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    Culture, Theatre

    Little Miss Sunshine at the Alexandra Theatre, Birmingham

    LMS - Paul Keating, Evie Gibson, Lucy O'Byrne, Sev Keoshgerian,Gabriel Vick & Imelda Warren-Green (c) Richard H Smith

    When I think of movies which would translate easily onto film, Little Miss Sunshine isn’t one that immediately springs to mind. Yet five years after the movie made its way onto our screen, the musical adaptation hit a Californian stage before appearing as an off-Broadway show a couple of years later. What might not seem the most obvious screen-to-stage adaptation has clearly intrigued a lot of other people, and now Little Miss Sunshine the musical has landed here in Birmingham.

    My memory of the movie was a little hazy, but I remember a feel-good film that almost had me crying with laughter at the final dance scene. Primarily set around a dysfunctional family; overworked mother Sheryl who is fretting about her families finances whilst her husband Richard is a wannabe life coach and author.  Sheryl’s brother Frank has come to live with the family, having recently tried to commit suicide.  Sheryl’s oldest child Dwayne has taken a vow of silence and Richard and Sheryl’s daughter Olive is a wannabe beauty queen whose win at a regional heat is the reason the family embark on long-road trip in a beat-up a bright yellow VW van. In essence it’s a basic story based around characters resolving difficult times in their lives, whilst in a fairly contained environment, so it’ll be interesting to see how it fits on stage.

    LMS - Evie Gibson as Olive, Mark Moraghan as Grandpa (c) Richard H Smith

    I needn’t have worried.  The show fits on stage well and despite most of the story being set in a VW van the producers have choreographed a show which uses a lot more of the stage, giving it a presence which works, whilst still inviting the audience into the claustrophobic family environment.  The three tiered van and movable seats allow for much more action to take place, but I can’t help feel a smaller stage would’ve given the production the intimacy of the movie.

    Mark Moraghan plays the role of Grandpa Hoover.  He has an impressed back catalogue of acting roles, both on stage and screen, but most memorable to me (and probably showing my age) was when he played burly builder Greg Shadwick in Brookside.  Moraghan’s Grandpa Hoover is the same heroin-snorting, foul-mouthed sex-fiend as the movie, but on stage he steals almost every scene he’s in, even the more emotional moments with Olive Hoover (played on the night I saw it by Lily-Mae Denman).  Olive’s singing s a touch too nasal at first, in part I suspect due to the attempts at an American accent which several of the cast seem to fluctuate with.  But Lily-Mae Denman is a wonderful Olive, performing her with the right amount of child-like wisdom and eccentricity that make her loveable.

    Lily Mae Denman & Mean Girils (c) Manuel Harlan

    The play strikes the right amount of ridicule around the idea of kids beauty pageants, with Olive clearly the least likely to win as the other girls mimic the more grown up versions.  The idea of using the ‘mean girls’ who are used throughout the play to show the antithesis of quirky Olive works well, as does having them in identikit outfits like some sort of bullying girlband. Imelda Warren-Green is a wonderful character actress, playing the unhelpful hospital admin worker well, but the caricature of Miss California just felt a bit outdated.

    If you’re expecting a show which is full of the big bellowing songs which will be stuck in your ears for days you’ll be disappointed. This was never going to be a louder than life show, it just wouldn’t fit the story. Instead, Little Miss Sunshine is an eccentric and likeable show which shows just how theatrical ordinary family life can be. Think quirky indie film versus the summer blockbuster, but with a real dose of feel-good.

    Little Miss Sunshine is at the Alexandra Theatre in Birmingham from Tuesday 16th to Saturday 20th July 2019. Tickets can be purchased from the Alex’s website.

    This was a press event. Photos and their copyright belong to Richard H Smith.

