Tag: books

Devizes Acting Company to Debut New Show at Edinburgh Fringe 2026

A gameshow unlike any other is set to take local actors to the world stage. The Wharf Theatre is proud to present the debut of a brand-new show, “Whose Play is it Anyway?”

Set to enjoy a week-long run at the Edinburgh Fringe Festival 2026 from August 17th to the 22nd, this innovative original production offers a fresh perspective on contemporary storytelling, using a gameshow format to explore a range of devised, scripted and improvised pieces, many created by the talented cast themselves. As part of the game, each performance order will be left to chance, creating a unique experience every time.

Join your host, Barry Ruffles and his glamorous assistant, Jenny Flannel as they present 18 pieces of theatre in 50 minutes; all you have to do is guess the genre, playwright or year to win a speedboat, cuddly toy or a holiday for two on the Isle of Fernando! 

Prior to the Fringe, the show will preview at the Wharf Theatre, Devizes, running from 29th to the 30th May, Bristol’s Alma Tavern and the Shaftesbury Art Centre; giving West Country audiences an opportunity to experience the production ahead of its official festival run.

Whether you’re a seasoned Fringe attendee or a first-time visitor, Whose Play Is It Anyway promises to entertain. The show will be performed at the SpaceUK, located at the heart of Edinburgh’s bustling festival district. Tickets are available from [Ticket Provider] and can be purchased online or at the venue box office.

Lou Cox, director of The Wharf Acting Company, who perform & devised this show, is also taking her solo show, Having a Baby and The Sh!t They Don’t Tell You in Books, for a week at the Edinburgh Fringe. Inspired by the loss of her baby girl, Lou described the play as a “comedic and brutally honest one-woman show which gifts audiences an emotional, and at times highly entertaining, whirlwind of witty anecdotes and graphic storytelling, with an ending no mother could ever imagine.” And this one too will be performed at The Wharf Theatre, also running from 29th to the 30th May, of which the previous run was reviewed by Helen, HERE.

Whose Play is it Anyway (18+)
Having a Baby and the Sh!t They Don’t Tell You in Books (18+)

Doctor Faustus Sells His Soul…. in Devizes!

Featured Image:@jenimeadephotography

Just another rainy Saturday afternoon in Devizes, whereby I watched a profound fellow dramatically sacrifice himself to the devil, then popped to Morrisons for a Toblerone! The supermarket felt insignificant and plastic after the epic conclusion of Doctor Faustus at the Wharf Theatre, which opens on Monday 26th and runs until Saturday 31st January…..

Treated to the final dress rehearsal, as our regular theatrical scribe Ian Diddams is stuffing a bucketload of Rice Krispies in this one, of which one couldn’t fail to notice! Marvellous as it is to pay Devizes’ one and only cosy theatre a visit, it leaves me in the dilemma that I’ve not the extensive theatre knowledge which Ian has, therefore, you have to make do with me simply saying what I like, or don’t.

Image @jenimeadephotography

In this case it’s the former. My mind is, with its lack of education for classic theatre, still contemplating exactly how fantastic director Liz Seabourne and her team has presented this astounding play, and the more it boggles the greater the levels of fantastic I unearth, converting me to thespian; hand me some white tights! Even though the character Dr Faustus is damned, this is another damn fine production from our wonderful theatre, rich in lighting effects, amazing costumes and makeup, and a sublime original soundtrack from our master of electronica, Moray McDonald.

Image @jenimeadephotography

Born Catholic, English sixteenth century playwright Christopher “Kit” Marlowe, of whom scholars suggest greatly influenced Shakespeare, was reputed to be an atheist and there’s a lot in the content of Dr Faustus which implies this. Whilst it doesn’t criticise religion outright in the modern sense, it certainly lampoons it, with the Pope getting a kick up the backside, for example.

