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The Plough Arts Centre, Torrington, Devon

October 6th 2017


Johnny Hates Jazz


 On the evening of the 6th October Clark Datchler, the singer-songwriter of Johnny Hates Jazz returned to his old home county of Devon for an acoustic show at the Plough Arts Centre, in the stunning rural setting of Great Torrington. In this intimate venue on a softly lit stage, Clark Datchler was joined by producer and engineer Mike Nocito on bass and supported on acoustic guitar by Marcus Bonfanti.


Johnny Hates Jazz origins date to the early 1980’s when Clark Datchler and Mike Naocito met at RAK Studios in London when Clark became lead vocal in the band Hot Club working alongside another original member of Johnny Hates Jazz, Calvin Hayes. In 1983 Hot Club released a single on the studio label and performed at the London Marquee Club, after which RAK Music executive Mickie Most signed Clark as a solo artist. It was he who suggested that Clark work with a young highly regarded producer and engineer at RAK Studio’s, Mike Nocito. Clark began to write new material, the first of which was ‘Shattered Dreams’. His father Fred, an accomplished Jazz musician, listened to the song as it was being written, and predicted it would be a success. On performing a showcase at London’s legendary Jazz venue, Ronnie Scotts the group was signed to Virgin Records. ‘Shattered Dreams’ was released in early 1987 and became a top ten international success. It was followed by four other worldwide hits, including the anti-war anthem ‘I don’t want to be a hero’, ‘Turn back the clock’ (featuring Kim Wilde on backing vocals) and ‘Heart of gold’.


Throughout the evening the audience was taken on a journey through the life story of Johnny Hates Jazz using many of their most iconic songs  taken from the number one smash hit album ‘Turn Back the Clock’. The skill it takes to stage this show does not spring out of nowhere during the evening Clark would often tell mesmerising, carefully crafted stories onstage, pausing songs for as long as ten minutes to do so. Performing radically stripped-down

renditions of the songs, plus personal revelations. And even after a twenty-five-year absence songs taken from the highly-anticipated follow-up album Magnetized that show Datchler has not lost his talent for incredible tracks such as ‘The road not taken’, inspired by the Robert Frost poem of the same name and ‘You Belong To You’ on the theme of equality.


Johnny Hates Jazz are continuing the thirty-year celebration of the number one multi platinum selling album ‘Turn Back the Clock’ with tour dates across the United Kingdom including performances in Glasgow, Birmingham and the O2 in London.

Tickets can be purchased at http://johnnyhatesjazz.com/#tour, do not miss this opportunity to see one of the last and best electronic bands to emerge from the 1980’s

Darren N. Henson, 2017. On behalf of TCR Radio. 


HEDDA GABLER review

National Theatre

HEDDA GABLER

Monday 2-Saturday 7 October  

The Lyric, Theatre Royal  Plymouth


This is the National Theatre's Tour of Hedda Gabler, a new version of the script overseen by Patrick Marber. It is directed by Ivo Van Hove, the hot shot Belgian theatre practioner, who works with his long term partner the designer and lighting Designer Jan Versweyveld. Together they are renowned for the singular vision of their productions, and this is no exception. From the moment you enter the auditorium it is clear you are dealing with something more challenging than your standard drawing room Ibsen production. 


The Stage is transformed into a vast box set, with a few items of furniture and a piano centre stage with Hedda slumped across it. The lighting is subdued in pre-show with soft piano playing heard. But the uncompromising style is continued when this slams into the opening of the show as the buzz of pre-show is cut startlingly short by a sudden switch to the stage, taking the audience by surprise and leaving us catching breath.


Unfortunately, perhaps due to opening night issues, that shock was not built upon by the opening few lines, which proved hard to catch due to the sudden transition and curious lack of energy and volume on stage, but fortunately that didn't last as we were drawn into the characters and their situation.


I like to think I know Ibsen quite well, and in general productions of his plays tend to be rather similar. One could not say that of this production, which is unrelentingly harsh and uncompromising. It wrenches the play from the cosy drawing rooms of 19th Century Norway to the sparse modernity of scandic noir, and is perhaps closer to Nesbo than Ibsen in its bleakness.


