BLATHERSKITE

Blatherskite, noun, a person who talks at great length without making much sense. This a blog for my theatrical ramblings & cultural commentaries on lots of different nonsense. Enjoy!

[blatherskiteblog]

“A beautiful commitment to animals.” Interview with taxidermist, Elle Kaye

Elle Kaye. Photograph by Justin Van Vliet

Taxidermy. It’s a word that really gets people talking. They either aren't entirely sure of its meaning or they have plenty to say about it. It’s certainly not something most people associate with a young woman, who is carving an extremely notable career in this unusual field. Elle Kaye isn’t your average 23 year old. Long dark hair and striking eyes, it’s hard to imagine that she spends nearly all day gutting and stuffing dead animals. As she explains, many people have a warped perception of taxidermy as both an art form and a career. The precision, love and craftsmanship that goes into each piece is phenomenal. The art of stuffing animals requires much more than just a steady hand and is most definitely not a career for the faint of heart.Elle studied fine art at university and after taking just one class in taxidermy, she self-taught the rest. Elle regularly teaches taxidermy up and down the country as well as working on private commissions, exhibiting at art fairs and working on large projects for film and television.With more and more celebrities opening talking about their love of taxidermy (Jack White and Angelina Jolie to name a few), the popularity of purchasing custom pieces is on the rise. The archaic imagery of a deer head mounted pompously on a Victorian drawing room wall is long gone. Taxidermy is in and Elle tells me why. 

How did you discover that taxidermy was your passion? It’s a beautiful commitment to animals. It’s conservation and admiration. I wanted to be a vet since I was small, but maturity revealed I was artistic and not academic. Being a mastered sculptor certainly differentiates the success of taxidermy.

You’re one of the youngest professional taxidermists in the UK, which is incredible at the age of 23. What would you say is your biggest achievement to date? Being a taxidermist seven days a week!

What do you think is the biggest misconception people have about you and about your profession? Some people seem to think that I kill the animals myself. If a taxidermist has gone to the trouble of reconstructing an animal to its former glory, with respect and dignity, it can’t possibly be underpinned by brutality.

Elle Kaye. Photograph by Justin Van Vliet

What’s the biggest problem you’ve had to overcome in your career so far? I constantly have to justify and defend myself. I’m not sure what it is about working with animals, but people have strong opinions about it. I think people feel a huge amount of protectiveness, so they immediately jump in to defend animals. What I have to remind them is taxidermists are on their side, and that we love animals. I think there’s an ignorance about taxidermy because it’s not particularly commonplace.

You don’t learn it in schools, although I wish you did. With most taxidermy being available as an end product, people tend to forget that there is craftsmanship that goes into it, and a person who has to create it, not a machine. Sometimes my work is both heart breaking and back breaking, just like any other job.

Where do you see yourself in five years time?

With five years more experience having given life back to five more years of deceased animals.

What does a day in the life of Elle consist of? It varies. When an animal passes away it’s preferable to skin it closer to death than to leave it. I’m on call when it comes to skinning animals. If I’m model making (creating an anatomically accurate model to represent the carcass, that sits beneath the skin), it’s more of a nine to five, as it can be physically very demanding. If I’m working on location providing props for a film, we often have early call times.

Elle Kaye. Photograph by Justin Van Vliet

You’ve recently exhibited at The Other Art Fair – it wasn’t your first appearance there, what was different this time? I introduced some more exotic animals in the line-up. Not only to demonstrate my ability, but to also generate a dialogue between this sort of taxidermy and the public sphere.

What’s been your favourite piece of work you’ve created so far?

I’ve had a love-hate relationship with giraffes since I was small. My parents adopted me one from London Zoo for a single figure birthday, but when I visited “my” giraffe, clutching my prized photograph (so I could clearly identify her) I was heartbroken when a young boy next to me was doing the same thing – with exactly the same printed photo, of my giraffe. I fell out of love with them then until I was fortunate enough to work on one for the first time. That changed everything.

What advice would you give to anyone hoping to get into taxidermy? Our duty as taxidermists is to have respect for the animal, and that should come before anything else. Patience is probably the only advice I could offer. I’ve been doing this for years and there are still so many things I’m yet to learn and master.

What are your other passions and hobbies? I love classic cars, motorsport, and I like watching ballet. I did ballet for almost sixteen years, so it always warms my heart and reminds me of a being a little younger and freer. I’m a huge foodie, and I think eating out has to be my favourite pastime. I’ve just discovered tasting menus and flight pairing – what an incredible way to waste evenings.

Elle Kaye. Photograph by Justin Van Vliet

You have some really exciting projects in the pipeline for 2016; can you tell us more about them?

I’m delighted to mention my recent partnership with Simon Wilson. There isn’t a ceiling to our creativity, and although I can’t say much more, expect some big things to come. It’s a joy to work with someone who is in equal parts professional and brilliant, and who shares the same outlook, mindset and intention. Wilson & Kaye Natural History Interiors represents everything I used to dream about creating, putting the animal first, every single time.

Finally, what options are there for taxidermists as they progress up the career ladder? Just as doctors are there so long as people get sick, as long as animals pass away I will be doing what I do. Taxidermy is relevant for education, for museums, for film, photography, art. There is such longevity to taxidermy, it has already transcended decades of generations – the timeline is just evolving.