Dr John Faustus condemns the academics of the science and philosophy of his era and justifies turning his hand to the dark arts, but religion he cannot escape from. Played with certain perfection by Pete Wallis, Faustus is tricky to relate to, a Renaissance egotistical Germanic tyrant, characteristics usually reserved for an antagonist; I wondered if Trump might identify with him better than I. Yet, there’s something humble about his yearning, in his curious nature for the unorthodox, to fulfil a quest of celebrity status, like a sixteenth century Vanilla Ice. Still, I couldn’t help feeling the ponce made his bed….  

Image @jenimeadephotography

Bit dodgy, he summons a human-despising conceited demon, Mephistopheles, played with absolute magnificence by Charlotte Howard. Mephistopheles acts as a kind of Cruella de Vil agent to the devil, who encourages Faustus to sign a contract with his blood; his soul for unlimited magic, which he treks the known world with, entertaining Kings and Emperors like Paul Daniels discovered voodoo. Though Mephistopheles is no Debbie McGee. Without too many spoilers, it doesn’t end well for Faustus, who learns there’s only one way out, once his twenty-four year contract with the devil expires, and it’s not a gold watch. 

Image @jenimeadephotography

If this Elizabethan forbidden thrill-seeker, overloaded with as many theatrical tricks as devils and demons, sounds seriously dark and gothic, it certainly is, but not without hilariously timeless comedy, brilliantly diluting the tragedy. There’s occasions when it’s virtually pantomime, when the devil, played with radiant vaudeville evilness by Oli Beech, a far cry from the panto dame’s sidekick at Christmas, personifies the seven deadly sins as a circus cabaret to tempt the Doc, and upon the thievery of one of Faustus’ spell books by two commoners, played side-splittingly like stereotypical moonrakers by Jessica Phillips and Ian Diddams. It is these elements which brings the archaic seriousness down a peg and makes this play equally suitable for those, like me, not so clued up on classic plays.

Image: Mij Hazel

As the many earthbound or spiritual side-characters come and go with pace, the thirteen strong performers cover various parts, and those unmentioned so far, Chris Smith, Alison Andre, Emma Comfort, Cathay Chappell, Julie Baker, Paul Snook, Sam Burrows and Amy Chappelle also require the highest of praise; there is so much work put into this, the mind, as I stated earlier, is still boggling. It entertained me, and I strongly suspect it will be some significant time before my mind stops boggling about it, way past the lifespan of the Toblerone!    

Bag yourself some tickets for this HERE, unless you’re a demon!

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Devizes Sammi Evans in the Shadow of a Debut Single

Being a singer in a tribute or covers band is nerve-wracking. Though tributes can hide behind a mask, a cover band frontperson can be reassured only by the notion that friends are backing them; blame the drummer! But a soloist, singing their mind acoustically is in another ballpark. Stripped back, alone, exposing your innermost thoughts, desires or even personal issues to an audience takes some bottle. It’s a test of courage for the most egotistical, the mental equivalent of standing naked. Yet a majority of those who do, I find, are actually modest and reserved.

In an interview with Peggy-Sue Ford last year, Aberystwyth born now Devizes-based singer-songwriter, Sammi Evans, expressed both her excitement and terror at playing live on the show, opened up about her troubled childhood, ADHD, and being a self-certified “scatter-brain,” and in doing so created one of the most interesting and touching of Peggy’s Don’t Stop The Music shows on Swindon 105.5. 

The last time I met Sammi she was showing me the artwork of her upcoming debut single, explaining how the purple background and gothic font gave it a sense of corporate identity, as well, holding her phone with a subtle tremble, telling me how anxious she was about releasing it. That single, The Shadow, came out a couple of days ago, and thus, Sammi has traversed the local open mic nights, jams at the Southgate, and pub gig circuit, to a recording artist; that thought alone would goosebump the least nervous!

The song’s subject reflects this anxiety, it drags you into a dark closet, and hauntingly honest, questions the listener if they experience similar ghostly fears. Sammi’s vocals are academia aesthetic, rich with a focused ethereal and melancholic soundscape. But it is through an impressive arrangement by Martin Spencer of Potterne’s Badger Set studio, which adds to the other-worldly ambience, with a tinkering piano breathing a touch of gothic horror film score, even subtle classical crossover about the otherwise poignant acoustic guitar marvel. 