    Birmingham, Culture

    If you go down to the woods today…

    you’re sure of a big surprise…If you go down to the park today, you’d better go in disguise!  Just kidding about the disguise, but you’ll definitely be in for a big surprise if you haven’t been to Stirchley Park recently.

    camera_obscura

    You may have noticed a big black wooden box has appeared in a corner of Stirchley Park, which overlooks the car park for Stirchley Baths.  It’s actually a Camera Obscura, an ancient optical device which uses a natural optical phenomenon to flip the image upside-down.  Take a look through the hole in the side nearest the Stirchley Baths’ car park and see a whole new view of the park.

    The project is the latest in a series from Stirchley-based duo, Hipkiss and Graney, who crowdfunded the cost of the materials to build this impressive large-scale, permanent camera obscura.  The Arts Council and University of Birmingham have also supported the project.

    (This photo of the Dead Shrine is from Green Stirchley  over on Twitter)

    Jonny and Dale

    Who is responsible for this?

    That would be Jonathan Graney and Dale Hipkiss, a visual arts duo who live and work in Stirchley, based out of Ingot Studios.  Through large-scale interactive installations, performances and workshops, Hipkiss and Graney explore ideas around collectivity, community and counter-movements, particularly focusing on political and environmental issues.

    Using magical realism to bring these ideas to life, The Dead Shrines Project is Hipkiss and Graney’s latest work; a series of public sculptures scattered throughout the West Midlands.  The Shrines are designed to look out of place, like they’ve fallen from the sky into parks and high streets around the region.  Whilst Stirchley Park might be the location of their latest artwork, it’s the fourth instalment of the Dead Shrines Project, which has seen pieces installed at the Midlands Art Centre, Coventry Biennial of Contemporary Arts and Artefact Projects.

    You can visit their website at https://www.hipkissandgraney.com/

    Moonlight Symposiums

    Learn by moonlight

    As part of The Dead Shires Project, there will be a series of workshops and free talks taking place over the month of June.  The workshops include learning to make your own camera obscura, personal shrines and masks – I’ll leave you to find out more about them until the booklet is released.

    The free talks are being presented by a number of experts, including academics for the University of Birmingham, looking at everything from experiences of refugee camps to the influence of the media.  There’s also an interactive trading game which takes place on Sunday 16th June, which I’m really looking forward to.  It is worth noting that there will be limited space as the talks take place in a specific area of the park.

    Free talks

    • History of Camera Obscura – Sunday 9th June, 6pm
    • Social Justice and Climate Catastrophe – Sunday 9th June, 8.30pm
    • What is the EU? – Sunday 16 June, 6pm
    • Accounts from Refugee Camps – Sunday 16th June, 7pm
    • Influence of the Media on Behaviour – Sunday 16th June, 7.30pm
    • Fair Trade Orange Trading Game – Sunday 16th June, 8.30pm
    • Political Myths vs Historical Evidence – Sunday 23rd June, 7.30pm
    • What is National Identity – Sunday 30th June, 7.30pm
    Culture, Theatre

    Hair the Musical, Alexandra Theatre Birmingham

    HAIR THE MUSICAL, , Director - Jonathan O’Boyle, Lighting - Bem M Rogers, Choreographer - William Whelton, Designer - Maeve Black, New Wimbledon Theatre, London, UK, 2019, Credit: Johan Persson

    Sometimes you have to know when to admit defeat. After battling with a migraine since about 2am in the morning, and trying my best to do a day’s work, my colleague took pity on me / was sick of the sight of me (delete as appropriate) and told me to go home.  So instead of an evening catching up with a friend and going to see Hair the Musical at the Alexandra Theatre, I went home to bed.  Turns out this was probably a wise idea as the bright lights, big songs and colourful stage would probably not have done much for the monstrous headache I had.  Thankfully my friend Jo-ann was still able to go along, and she was kind enough to write up her thoughts.  So over to Jo-ann…

    So I agreed to attend Hair on a whim as I didn’t really know much about the show apart from the scandalous banning of it back in the day. I did some cursory research on the cast and saw it featured some X Factor contestants etc. I saw plenty of posters advertising this 50th anniversary touring show around town and was excited to see a modern take on the hippie generation.