All photographs: Justin van Vliet

Find out more about Elle’s work by visiting her website. Twitter: @wktaxidermy

Written for theglassmagazine.com

[blatherskiteblog]

As You Like It at the National Theatre

Often referred to as one of the first ever sketch-show plays, it is understandable that some directors may feel hesitant about taking on the challenge of Shakespeare’s pastoral comedy, As You Like It. However, Polly Findlay’s fearless production at the National Theatre rejuvenates the 1623 play with relevancy and sheer exhilaration. One of Shakespeare’s more bizarre works, the audience are taken on surreal ride into the Forest of Arden where the characters demonstrate the real meaning of love at first sight, in a fast-paced story of false identity.

The tone of the performance is set undoubtedly by Lizzie Clachan’s spectacular design. The opening scenes take place in a corporate robotic jungle where Post It notes are flying and everyone eats their sandwiches in perfect unison. It doesn’t entirely make sense, particularly the lucha libre-style wrestling match, but what does that matter?

Patsy Ferran (left) and Rosalie Craig (right) in As You Like It at The National Theatre, London. Photograph: Johan Persson

It provides a stark contrast to the fantastic dream world of Arden that is all of a sudden revealed, as if by magic in an epic scene change. The clinical metal office furniture is pulled upwards towards the top of the stage to form the Forest of Arden in the performance’s most stunning moment. Members of the cast sit neatly within these chair and desk “trees”, providing a continual forest soundscape with the noise of whistling winds and birds singing.

Philip Arditti as Olivier and Patsy Ferran as Celia in As You Like It at The National Theatre, London. Photograph: Johan Persson

The Forest of Arden acts as the ideal rural backdrop for its characters to experience freedom and transformation, away from the urban hustle and bustle of city life. We watch Rosalind (Rosalie Craig) disguise herself as a young man, Ganymede and her cousin Celia (Patsy Ferran) becomes a poor woman, Aliena. The chemistry between Craig and Ferran is an absolute joy to witness as Craig seamlessly commands the stage, playing both male and female roles expertly, without resorting to any hackneyed movements or tones of voice. Similarly, Ferran’s wide-eyed naivety and impeccable comic timing as Celia makes her impossible not to watch as she delicately complements Craig’s self-assurance and outspokenness as Rosalind.

Music plays an impressive part in the production as Fra Fee’s soothing voice adds a beautiful rhythm to many of the less action-packed scenes. Furthermore, the entire cast becoming sheep dressed in woolly jumpers and moseying about the stage transforms a potentially dull dialogue between shepherds. The comic physicality and sporadic baa-ing in this scene delights the audience as one sheep nonchalantly chewed its way through one of Orlando’s many declarations of love.

Rosalie Craig as Rosalind and Joe Bannister as Orlando. Photograph: Johan Persson

The whole experience is interactive and engaging and despite some stand out performances from lead roles, it really feels like an ensemble piece. Actors constantly multi-role while providing musical accompaniment, climaxing in a heart-warming group number to close the play. Polly Findlay delivers a production that feels natural and modern while still maintaining the traditional touches of a farcical pastoral comedy.

All photographs: Johan Persson

As You Like It is at the National Theatre until March 5, 2016

National Theatre, South Bank, London, SE1 9PX. Book Office: 020 7452 3000

Written for theglassmagazine.com

[blatherskiteblog]

Henry V by the RSC at the Barbican

There’s nothing like an epic Shakespeare play performed skilfully in a stunning venue to warm your bones and heart on a chilly evening in December. Part of the King and Country cycle, director Gregory Doran’s simple, effective and deeply thoughtful production of Henry V at the The Barbican, London sheds light on the culture of war and its psychological effect of those dragged into the proceedings.

The Royal Shakespeare Company’s production of Henry V. Photograph: Keith Pattison @RSC 

The sparse, unpretentious set resembles the interior of a lofty cathedral, allowing for the cast to step up into huge roles and responsibilities, particularly Henry, played subtly and intelligently by Alex Hassell. The play itself is full of uncertainties, as we follow Henry’s voyage from boy to man, beginning with his unconfident early days as King, to the climax at the Battle of Agincourt, where we see him grow in self-assurance and maturity.

Alex Hassell as Henry V. Photograph: Keith Pattison @RSC

Hassell masterfully captures a real childlike insecurity in Henry’s opening scenes, appearing juvenile and anxious but masking his weakness with bombastic bravado and wit. Hassell has a real gift for inviting the audience in, which can be difficult when performing end on. He rallies us as if we were his troops and at other points, we play the French during battle. He looks to the audience for reassurance and we fall for his loveable charms as he exposes a very human side to Henry and reveals the relentless pressures of being King.

Alex Hassell as Henry V. Photograph: Keith Pattison @RSC

Undoubtedly, the comic relief from Pistol (Antony Byrne) and Nym (Christopher Middleton) is much needed in between lengthy monologues and logistical battle debates. Special mention must also go to the charming interchange between the Welshman, Scotsman and Irishmen who had the audience in stitches. Similarly, Oliver Ford Davis as Chorus is a master in creating tension and picking up the pace in some of the wordier parts of the play.

The energy really ramped up in the second half, a particular highlight being the delightful scene between Princess Katherine and her dressers. Jennifer Kirby’s Katherine is playful and witty and charmed the audience with her ridiculous French pronunciation of English body parts. This beautifully choreographed light-hearted scene lifted the play, as the audience prepared to witness the final battle.

Doran’s post-modern production reminds us that this is play about the politics and intricacies of war, not about triumph or patriotism. It examines Henry’s notion of kingship and his frustration trying to do well by his late father and more importantly, by his God. We witness the great challenges facing Henry as he is forced to abandon his rebellious youth and unite his country.