However, if the measure of a great production is to make one view the play anew then this is surely a great production. There were sides to all the characters which I had never really seen drawn out so starkly and clearly. Hedda herself, always a little baffling in her lazy schadenfreude, is transformed into a terrifying sociopath undone by her own cruelty. Judge Brack, traditionally more of a fatherly figure at ease with his masculine social conventions, becomes a sexual predator who manipulatively rubs Hedda's face in her own crimes at the finish. 


Even Tesman, Hedda's husband, is different to the normal dull and stuffy character, as a thrusting and earnest young academic keenly frustrated at his lack of position and money. Løvborg, Hedda's returned former lover and Tesman's academic rival is more regular in his depiction, as is Mrs Elvsted, his lover and collaborator, but they too are much sharper than usual.


The role of Bertha the maid is also transformed by the production, she becomes Hedda's missing conscience, always present on the stage, and acting almost as an accomplice to Hedda's manipulations.


The lighting and staging serve to ruthlessly underline the harshness of the production, throwing shadows, high contrast and directional lighting across the scenes, pulling some of them almost entirely into gloom and accentuating the rampant symbolism employed throughout, the pulsating sound design also serves this to great effect. 


Overall a memorable and somewhat disturbing production, with a great ensemble performance, which will serve any student of Ibsen a hugely thought provoking feast, rendering it every bit as controversial as it was in its own time.


Steve Bush on behalf of TCR Radio - Community Radio for Mid Devon.


“I’ve no talent for life.”

Just married. Bored already. Hedda longs to be free…

Hedda and Tesman have just returned from their honeymoon and the relationship is already in trouble. Trapped but determined, Hedda tries to control those around her, only to see her own world unravel.

This acclaimed new production of Ibsen’s masterpiece Hedda Gabler comes to Theatre Royal Plymouth following a sold out run at the National Theatre. Adapted by Olivier Award-winning playwright Patrick Marber (Closer, Three Days in the Country) and directed by Olivier and Tony Award®-winner Ivo van Hove (A View from the Bridge), who made his National Theatre debut with this bold and modern new production. Lizzy Watts plays the title role of the free-spirited Hedda Gabler, one the greatest dramatic parts in theatre and regarded as the female Hamlet.

Hedda – Lizzy Watts
Berte – Madlena Nedeva
Juliana – Christine Kavanagh
Tesman – Abhin Galeya
Thea – Annabel Bates
Brack – Adam Best
Lovborg – Richard Pyros


JETHRO  Comedy Hall   20th July 2017  TCAT

- Remedies - 
A Ballad of Broken Britain
 
by Middle Weight Theatre

Remedies - A Ballad of Broken Britain by Middle Weight Theatre as part of Barnstaple Fringe Theatre Festival 2017

I didn't know quite what to expect, only knowing that it was a political farce and even wondered whether I would enjoy it.

But from the very first I realised we were in for a treat and an evening of laughter. For an hour we were immersed in Remedies where the two very different and very opinionated pharmaceutical assistants; David played by Al Wadlan and Martin played by Matt Roberts, held forth on a variety of topical subjects ranging from Brexit, the ill’s of modern society with single parent families, malingerers and benefit claimants probably voicing what many of us think.  

They were interrupted in their discussions by the many appearances of Justine played by Louise Mennington who was their area manager who strove to bring some order into the pharmacy, and by a handful of customers.

One got the impression that not very much was sold over the counter but that well meaning advice and occasional insults were liberally dispensed; from the phone conversation with the 93 year old Mr Rogers who needed help in the bedroom department to the jittery teenage boy desperate to buy condoms, and the middle aged lady wanting to lose weight.

I would have liked to be able to remember all the comedy, some very controversial, and wouldn't mind seeing it again. One joke was David reminded Martin that several hundred people had died because he forgot to order dental floss, and although David forgave him ‘he doubted that the victims would have done’.  Another controversial comment was that a man with the IQ of a verruca led America. Who could they possibly be referring to?

The Middle-weight Theatre Company, was founded in 2013 in Exeter by Matt Roberts and Tom Stabb.  They have toured the UK including playing at the Edinburgh fringe where they presented Insensible.

Remedies is their third production and was written by Matt Roberts who portrayed Martin and in the program it is suggested he wrote the best lines for himself! A writer’s prerogative of course.