    On taking my seat I was impressed by the set design and stage lighting. I certainly felt ready to go on a colourful trip back to the late 60s. The cast emerged onto the stage and the show began. From then to close it was a production full of song, colour inclusivity and hope.

    Hair

    Firstly we were introduced to Berger (Jake Quickenden) who charmed and enthralled the audience from the get go with his free-loving positive spirit. Through the various top tapping songs we meet other tribe members and learn about their entangled love lives and dilemmas.

    The ensemble cast whip their way through the songs with no off notes and dizzying dance routines. The set design adds to the counter culture vibe and successful ingrates the musicians into the production. It’s the songs that carry you through this show for sure.

    The cast interact with the audience throughout the show and this draws you into and at some points I feel like I’m under the influence. I thought I only knew one song but I was sorely mistaken as I found myself singing along to most of them, over the years they must have just seeped into my brain.

    The cast were all excellent but special shout outs to Woof (Bradley Judge), Jeanie (Alison Arnopp) and Dionne (Aiesha Pease) whose characters and voices really impressed.

    The underlying story is still relevant today particularly given Extinction Rebellion’s recent protests across the UK, but this is light hearted way to engage with some profound issues.

    The critically-acclaimed 50th anniversary production of Hair – The Musical is on at The Alexandra Theatre from Monday 29 April – Saturday 4 May 2019, with tickets available at atgtickets.com/birmingham

    This was a press event. Photos and their copyright belong to Johan Persson.

    Culture, Theatre

    American Idiot the Musical at The Alexandra theatre

    American Idiot Production_Mark Dawson Photography_DSC_3106 copy

    Green Day never belonged to me, they were always my sister’s band. We were both pop-punk fans, but I never got Green Day in the way she did. I understood the impact of Dookie and started to warm up to them around the time of Warning, but American Idiot sealed it for me. It was strong, slick and full of stories. It was hardly surprising to me that it would be the album that would be a musical, especially given the whole “punk rock opera” moniker it was given, but I did wonder how it would play out.

    American Idiot the Musical kicks off with the titular song. It introduces the audience to a group of disaffected teenagers, fed up of the state of their country, mass media and the deal they’ve been dealt. During a series of songs from the album we learn that a trio of the group, Johnny, Will and Tunny are unhappy with their suburban lives, with Johnny’s revelation of a broken home and living in a world “that don’t believe in me” (Jesus of Suburbia). The trio plan to escape their lives, but on finding out his girlfriend is pregnant, Will stays at home, with Johnny and Tunny heading off to the city.

    American Idiot Production_Mark Dawson Photography_DSC_1905 copy

    Struggling to adjust to urban life, Tunny enlists in the army and Johnny turns to drugs. Injecting heroin for the first time, we are introduced to Johnny’s alter-ego, St Jimmy, which gives him a new-found courage to talk to the girl he’s had a crush on. Meanwhile, Tunny is deployed to a war zone, and Will is struggling to adjust to life at home without his friends and the impending birth of his child, both needing relief from their situations. But for Johnny, things seem to be going well, at least temporarily; in a drug-fuelled haze he gets the girl, beds her and things seem to be going well. That is until St Jimmy and the drugs take over, and surpass the love he has for his girlfriend.

     

    Back in the army, Tunny, now an amputee, is being tended to by a nurse, known as Extraordinary Girl, who he eventually falls in love with. Will’s girlfriend has their child, and grows increasingly impatient with his loser lifestyle of drugs and lazing on the sofa. Johnny is descending into an increasingly drug-addled state and threatens his girlfriend Whatshername followed by himself. She leaves him and realising what he’s lost he gets clean and tries to get a desk job before realising it’s not for him and heading for the bus back home. Will, sees his girlfriend with her new rock-star boyfriend but eventually she and Will call a truce and he embraces his child. Tunny introduces them to Extraordinary Girl and it takes a while for Johnny to forgive him for leaving him for the army, but finally, the trio are reunited.