Photographs: Keith Pattison @RSC

Henry V runs at the Barbican, London until 30 December Tel: [phone]

Written for theglassmagazine.com 

[blatherskiteblog]

Ring @ Battersea Arts Centre

Please note that Ring is in complete darkness and may not be suitable for those with anxiety or related health issues

If you’re scared of the dark, then this piece of immersive theatre definitely isn’t for you. Being plunged into blackness for just over an hour with only a pair of headphones to guide you isn’t everyone’s idea of fun. I had no idea what to expect from ‘Ring’ but I was prepared for my senses to be assaulted and some of my thinking to be questioned. 

If David Rosenburg and Glen Neath are aiming to confuse their audience and play tricks on the mind, then they have certainly achieved this. I arrived at Battersea Arts Centre with a fellow Slammer and we were both rather apprehensive about what the evening would hold. We are led into a large room with rows of chairs facing each other and an aisle down the middle. There is no assigned seating and we are each given a pair of headphones. A man who ushers everyone in and supports himself with a crutch introduces himself as Michael. We get the feeling that we are all part of some sort of support group, a therapy circle or ‘ring’ if you will. There was something very AA about the whole atmosphere and it was about to get a whole lot bleaker.

We are given one final chance to leave the room if we don’t think we can ‘handle’ it –gulp- and then the lights flick off. That’s when everything got pretty weird. Even though we were aware that everything we could hear was some extremely clever pre recorded dialogue and sound effects, I found myself doubting every single foot tap and throat clear in the room. The tech of the piece was incredible. The sound of distance footsteps getting nearer and nearer to the point were you are physically shuddering at the thought of someone being pressed close to you when there’s no one there at all is pretty insane and also rather embarrassing – thank god no one could see each other. Chills really shot down my spine when suddenly Michael began whispering flattering things into my ear and soon, upon hearing giggles around me, I realised I wasn’t the only one getting such special treatment.

The darkness and the heightened sense of sound make you question everything. Is everyone laughing or is it just the recording? Is someone actually behind me? Can everyone else hear what I am hearing? The experience is chilling, thrilling and dislocating and I would try it again to see what different things I would glean from it. The piece plays out as we hear different sections of dialogues from characters around us, including murderous thoughts and somehow by the end of it we all ended up on a beach listening to the waves.

 I think ‘Ring’ is a highly intelligent piece of theatre, allowing each audience member to have a much more personal experience than you ever could with the lights up. Darkness is deceptive and confusing but ultimately allows for total creativity and imagination for each individual. I didn’t fear for my life at any time but I was pretty uneasy yet desperate for the next whisper in my ear or footstep behind my chair.  All things considered, ‘Ring’ is one hell of a trip.

[blatherskiteblog]

'The Chase' by Pinch of Salt Theatre

‘The Chase’ by Pinch of Salt Theatre

Twickenham Theatre

With its roots in the Greek myth of Icarus and Daedalus, ‘The Chase,’ by Pinch of Salt is a delightfully imaginative and engaging piece of improvised and skilfully devised theatre.By employing inventive storytelling techniques, physical theatre, puppetry and live music, the cast guide their audience through a dark comedic fairytale with a twist. Set against the treacherous backdrop of Cold War Russia, ‘The Chase,’ explains how top scientists are being removed from their homes and forced to create the first atomic bomb in a secret Soviet laboratory. Scientist Micha, played by Joe Carter, must shake off his naturally cowardly nature in order to fight against the system; to stand up for what is morally right by escaping the dictatorial trap, whilst putting his son Slavic in grave danger.  Joe poignantly conveyed Micha’s personal battle against societal pressures versus personal morality with his tender performance.

I spoke to Stephanie Withers about the company and the collaborative process. Pinch of Salt met and formed whilst studying at St. Mary’s University in Twickenham. Stephanie refers to the group as a ‘collaborative ensemble who devise original pieces of work that aspire to tell an engaging story.’ ‘The Chase’ is their first original piece and they have been touring with it throughout this summer, playing at Tristan Bates Theatre in London, the Rome Fringe Festival, where it won the Spirit of the Fringe award, and the Galway Fringe Festival.

Stephanie’s focus on the word ‘ensemble,’ was highlighted to me throughout ‘The Chase.’ Clearly very comfortable working with each other, the actors seamlessly swapped characters and interacted with each other and the audience with ease and confidence. I learnt that there was no solid script from the piece, which I found extremely admirable. The final product came about from rehearsing different ideas and improvisation and the majority of the show is unscripted, adding to the elements of fun and spontaneity.

What I found most impressive from the company was their ability to balance the comedic and slapstick nature of the performance with the gravitas of the subject matter. Pinch of Salt have trained in the techniques of Jacques Lecoq and Philippe Gaulier, their style being rooted in clowning, miming and puppetry. While these elements were really the most exciting parts of the performance, it did not detract from the heartfelt story they were telling of the relationship between family members and how difficult a personal journey of courage can be. Despite this, I would have loved for slightly more focus to be placed on the father-son relationship of Misha and Slavic in parts of the piece, as there were some lovely compassionate moments between the two characters, that did not always develop entirely. However - this in no way detracted from the magical playfulness of the tale.