Hey look, I’ve been to art college and know about light and shadow. If the shadow depicted in this song is metaphorically actualising foreboding as shadows and monsters lurking within them, the quality of the song contravenes its subject, upon its release. It might have felt that way in Sammi’s mind at the time of writing it, but releasing it might’ve been that face your fear moment of diving off the top board into the pool. And now it’s out there, perhaps more art for art’s sake and prosperity than fame and fortune, she should consider it an exhilaration of accomplishment, because it’s really rather wonderful.

It should then act as the opposite to shadow. This debut single is a light source, beaming directly above Sammi Evans, which casts only a minimal shadow at her footprint, if at all, and, I hope, reduces any seeds of doubt that she can write thought-provoking lyrics and compose them into songs with illuminating results. I look forward to hearing more, Sammi! x

Listen to The Shadow HERE

Early Bird Tickets go on Sale for Park Farm Music Festival in Devizes

If Devizes Scooter Rally has already established its base at Whistley Road’s Park Farm and Full-Tone are moving to these new pastures, last year the site saw a superb inaugural festival of its own making, Park Farm Music Festival, with the expert knowledge of the good folk who brought us Mantonfest. It’s happening again this year and looks set to be even better than last year; I kid you not! Early bird tickets went on sale today, and the lineup has been revealed; let’s poke our noses in and pretend summer is on its way, shall we?!

Starter for ten, Mantonfest is a longstanding cherished gem on Marlborough’s event calendar, a family friendly festival which has stood the test of time, and folk return annually like it’s a pilgrimage; you can rest assured you’re in good hands. I hailed Mantonfest as “the friendliest festival you’re ever likely to attend.” 

While Park Farm Music Festival may yet have to establish itself to the same level of excellence, last year’s first time was an absolute blinder, bringing a taste of Mantonfest to Devizes and leaving folk hanging on the hope this would become a regular extravaganza.

This year the stage is set again for Mantonfest’s house band, the awesome groovy vintage blues boys, Barrelhouse, but in essence the organisers are keen not to present something completely Marlborough; we’re in Devizes now, mucker, if we’re going to have blues we NEED Jon Amor to come along too! And they’ve answered this call, The Jon Amor Trio need no introduction to Devizes; I’m glad to see their name on the lineup, I’m certain all of the town will be too.

Onto the headliners, yes, it is tribute act top heavy, which works a treat for Mantonfest. In this you should note, the organisers do not skip on quality when it comes to tributes, all are tried and tested. I’ve bore witness to most of them, and will bet my pet budgerigar’s life that you’re in for a wonderful day. Last year there was an emphasis on hard rock, with astounding AC/DC and Nirvana tributes, while this year looks to have more universal appeal. 

If Queen tributes are two to a penny, despite being a tricky act to replicate, and some I’ve seen were great, One Vision played Mantonfest two years ago, and, just, wow, I’ve never seen it done with such quality, attention to detail and finesse as this one. I could definitely call this the best Queen tribute I’ve seen, perhaps in my top five of all the tributes I’ve seen.

Inferno, an Abba tribute I’ve not seen before, but it’s Abba, what could possibly go wrong? As I said, the organisers take no compromise when it comes to booking only the very best tributes, so, dancing queens, have no concern. The next two I have seen, Madness and Bad Manners tribute, Badness, and Slyde, as you might’ve guessed, a tribute to Slade, are both brilliant, for precisely similar reasons.

Slyde played a Christmas do at Marlborough College Memorial Hall, where support Barrelhouse were on fire, and Sylde polished off the evening with a plethora of, not only Slade hits but just about every seventies singalong pop hit I could imagine, with the sprinkling of glam only Noddy Holder could’ve brought to each classic. And it was Christmas, so he aptly called it, and yes, it was something to behold. If One Vision is on my top five, Slyde must also be.