Al Wadlan played David with a stoic controlled anger and was the perfect accomplice for the fiery Martin played by Matt, and Louise. Charlie Killen as a customer and Nicola Killen as the lady customer played their supporting roles very well. The comedy and the jokes came fast and furious from the beginning, almost a laugh a minute, yet the play was not without a certain pathos.  David took it upon himself to supply the 93 old with Viagra with very unfortunate consequences including the loss of his job.  David was very proud to be British and we heard he was adopted and was trying to find his real parents, even secretly hoping that with his name of Windsor, he may have royal connections.  But there's a twist at the end, which I'd better not reveal for the sake of those still to see the play.

The venue for the play was St. Anne’s Chapel, a beautifully restored building in the heart of Barnstaple and it is just one of the venues used as part of the Fringe Festival to host dozens of original plays and performances now a very established ‘go to’ festival relying on volunteers and sponsorship so do get involved! St Anne’s made an intimate space become a special location for this play where you became drawn into the life of the pharmacy.

This first performance was very well attended and much appreciated by all the audience throughout its duration. The play runs for the next 2 nights for more information:

www.theatrefest.co.uk

www.facebook.com/MiddleWeighttheatre

Twitter @MiddleWeighttheatre

Review by G.Goldring on behalf of TCR Radio ‘STAGEDOOR’ show 

‘Supporting local theatre and performance’

Comedy Hall   
Steve Lodge chats to Tony Cowards and Mark Watson

Comedy Hall  
Steve Lodge chats to Joel Dommett & Luke Honnoraty

Matt Lawrenson chats to Steve Lodge
organiser of Comedy Hall TCAT Tiverton

NZINGaBETH

The Oak Room Tiverton 10th March

NZINGABETH 

The beautiful Oak Room played host to NZINGBETH! An innovative and entertaining theatre production representing a collaboration between The Bluebirds, Storytree and Four of Swords companies.The play proposes a profound meeting between two warrior Queens from two contrasting cultures. Our Queen Elizabeth I and Queen Nzinga of Angola.
Both lived across the 1600's time period, brought together onstage, through the medium of Dr John Dee's magical mirror.Sasha Cohen and Gloria Lawrence take on the mantle of these contrasting characters presenting an enigmatic and proud dynamic. Both challenged by their counterpart, their clash produces a rush of royal incredulity and rare historical information. Rich Elizabethan costume and authentic music by Ben Tallamy support the integrity and atmosphere of the piece.
This historical clash of characters is presented through precise vocal games and physical theatre techniques, these are supported by live compositions of Tudor music and African drumming.The Queens' find common ground in confronting a Portuguese enemy amongst humorous onstage battles around etiquette and taste.
The exploration of the piece then deepens to challenging notions of nationality, gender and power. This is made accessible by the direction and writing of Philip Kingslan John who deftly manages to balance; drama, information and entertainment for the audience.
Characters develop and personal sacrifices are explored resolving in an enduring harmony. The company manages to bring an entertaining lightness and skill to subjects of gender, power and nationality.
This is an entertaining, informative and adventurous piece…rich and exotic... like the contents of a Tudor merchants galleon!

NZINGABETH is currently gaining momentum, touring nationally. See www.nzingabeth.com for details.
Matt Lawrenson interviews...

'A View from the Edge'  by Owdyado theatre productions

TCAT theatre, Tiverton. February 2 2017

View from the Edge theatre review
View from the Edge theatre review

A View from the Edge by Owdyado theatre productions

TCAT theatre, Tiverton. February 2 2017      www.tivertontheatre.com

Owdyado theatre presented me first off with a conundrum, before the performance had even started that is how to pronounce their name. I googled it first or did I twitter? Anyhow I forget but some Japanese references popped up and I was convinced it was oriental in origin. It turns out it isn’t and the cast put us straight; it is pronounced How –Do – You- Do as in how do you do theatre? So that’s that solved. This company are from Cornwall and are resident at the Hall for Cornwall. They are touring with this production all over really including ‘up north!’ before returning back to do more performances in the West Country (check website for up to date details) Tiverton was their opening night and what a great practical space TCAT at Tiverton high school provide, with trusty volunteers on hand too there is even a bar. Unfortunately, the next show was due at the Landmark Theatre in Ilfracombe but it was only last week that we learned that North Devon Theatres had gone into administration. TCAT honoured any tickets bought for that to be valid at tonight’s performance.