Actress Julie Nesher encapsulated these elements of light and dark beautifully in her characterisation of Babuska, Mishka’s mother and the chief storyteller of the piece. Playing an outrageous, outspoken Russian grandmother with such conviction captured the audience’s attention before the show had even begun. She exchanged banter with the audience, flirting with the men and lying across a whole row of stunned theatregoers before the house lights went down. Her characterisation was mesmerising as she embodied an elderly woman with her face, her voice, her movement and mannerisms – it was quite enchanting. But her comedic one liners, (‘Follow me on Instagram, hashtag Babuskha,’) were perfectly balanced with her touching storytelling skills, as she sweetly sung Russian folksongs, looking back in time to Mishka’s battle against the evil dictator. Another personal highlight was Cristina Arena’s hilarious portrayal of said dictator who had his own theme music, skateboard and personal assistant to place his hat perfectly on his head each time he aggressively shook it off.

There were some really creative touches to the piece such as the puppetry of the son, Slavic, played by both Stephanie Withers and Naomi Campbell at different points. The tiny puppet Slavic was voiced and controlled by the girls and I loved the subtleties of both the human actor and the puppet wrapping a spotted scarf around their necks simultaneously (an amusingly miniature one for puppet Slavic.) The set was simple yet interactive, the performers themselves forming living picture frames and items of clothing on a washing line. This added to the fairytale quality of the performance. Pinch of Salt Theatre share the vision of developing low tech – high impact theatre and this was extremely clear throughout. The a cappella rendition of Gnarls Barclay’s ‘Crazy,’ both bought the piece very much into the modern day whilst their adaptation of the song heightened the playful and childish elements of the performance.

Similarly their scientific dance breakdown to Abba’s ‘Gimme Gimme Gimme,’ was equally charismatic and if anything, I wanted see even more physicality in the piece, as clearly this is one of the company’s strongest skills. All five performers are talented singers and musicians and I enjoyed how the constant live music or singing underpinned the dialogue scenes perfectly, never allowing the pace to drop. The climax of the tale, mirroring Icarus’ desire to fly, revealed Slavic escaping from the laboratory using a pair of wings he had been making and having to leave his father behind, who was only weighing him down. 

Overall, ‘The Chase,’ thoroughly won me over. With such a devoted and talented cast, it was impossible not to smile and get wrapped up in the crazy tale. The company totally broke down the fourth wall and have created a piece of theatre that is extremely conscious and aware of itself. Meanwhile they were able to balance dark comedy and sassy characters with a true sense of morality and personal growth. Well done Pinch of Salt, I look forward to seeing what’s next for the company.

You can watch the trailer for 'The Chase' here:

https://www.youtube.com/watch?v=WVU4_P_jq9k

[blatherskiteblog]

Bombay Bicycle Club - So Long, See You Tomorrow

If there’s one band who know how to keep their fans waiting, it’s Bombay Bicycle Club. 2011 saw the release of their third studio album, ‘A Different Kind of Fix,’ and it was only in November of last year that the public were exposed to the first single, ‘Carry Me,’ from their newest album. We finally got treated to the entire product: ‘So Long, See You Tomorrow,’ in February of this year and it is safe to say – totally worth the wait. Personally, I think the album is their best yet and nothing short of a masterpiece. It is a truly eclectic mix of tracks, taking inspiration from many types of world music, yet still managing to blend perfectly into a bite-size chunk. The album was written during the off-duty travels of frontman Jack Steadman as he journeyed through India, Japan and Turkey and certain Asian influences can really be heard on tracks like ‘Feel,’ and ‘Overdone.’ I have found myself listening to the album on constant, allowing one track to run into another and often not noticing where one ends and another begins. It really is a delightful listen.

The album’s haunting vocals are not only provided by Jack Steadman but by the talents of Lucy Rose and Rae Morris. The collaboration with these two eerily beautiful female voices adds new depths to the band’s sound and keeps each track fresh and exciting. Each song brings something new and vibrant from jazzy tunes to slower, sultry, sulky verses to colourful Bollywood dance numbers featuring cowbells and tambourines. It feels like Bombay Bicycle Club has finally arrived, finally established an identity and if you’ve ever struggled to get on with the band before, this album will undoubtedly convert you. It’s a very beautiful, neat product, providing highs and lows in terms of mood and emotion.

My favourite track on the album by far is ‘Home By Now.’ To me it really stands out as the most interesting and hypnotising. The insistent crisp repetitive beat layered with the haunting echoing vocals and plinking piano keys made my arm hairs stand on end during first listen. It’s got a fantastic dance/electronica vibe to it and builds and builds, with the addition of Lucy Rose mirroring the chorus and then finally, both male and female singing together.

‘So Long, See You Tomorrow,’ is refreshing and imaginative, combining real heartfelt emotions with flirtatiousness and fun. The band has the confidence and talent to explore so many different musical styles, drawing on various influences and consistently pulling it off. It is an exciting evolvement in their journey as a band and I can’t wait to see what they come up with next. Well worth a listen. Or two. Or two hundred…

[blatherskiteblog]

                                                                        THE STAVES

Who are they? The Staves are my current favourite thing on my iPod. A three piece British folk trio from dearest Watford, The Staves are taking the worldwide music scene by storm. On first hearing their sweet harmonic sounds, I was reminded of Swedish singing sensations, First Aid Kit, and was pretty taken aback to learn that The Staves are actually just 20 minutes down the motorway from me. 

Their sound is simple, pure and extremely moreish. The video posted above is 'Winter Trees,' which I could just have on repeat all day. It's music that makes you happy, makes you think, makes you relax. It's difficult to find a fault with their ethereal sound and haunting harmonies.