Now, Badness, ironic name, there’s nothing bad about the performance, but only, perhaps in the way they will totally and utterly rule the audience with a spellbinding show of their own. They do not attempt to mimic Madness, like Slyde they offer a repertoire of classic hits from the era their homage was in their prime, only this time it’s obviously Two-Tone ska and new wave, and you will be skanking. Furthermore, you’ll be under no illusion Badness are attempting to precisely mimic Madness, they only pay homage to them, and are uniquely themselves, add their own spin to it, particularly with the most hilarious stage banter you’re ever likely to witness.

Has that tempted you? Because I’m getting excited just typing this recommendation! They’ll have a big outdoor stage, brilliant sound and lighting, plenty of room to dance, lots of trade stalls, a range of food and drink outlets and showers for those camping. They’ll be running a FREE shuttle bus to and from the The Bear Hotel hourly, gazebos and picnics are welcome, so too are campervans, caravans, and tents.

Early bird tickets are up for grabs: Adults – £30. Youth (Age 13-17) – £20. Child (Age 7-12) – £10. Under 7’s – Free. Campervans/Caravans – £30. Camping – £20. It’s on Saturday 18th July. Book HERE.

Swindon’s finest Chicago and Texas blues covers band Last Train Smokin’ are also on the fantastic roster, along with rock covers band Strange Horizons. Is it summer yet?!

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“Larkin with Women” at the Mission Theatre, Bath, November 25th-29th November.

by Ian Diddams
images by Ian Diddams, Mike Stephens and Next Stage


Ask people what they know about Philip Larkin, and the general best response may well be “a poet”. They may even know he was a librarian at the University of Hull. Some may even know he coined a phrase concerning the effect of one’s parents upon one – a rather rude quote, far too rude to be spelt out here in Devizine obviously. What they – or you – may not know though is that he had thirty plus years polyamorous… arrangements… with three women none of whom were overjoyed at sharing him but couldn’t let him go. Or at least, that is the wonderful picture painted by playwright Ben Brown in his play “Larkin with Women” which Next Stage Theatre Company are performing this week at the Mission Theatre, Bath.


This is a sumptuous work,. Deliciously delivered in a simple in the round setting of office, flats and a weekend cottage with an equally delightful sound track to set it all off. The plot runs through Larkin’s life with his amours Monica a long standing girlfriend and English lecturer, Maeve who comes to work at the library he runs, and Betty his secretary. His persona is of a sharp witted, pithy remarked but not uncaring man, his dialogue stuffed full of ironic responses and jokes. Yet he is egocentric at times seemingly oblivious to his devotees’ desire for monogamy, or at least uncaring, with his rejection of marriage as an institution. This especially causes a barrier with Maeve who as a strict Catholic cannot agree to sex outside marriage and they carry out their unconsummated affair for over a decade until the inevitable happens, Maeve is distraught, and Larkin responds with “You’re forty-six years old. Its not as if you can hang on to it for ever”. Monica is the closest of the three to Larkin’s approach to love but is jealous of the others’ involvements. Betty is last to fall for him and she too wishes him to herself.

The play draws to the obvious conclusion as Larkin’s life ends at the age he prophesied, his three partners in life visiting him for what may be a last time. Monica has the most heart wrenching line in the play as she answers a question posed by Larkin as he approaches death – as an audience we can see the answer coming, but when it does it is delivered with such great timing, and tenderness that it still brings forth an immediate emotion and reaction.

The cast are sublime, each playing their part superbly to eke out each character’s nuances and foibles. Tania Lyons as Monica, Antonia White as Maeve and Stephanie Hunt as Betty create three distinctly different women… Betty caring, Maeve desperate for marriage, Monica devoted. Brian Hudd fulfils the role of Larkin with panache and even brilliance. Mannerisms, delivery, aura… if this is not how Larkin really was, then he should have been Brian’s portrayal.

A simple set, a gorgeous playlist, subtle yet engaging tech and period clothing throughout from Kris Nuttall, Andy Punt, Vanessa Bishop and Ann Ellison – who also directed this wonderful piece of theatre, more than ably assisted by Andrew Ellison as Stage Manager.

Ben Brown the writer in the program notes is quoted as saying “there is a fine line sometimes between humour and irony”. He is spot on of course, but I’d go one further and suggest there is a fine line between irony and pathos… and Ben delivers that second fine line absolutely perfectly, in this absolutely perfect play. Next Stage have dedicated this performance run to the real life Betty Mackereth, who died this week.

