I work with, already sky high, went up another few notches. The play was put on a day before the end of quite a brutal half term and yet my colleagues couldn’t have been more enthused about the whole thing. Me? I put the nerves to one side, scaled a flight of stairs off stage and pressed a button occasionally, but heroically.
I fear that the performance will now become an annual thing, meaning I’ll feel the pressure to get out there and perform. But, given what I watched at the end of term in December, I reckon my colleagues would carry me through. And if it’s got me thinking of taking the plunge on stage then it must have been a success.
Middle Age Fanclub 