The three girls are three sisters - The Staveley-Taylors, who started off singing in their local pub and after jotting their name up on the blackboard each time, it once became shortened to 'The Staves,' and it ended up sticking. In interviews they have discussed issues they had with being buttonholed into a 'Mumford & Daughters' type cliche and find themselves constantly compared to the likes of Laura Marling. They found their feet with Atlantic Records in 2011, who did not encourage the 'band-waggoning' like many other labels had. 

Their stuff is well worth a listen, especially their live acoustic sets. They really have a timeless and almost unplaceable sound that is particularly fresh and exciting at the moment.

[blatherskiteblog]

Blue Jasmine

“Anxieties, nightmares and a nervous breakdown. There's only so many traumas a person can withstand before they take to the street and start screaming.”

  Woody Allen’s latest screen venture is the poignant story of the downfall of New York socialite Jasmine French. In Blue Jasmine Allen pays homage to Tennesse Williams’ A Streetcar Named Desire, although he has underplayed the associations that have been made between the two. Without doubt, Cate Blanchett’s Oscar winning performance as Jasmine is a beautifully crafted parallel of William’s Blanche DuBois – a sad old soul trapped in her own mind and memories, her demise being the result of a loss of love and wealth. Incidentally, Blanchett has previously played the role of Blanche in Liv Ullmann's acclaimed stage production. Like Williams’ play, we have the poorer, plainer sister and her abusive boyfriend, a complete Stella & Stanley in the form of Jasmine’s adoptive sister Ginger, played simply effortlessly as a counterpoint to Blanchett’s intensity by Sally Hawkins and accompanied by her loudmouth alcoholic partner, Chili (Bobby Canavale). Alec Baldwin plays Blanchett’s villainous and unfaithful ex-husband and achieves the perfect balance between seduction and repugnance, nailing the slick talking, womanizing, moneymaking scoundrel character down to a tee.

The film really is a perfect package. The filmography, the direction, the subtleties in the acting of an exceptionally talented cast all makes this 90-minute performance a fascinating spectacle. Blanchett’s performance is quite remarkable, as she brilliantly captures the makings of modern day insanity. We feel quite uneasy and awkward watching her; every eye flicker or uncomfortable shudder creates the very believable character of someone not totally mad but also not entirely in touch with reality. In an interview Blanchett comments that with Jasmine there is a sense of 'fated collapse,' as she lives in a romanticised and fictionalised version of real life. Constantly drink in hand (Stoli Martini with a twist of lemon), Blanchett grits her teeth through a cracked smile and attacks the role of Jasmine with vigour, constantly determined to keep up the illusion of the composed, well dressed jetsetter. Blanchett’s adaptability shines through here, her true commitment to the character of Jasmine is completely hypnotising and thoroughly engaging. Indeed, she makes a character who lives in a dream world so painfully real. She balances moments of desperation and ruin so neatly with moments of self assurance and confidence, the audience is taken through the highs and lows of a mind totally muddled by lies, forgotten promises and broken hearts.

The trajectory of the film leaps back in forth in time between Jasmine’s current misfortunes of poverty against her past lavish lifestyle of charity galas, luncheons and being a trophy ‘airhead’ wife, blindly signing papers under the instructions of her husband (Baldwin) without any idea what she might be putting her name to. Jasmine had a taste for the luxurious, dreamlike lifestyle, her original birth name being Jeanette, she has manufactured a hollow existence for herself, mingling in the 'right' social circles to maintain this facade. Allen’s direction allows the story to painfully unfold before the audience’s eyes, as the film develops, we quickly learn that Jasmine’s ‘perfect’ life crumbled around her and that turning a blind eye to her husband’s infidelity and fraudulence could only last for a limited time.

It is clear from the success and accolades received by Blue Jasmine, that Woody Allen is back on winning form – it is one of those beautifully made films by Allen that we thought we might never have the chance to see again for the first time. The film has wit, it has elegance and sophistication but also immense tragedy, but these elements complement each other very artistically. It is a lot grittier than anything Allen has made for a while, and proves that he is a director who certainly still has his cinematic mojo.

Blue Jasmine is in cinemas now.

[blatherskiteblog]

Lily Allen - Hard Out Here

I know everybody is feeling the need to share their opinion on Lily Allen's return to music, but you know what, I am going to stick my oar in too. Her sweet singing voice has blessed our ears once again in her cover of Keane's 'Somewhere Only We Know,' to accompany that sickeningly cute John Lewis advert, but her new single 'Hard Out Here,' has a much less adorable quality to it.

Yes, I deem myself a feminist but I don't need to ram it down your throat and I think Lily Allen too has managed to light heartedly and amusingly get a decent message across. With references to 'Blurred Lines' and Miley Cyrus' recent stage performances, the catchy song reinforces the objectification of women in pop music and videos - something that hasn't changed for a long time. Lil Kim preached about it on 'Can't Hold Us Down' ten years ago: 

If you look back in history It's a common double standard of society The guy gets all the glory the more he can score While the girl can do the same and yet you call her a whore

... and Lily is saying the same thing on this new track: 

If I told you 'bout my sex life, you'd call me a slut When boys be talking about their bitches, no one's making a fuss

Clearly nothing has changed - Allen makes a very fair point, yet she manages to do with wit and clarity. The video and the lyrics are poignant, but the message is clear, if you're not rich or good looking, you're not going to get far in this business. 

The video shows scantily clad women twerking in bikinis and sloshing themselves in champagne, reminiscent of Nelly's 'Hot in Herre' or 'Candy Shop.' Lily gets fully involved with these raunchy moves but admitted on Twitter that she hadn't been able to fine tune her 'twerk' in time for filming and that her post-baby cellulite meant she wasn't comfortable stripping down to her undies and left that to the professionals beside her.