    American Idiot Production_Mark Dawson Photography_DSC_2775American Idiot the Musical is a wonderful chaotic mess. The first fifteen minutes or so feel like an attempt to cram in as many of the higher octane songs as possible to set the scene; I liked the run through of songs but less so the toilet-humour antics, which just feel a bit like watching your parents try and pretend they know what teenagers are like. Thankfully the show seems to get it out of its system once the plot starts to appear. I mean sure, the plot is superficial but the split narrative about three young men who are all searching for meaning in their lives does work and particularly in the second half does have some touching moments.

    Waterloo Road’s Tom Milner as Johnny has the unenviable job of playing the link in the trio, dealing with the descent into drugs and the grittier side of Billie Joe Armstrong’s vocals. It’s a hard thing to master and makes you realise just how skilled Green Day’s vocalist it, but Milner gives it heart. Perhaps the strongest performance of the night comes from local lad, West Brom’s own Joshua Dowen, who plays Tunny and delivers some of the most powerful vocal performances of the evening. Luke Friend, 2013’s X Factor third place runner-up, does a superb job playing the maniacal St Jimmy, the Fight Club style alter-ego who courts Johnny into the world of drugs and delusion.

    American Idiot Production_Mark Dawson Photography_DSC_3517 copy

    Whether it is intentional that both Green Day and American Idiot the Musical are a trio of men, it does feel like the female characters are there less as characters and more as motivations for the male leads. But somehow, despite all the issues, I found myself absorbed in the story. Even the ending, cliched as it was, with Good Riddance (Time of Your Life) reworked so that it was more musical, got me. And maybe that’s the best way to think of it: “It’s something unpredictable, but in the end it’s right. I hope you had the time of your life.” And maybe American Idiot the Musical wasn’t the time of my life, but it left me feeling nostalgic and hopeful. And that’s not a bad way to leave a musical.

    American Idiot the Musical is on at the Alexandra Theatre from Tuesday 9 – Saturday 13 April 2019. Tickets are available via the Alex’s website.

    This was a press event. Photos and their copyright belong to Mark Dawson.

    Birmingham, Music and Movies

    3 Seconds Divorce at Impact Hub

    3 second divorce

    One of the things I really like about the events at Impact Hub is that they always introduce me to new ideas or new ways of thinking about things. 

    I’d heard about the three-times divorce (triple talaq) in Islam and hadn’t really given it much thought, mainly because I knew I didn’t understand enough about the context.  The screening of Shazia Javed’s 3 Seconds Divorce was, in some senses, what I thought might be what the three-times divorce might be if I was being pessimistic about it.  It was undeniably an emotional film and the story of the women who fought for what they believed in and for the protection of women in their country, a minority group within a minority group, showed a level of resilience that few would be hard pushed to be anything but impressed by.  Watching the documentary in a room that was mainly full of Muslim women and hearing their reactions to it felt like a real privilege at getting an instinctual reaction to the message of the film.  But that was only the beginning.

    The follow up panel was one of the most invigorating and educational I have been to in a while, and I don’t think I need to tell you how many talks I go to.  It was a shame Shazia had to dash off to get her train, but needs must, however I appreciated her input and it was great to hear more about the ideas and inspiration behind the documentary.  But the conversation between Dr Amra Bone and Dr Sabena Jameel was just superb.  I honestly can’t remember the last time I went away with some much new information presented in such an accessible way.  Lots of the topics covered, and there were so many, were things I’d heard lots about over the years but have never quite felt like I knew where to look for more information or unsure what was appropriate to ask.  Dr Jameel’s explanation of what she does as part of the Sharia Council, the system of Sharia rulings in general, the role of women in Islam, Islamic marriage and divorce, the cultural and religious understandings of triple talaq and probably a whole lot of other things I’ve forgotten to list was just phenomenal.  As someone that grew up in an Irish Catholic community, it was fascinating to compare and contrast the attitudes towards marriage and divorce, and hear not only from Dr Jameel as an academic and religious leader, but also some of the audience were kind enough to share their understandings of it, and answer some of the questions that I wasn’t brave enough to ask myself.