A View from the Edge is intriguing. It has so many red herrings and shifting time scales that you are led up one alley and find that is going off down another. It makes for interesting watching and all of you out there who like to guess the plot will find this a challenge. It was written by 2 of the actors Charlotte Bister and Dan Richards who do a commendable job in not just the writing but the acting; switching from role to role which generally meant swapping jackets too. I wonder if during the tour they will forget whose jacket was whose?

They gave a faultless performance at Tiverton with 4 cast members. The play is noir in origin and by that I mean classic, black and white, a murder, clues and mostly set in a smoking office circa 1949 in downtown New York .Complete with the obligatory fan and femme fatale knocking on the door to Mr C Daniels (Detective) who demands 2 large ones as payment (half now, half later) to help her find her missing husband, painting and a mysterious Charlotte. The play then flits into the contemporary mind of the writer writing this piece (called Charlotte) and her struggles to finish this piece with pressure from her cast members as if she doesn’t, it will just end up as a Shakespeare play (Macbeth) which indeed it does do a bit later (but enough of that). The play centres on the actors, the dilemma of finding husband/painting and how they merge into an alternative reality throughout the piece. It has elements of ‘Stranger than Fiction’ (2006) a film starring Will Ferrell and Emma Thompson were the author actually meets the fictional character she has created and her power over him. The series ‘The Singing Detective’ also weaves through this and a bit of ‘Twilight Zone’ too.

The creative use of the set brings the era to life with office/bar/home as the actors make use of every square inch; including the blackboards which soon fill up with clues and ideas. The menacing underscore which crops up repeatedly adds to the suspense and a nice touch was the disembodied voice coming over the radio. A few murders happen reaching a crescendo and this is where it does get confusing as how is killing who and in what time dimension was that happening in? All in all an enjoyable show and there were comedic moments too which worked well and the audience tonight noted them all , there was some dancing and singing including an excellent sultry song in the bar by the gorgeous Katy Withers playing Delores.

www.owdyado.co.uk

Local talent Andy Lockyer chats to Caro B about theatre company 'Signpost' directing this year's pantomime 'Dick Whittington...and his cat' 
, past shows and the history of Tiverton.
( Our deepest 
sympathies, Andy past away in the spring of this year )

Andy Lockyear photographer
Dick Wittington pantomime
Tiverton Signpost  Club

The Spirit Whistle

Iron Moon  Arts bring you an adaptation of a M.R James story based on a possessed ancient whistle that is found and what manifests during a night at The Oak Rooms (St Peter's Street) run 7-17 Dec 8 pm check on line for up to date run times and ticket info www.ironmoonarts.com tickets on door too. 'Original theatre at it's best with up to date multimedia'. 5*. 

Spirit Whistle Theatre Arts Local
Spirit Whistle Theatre Arts Local
Spirit Whistle Theatre Arts Local

Patterns Theatre Company

Trelah Theatre Arts Local

Vicky Davies tells us about Patterns Theatre Company from Willand; their exciting production of Treelah at Tiverton Theatre with puppetry by Chloe Baker (Petroc art student). a series of plays was produced at The Walronds in Cullompton with more to come in May 2017! Vicky is also an actress and was most recently performing in The Reunion in the New Hall. 

Vicky Patterns Theatre Arts Local
Trelah Theatre Arts Local

Defender of the Dead      

by Sian Williams   a Boiling Kettle production

Defender of the Dead Theatre Arts Local
Defender of the Dead Theatre Arts Local

THE   REUNION     
Director  Sophie Gale talks to Caro B 

Reunion Sophie Gale Theatre Local Arts
Amber Pugh Film Movie Cinema

Local actress Amber Pugh talks about her role in Miss Peregrine's Home For Peculiar Children and http://medtheatre.co.uk MED theatre productions  on Dartmoor and their new production Hound of The Baskervilles The Last Wolf project. 

http://www.youtube.com/watch?v=tV_IhWE4LP0&sns=fb

STAGE DOOR, theatre, arts