Now I've talked about the importance of the song and video, it's also quickly becoming my guilty pleasure, a catchy chorus and a great tune to get your wiggle on to, it's rapidly climbing my 'Most Played' on iTunes.

Welcome back Lily, we salute you!

[blatherskiteblog]

Gravity ★★★

Usually I’m sceptical about forking over an extra £3 to see a film in ‘IMAX’ or ‘3D’ - what even is the difference? PLUS that extra £1 for a pair of crappy shades that you bin every time and kick yourself when you realise you could have supersized your popcorn with that quid. However, if there is one film you are going to pay a little more for the viewing experience leaping off the screen and up in your grill, it must be Gravity, – the $100 million sci-fi drama that is set to take the award ceremonies by storm. Without being corny, it really has to be seen to be believed. I have found myself trying to describe to others how mind-blowingly incredible the CGI and special effects are in this film by acting out heavy footed walks in slow motion, but it really doesn’t do it justice. To us common folk, the budget of this film may be eye-watering but, director, co-writer, co-producer and co-editor, ‘finger in all the pies’ Alfonso Cuarón has really achieved something ground-breaking in cinematography with this visual feast.

Despite this, I seem to be in the minority in terms of my feelings about the overall film. Maybe you have to be a certain type of audience member to find Gravity without imperfection, but in my opinion, the excitement of outrageous visual effects and bits of space debris flying at your face can only last for so long. Certainly, the first 30 minutes of the film had me biting my nails and dodging out of the way for rogue bits of meteor, but once I realised this film didn’t actually have a plot, much of a script or any scene changes, I started to lose interest. Call me old fashioned but I go to the cinema to witness a beautiful narrative, some stellar acting or inspirational direction, and personally Gravity didn’t deliver. My critique only sounds so harsh because my expectations were unspeakably high based on the hype surrounding its release and the almost unquestionable ‘five-star’ reviews from every respected source. Nevertheless, I stand by my opinion.

Sandra Bullock plays Dr. Ryan Stone, a mission specialist on her first space shuttle mission. She is accompanied under the watchful eye of old-hand astronaut Matt Kowalski, played by George Clooney. Stone and Kowalski become the two sole survivors of the space mission when a cloud of space debris strikes the shuttle, The Explorer and the film charts their attempt to survive and Stone’s journey to return to Earth. Sadly for Clooney lovers, his role in this film is rather minimal and a five-minute reintroduction of his character turns out to be a mere dream sequence – cheesy right? Clooney portrays the classic hero with ease and charm, able to make the darkest situations seem cheerful, but his character lacks depth and leaves you wondering what he’s really doing there. Congratulations must be given to Bullock as she is given an almost impossible task of holding the interest of an audience practically solo for the majority of the film. Personally I think she captures the panic, helplessness and utter despair of someone placed in such a terrifying situation but at times I definitely felt she could have given more. Being trapped in space with only the sound of your own breath to listen to is a pretty horrifying thought. I wanted more from the script, more than a predictable sob story and this is where I feel the incredible cinematography and graphics overshadowed the narrative and written merit of the film.

Acting and script aside, this film is undoubtedly a masterpiece spectacle to behold. From the first minute, we are transported to outer space, totally submerged into a feeling of weightless, deafening silences and the overwhelming force of ever-powerful gravity. As Bullock spins at high speed through space, battling with nausea, I found myself having to close my eyes a few times just to let my stomach settle. The power of new technology in cinema has really reached a peak here – you are part of this hugely alien and disorientating experience with these two actors, two tiny pinpricks on a backdrop of endless orbit.

Alfonso Cuarón claims he wanted the film to be ‘an immersive experience,’ his opinion being that so many films these days can ‘be watched with your eyes closed.’ Cuarón is spot on; Gravity certainly is not one of these movies. To be frank, if you did sit and watch it with your eyes closed, you’d be pretty damn bored, as Sandra Bullock’s heavy breathing can get a touch repetitive. Gravity is in cinemas now.

[blatherskiteblog]

Good Lorde!

Her real name is Ella Maria Lani Yelich-O'Connor, but she is better known by her stage name, Lorde. At only sixteen years old, this New Zealander has taken the UK by storm, her song "Royals," currently sitting pretty at number 1. Personally, it has been a really long time that a current UK number 1 has actually grabbed my interest but Lorde's haunting vocals and clever lyricism cannot fail to make you hit 'replay' on your iTunes.

"Royals" wittily taps into the hedonistic lifestyle of the rich and famous while simultaneously rebutting it and the materialism that surrounds celebrity. In the words of Lorde, "we crave a different kind of buzz," no "tigers on a gold lease" for her. The items that define young teen pop aren't her cup of tea. 

Her voice has a spooky Lana Del Rey quality to it; I was particularly shocked to find out she was only a teenager. Though her sound is rather electro-poppy, she takes many influences from soul singers like Etta James and this reflects in her music, which has a really refreshing and exciting sound to it.

According to NME, her album 'Pure Heroine,' "taps into a malaise typical of an internet and TMZ-obsessed generation." Indeed, Lorde understands the issues and fears of young Hollywood and presents these shrewdly in her catchy tunes. However in the album, there is little development and many of the songs sound pretty similar. 

Lorde is definitely one to watch out for; not necessarily the new Del Rey, but she certainly brings something new to this year's music scene.