    I guess my feedback is just a really big congratulations, well done and heartfelt thank you for putting on an event that has given me so much more understanding than I thought possible from a few hours. I feel very honoured to have been welcomed into that space, able to watch the documentary, but also hearing from the speakers and members of the audience. A truly mentally stimulated evening which I gained a lot from.

    Culture, Theatre

    Avenue Q at the Alexandra Theatre, Birmingham

    Avenue Q (Dress)-010

    Wildly and inappropriately fun yet heartfelt, Avenue Q is a must see musical that will have you laughing and singing unsuitable songs well after you’ve left the theatre.

    The musical charts the stories of the inhabitants of Avenue Q, just as newly graduated Princeton moves in.  Quite rightly wondering “What Do You Do with a B.A. in English?” (I’m still trying to work that one out), Princeton is bright-eyed but a little lost, as he meets his neighbours; closet gay Republican Rod and his slacker roommate Nicky; porn enthusiast Trekkie Monster; therapist Christmas Eve and her fiancé Brian; singleton teaching assistant Kate Monster; and Gary Coleman…yes, that Gary Coleman.

    Avenue Q (Dress)-066

    Sounds like a pretty run-of-the-mill play until you realise some of the neighbours are human, some puppets and some, well, monsters.  Oh and of course there’s frequent visits from the bad decision bears, a duo who encourage some rather dubious actions.  Think a parody of Sesame Street, which goes rogue than last year’s disastrous movie flop The Happytime Murders (which was clearly going for an Avenue Q style, but fell far from the mark and felt more like a knock off from the market than anything else). 

    The puppeteers who play Princeton, Kate, Nicky, Trekkie, Rod and the Bad Idea Bears are visible right along side their puppet counterparts; rather than ruin the magic, being able to see the actor’s facial expressions just adds to the emotional weight of the story, particularly Cecily Redman’s Kate Monster and Tom Steedon’s Nicky.  It’s certainly worth watching the performances from the actor-puppeteers as much as it is the characters they’re performing with.

    Avenue Q (Dress)-211

    Sixteen years on from its first performance, the themes of Avenue Q feels just as fresh and relevant today as then – or at least since the first time I saw it a few years back.  Satire might be the life blood of Avenue Q, but the show has a lot of heart.  The musical tackles emotional subjects like racism, homosexuality and feeling a bit lost in the world with sincerity, whilst simultaneously making you laugh so much the muscles in your face hurt.

    The songs range from the hilarious through to the heartbreakingly emotional; “The More You Ruv Someone” is endearing and Saori Oda delivers a powerful performance, as does Cecily Redman’s Kate Monster in “There’s A Fine, Fine Line”.  There are also plenty of hilarious songs, including the earworm-friendly (and guaranteed to be stuck in your mind for days) “The Internet Is For Porn” and “You Can Be as Loud as the Hell You Want (When You’re Makin’ Love)”, the latter of which includes an x-rated puppet scene – child friendly, this show is not. But by god it’s a lot of fun.

    Avenue Q (Dress)-098

    Avenue Q is at the Alexandra Theatre in Birmingham from Tuesday 12 to Saturday 16 February 2019.  If you fancy an extra special Valentine’s Day, they’re doing an offer of two tickets for £40, plus a glass of Prosecco each (Bands A & B, 14 Feb only, must be booked in pairs), using the code: LOVEQ.  To book, visit the website https://www.atgtickets.com/shows/avenue-q/alexandra-theatre-birmingham/