My personal favourite on the album is "Tennis Court." http://www.youtube.com/watch?v=D8Ymd-OCucs

[blatherskiteblog]

Slice by Mel Giedroyc @ Gilded Balloon

A MOUTH WATERING WATCH

****

Slice is Mel Giedroyc’s debut play, a story based around cake, three sisters and their dying mother. These three women are extremely different and are only suddenly bought together in the house of Victoria, the middle sister, as their mother’s death becomes imminent. It is soon obvious why it has been so long since the sisters all convened. As a voiceover guides us through step by step how to make the perfect Victoria Sponge; tales of regrets, secrets, lies and buried memories all come to the surface and we learn why each sister has turned out the way they have – an obsessive compulsive who’s been the mother’s sole carer for nine years, a carb-free zone who moved to LA years ago and a family fanatic who has her children still ‘attached to her mammaries.’

The play is a delightful mix of laugh out loud comedic moments, flashes of particularly dark humour and also underlying feelings of sorrow and pain. Victoria, played by Lesley Hart with pure conviction and strength. Hart demonstrates built up anger from many years of having to look after her mother, down to every last frantic stir of the mixing bowl, we feel like we are looking into her heart. A poignant re-telling of memories from a tenth birthday is a high point of the show. Hart monologues in an enchanting and extremely engaging way, conveying childhood innocence and upset at having a birthday ruined.

The two other actresses work so well with Hart, building up a convincing sisterly dynamic as we found out the only thing the oldest and youngest sister have in common is the youngest sister’s husband. The subtleties in the character work are so well done, but these are lost in parts where I feel they sometimes could turn into caricatures. These moments are rare however and could easily be ironed out.

All in all, the piece is charming, witty and extremely engaging. Down to every last detail in the set of the fully functioning kitchen, the audience are pulled into the stories of these women’s life. Definitely worth a watch, a sterling first effort from Gieroyc, executed by three fine actresses with passion and touching sentiment.

[blatherskiteblog]

I Heart Peterborough @ Pleasance Courtyard

I HEART 'I HEART PETERBOROUGH'

****

The sultry tones of Billie Holliday’s I’ll Be Seeing You welcome us into the auditorium of Pleasance Courtyard. A man stands in full makeup and a wig cap and slowly goes through the motions of a routine. His stare is fixed and haunting. The performance that then unfolded in front of us was enchanting, engaging, and highly original. A witty and touching script from Joel Horwood taps into some really deep emotions, and Milo Twomey and Jay Taylor delivered the lines with raw heartfelt feeling.

Lovesick Michael/Lulu played with brilliance and grace by Twomey is a transvestite from the town of Peterborough, a place that revolves around conformity, who becomes the only guardian of his son, Hew, a boy that he has never met. Both Hew and Lulu refuse to be fenced in by society and, as a cabaret duo, they embark on a journey to find themselves. The journey takes us through the struggle of coming to terms with your sexuality, family problems, and unrequited love.

The show is practically non-stop dialogue, with huge sections of monologue from Twomey who commanded the audience’s attention and hearts with the earnest storytelling of his unrequited love interest, Mark. The beautiful description of the painful nature of love really was highly effective. Joel Horwood taps into the wonderful yet painful realities of love - describing it as ‘doing somersaults in the shallow end’ captured the audience instantly. Twoney also takes on his female and male role superbly. He easily switches from high to low pitch and is so convincing as Lulu that at points you completely forget you’re watching a man. Equally, Taylor provides a touching performance as Hew and contributes much of the show’s soundtrack on his piano and show-stealing vocals. With the addition of some well-known eighties dance classics, the music was a shrewdly chosen backdrop to the cheesy bars of Peterborough.

This is a show that requires concentration. It is easy to get lost in the storyline if you are not giving it your full attention, which can be quite demanding. However, it is definitely worth keeping up with the pace of the piece and, once you’re used to the style of narration, it’s much easier to follow. Apart from sometimes being a little hard to follow, it is an exciting, innovative piece of theatre. The two actors complement each other brilliantly and they are working with a magnificent script and direction. Horwood has a great skill in being able to create a mental image of a place or time just through cleverly written dialogue. This show is a definite must-see, but even more so it’s a must-see-again.

[blatherskiteblog]

Ian Fox: Shutter Monkey @ Laughing Horse

PICTURE PERFECT

*** Part of the Laughing Horse Free Festival, comedian and photographer Ian Fox delivers an hour of very amusing entertainment through a selection of photos. The show was charming, witty and most importantly, really quite original. Fox talked the audience through a series of photos that were projected around the room on plasma screens. The photos were of a wide range of things, from spotting his friend dressed as Where’s Wally in a crowd to pictures taken from underneath animal’s noses or people caught on the toilet. Fox started off the show by telling the audience all the perfect ingredients to make the best photograph and then guided us step by step through some of his funniest photos: photos of people snapped unaware; photos taken from the top of people’s heads; or his speciality, photos of absolute nutters. I loved this aspect of the show; Fox guided us through a tour of cities around the UK with photographs of various sights and bizarre street performers. Another quaint aspect of the show was what makes a photo typically British: an old couple sitting on a dreary beach eating ice creams and wearing socks and sandals. Fox’s delivery style is engaging and witty and makes him an extremely likeable narrator. His timing is perfect and doesn’t seem forced or over-rehearsed, though he still delivers witty one-liners. He makes the audience feel comfortable and builds up a great rapport with them throughout the show. This show is delightful and definitely worth a watch, especially for free. It’s a great experience and Fox has tapped into a really brilliant, worthwhile idea.

[blatherskiteblog]

Leonce & Lena @ C Nova

WHAT HAPPENS IN VEGAS...

***

This modern adaptation of Buchner’s 1895 play by the Lincoln Company was an interesting re-working of the satiric comedy. The script was bought up to date by setting the show in Las Vegas where two families lose a bet, meaning they force their children into marriage. Leonce and Lena are the two children in question; who then flee their tyrannical parents to try and escape said marriage. By chance meeting, they realise that maybe there is such thing as ‘love at first sight.’

The Lincoln Company pulled off this show with energy and passion. At points, the script was highly entertaining, with topical witty one-liners keeping the audience laughing. I did feel however that a lot of acting was over-the-top. I do appreciate that this could have very easily been the point of the piece; being satire it should not be taken too seriously. Despite this, ear piercing screaming and moaning from the character of Rosetta (Leonce’s crazy ex-girlfriend) often got a little too much for me.

Nonetheless, the show is undeniably good fun and has all the plot twists and ridiculous characters you could ever want in a comedy. Undercover Mexicans, outrageous parents, even more outrageous ex-lovers, love-sick best friends, cougars and cowboys, this show is sure to give you laugh after laugh. A touching performance from the character of Val, Leonce’s childhood best friend who has eternally loved him really added true sentiment to the piece. Additionally, the subtle chemistry between Leonce and Lena was a great contrast to the hyperbolic nature of the parents, who can only be described as caricatures.

I would recommend the show for an hour of hit and miss gags but parts of the adaptation, like the constant references to Twitter, did not always work. The traditional love story between the two leads seemed quite old fashioned compared to the more up-to-date references in other parts of the script. Despite this, the Lincoln Company put on a great show and knows how to keep their audiences entertained.

[blatherskiteblog]

Brazil! Brazil! Presents Latin Live @ The Assembly Rooms

BRAZILLIANT!

**** As I followed the sound of salsa music into the grand ballroom at The Assembly Rooms, I have to admit I felt a little underdressed in jeans and trainers. What I was about to be part of was not just a show, but a full two hours of drinking, singing, dancing and a non stop party for both audience and performers alike. The Assembly Room group deliver a night of relentless music in this fantastic cabaret show. With a mini bar at the side of the stage and the freedom to wander out to the main bar during the show, the atmosphere is relaxed and happy - this performance is a real night out. The show features a variety of styles from samba to mambo to reggae. Supported by an enthusiastic male band, there are three main singers who perform in very different but equally passionate varieties. A highlight was the stunning singer Paloma Gomez, whose gorgeous vocals had the whole audience instantly on their feet. Her rendition of the well-known classic ‘Mas Que Nada’ was the perfect way to get everyone in the party mood. The energetic vocals were accompanied by some equally energetic female dancers, who got the audience going and even invited some particularly enthusiastic dancers up onto the stage to shake their stuff. They were joined by a male dancer who also turned out to be a very talented singer, teaching the whole auditorium the ‘Playa Playa, Piscina Piscina’ song, along with actions (that’s beach beach, pool pool to me and you...) We were also taught the four steps of how to drink a shot in Cuba. The cha-cha dance number between the male and female dancer was particularly captivating and brought out the true style of the evening. The two dancers moved seamlessly as one, falling elegantly and sexily into each other’s movements. Both the male and female dancers aren’t wearing very much clothing, so there is something to please everyone! This show offers so much fun and is the perfect way to end or even start a night out. Parts of the night do echo cruise-ship entertainment and if you’re not one for joining in with the crowd, maybe you should avoid this commercial production and go for something a little more intimate. Despite this, the group are so very talented and passionate about what they do, you can’t help but get carried away by their infectious energy and you’ll soon be dancing in the aisles. Probably best to have a pint before you go though and put on your best dress and dancing shoes! Olé!

[blatherskiteblog]

Billy the Mime @ Just the Tonic @ The Caves

DELICIOUSLY DARK   **** Billy the Mime is no stereotypical French man trying to climb out of an invisible box. He is the alter ego of Stephen Banks, an American actor and comedian. His one hour show is scandalous and extremely clever as he presents different stories and scenarios from current affairs, most of them being particularly taboo or outrageous. In the slightly creepy underground setting of The Caves, Billy introduces us to each scenario with a caption on a white piece of card. Accompanied by fitting pieces of music these scenes range from stories like ‘Whitney Houston’s Last Bath’ and ‘The Priest and the Altar Boy.’ As you might imagine, both of these performances leaves the audience doing that sickened, muffled laugh, not sure whether it’s appropriate to let out a full on giggle or just shake their heads disapprovingly. There is no denying that Banks is an extremely talented performer. He displays fantastic devotion to each scenario and complete conviction, down to every last eyebrow raise or eye roll. Without any vocals it is hard to hold the attention of an audience for an hour but he managed to have us eating of the palm of his hand instantly. However, there are some inconsistencies in the show. It is not always clear what he is doing and only if you’re an obsessed Jacko fan will you able to follow the events that Billy acts out from Michael’s life. This meant that the Thomas Jefferson sketch was a little lost on me. Make sure you’re clued up on famous taboo celebs before you go. The show is unlike anything else. It’s risqué, it’s gross, it’s funny and at points it is heartfelt. His Whitney sketch can be seen as a tribute, the same as his death of Diana scene. The mime of a paedophile priest interfering with a young boy is however, pretty disturbing and I let out a genuine ‘urghhh’ at one point. Despite the low points, the show is well worth the money and well worth a watch, just to see how far he will go to shock and amuse. Twisted, wicked and indulgent to your darker side.