“Larkin with Women” is playing at the Mission Theatre, Bath, until Saturday November 29th November at 1930 each evening, tickets from the theatre itself or from
https://www.missiontheatre.co.uk/whats-on/2025/larkin-with-women

Local Author’s Book Reveals Why Devizine Isn’t Funny Anymore

Devizine can reveal how a new book by a local author might possibly be the reason why Devizine isn’t as funny as it used to be….

Devizine, it used to be funny, but sadly it seems it’s not so much anymore. Who took the banana skin from under its flip-flop? Who failed to give it a raspberry on the bouncy belly? Editor and creator of Devizine, Darren Worrow might have discovered why.

He said, “It’s a disgrace. This so-called author Darren Worrow has channelled all his pathetic attempts at humour into his new book Murder at the Scribbling Horse, and hardly bothered sharing anything the slightest bit amusing here on Devizine, as he once did; typical liberties from a loony leftie! And now he expects me to blow my own trumpet and sing his praises; what a pretentious twat! Shamelessly plugging his own book on his own website is surely proof.”

“Set in the fictional Wiltshire market town of Slapam-on-the-Fye, which is nothing like any real Wiltshire market town you might know of, it claims to be a murder-mystery, but the only true thing it murders is English literature.”

“Neither is there any subtlety in it either, like there is with Devizine,” Worrow waffled on sorrowfully wallowing. “Worrow takes no prisoners, has gone all out and created an absolute work of filth; an offensive joke book with a sham narrative, just so he can say disgusting things about various celebrities, politicians and anyone else he doesn’t like, despite the good honest work they’re doing to keep Britain free from logic and empathy.”

“With the mouth of a sailor, it downright disregards any level of intelligence locals might possess, and paints them all as so utterly idiotic the narration of the story has to be conveyed through the point of view of the pub dog; I don’t think that’s funny at all. The dog is a depressing nihilist, who uses the opportunity to put the human world to rights, rather than getting on with telling the story, that’s why it stacks up over 500 pages. 500 plus pages of meandering woke filth, I might add.”

“Using a facade of a murder mystery, in which the frontman to a tribute act is murdered in the pub whilst they organise a fundraising music festival, as the plot thickens like moulded yogurt around his genitalia, it goes as far as disgracefully making a mockery out of petty local politics too. It’s the biggest crime against pop since David Bowie and Mick Jagger’s cover of Dancing in the Street. I’d rather lick that yogurt off than buy this book, but that’s probably what this sick perverted tyrant wants us to do.”

“You’re not going to enjoy reading it, as tea can scold you if dropped in your lap through laughing too much. Therefore I call upon Steer Karma and the government to ban this book for health and safety reasons.”

“This thing wouldn’t have been published under Farage, you know? And thousands of flagpoles will now have to be erected to counteract the unpatriotic damage done, at the taxpayer’s expense too.”

The author of the book, Darren Worrow, rebukes comments made by the Devizine editor, Darren Worrow. “That guy is as thick as a Boxing Day turd and pissing into the wind,” he said. “Other than the fact I have released a new book, the rest is slanderous lies and Devizine will be hearing from my lawyers. Murder at the Scribbling Horse is a fascinating psychological study and critique of the modern world, questioning our nonacceptance of aging and the social and political issues it raises; with added knob jokes.”

The author became irate, claiming, “for eight long years I’ve been tirelessly promoting everyone else for peanuts. I’ve not even had the opportunity of taking a bath since, and I look like a Yeti past its sell by date. It’s about time I thought about myself for a change, and everyone can bloody well return the favour by buying my book!”

Eighties post-punk sensations Johnny Bunion and the Verrucas’ most successful album, The Legend of Castle Grey Scholl, 1981.

Whatever happened to Johnny Bunion? His legend burnt out long before his candle ever did.

But the more pressing question must be, was it connected to the murder at the Scribbling Horse public house in the narrow-minded Wiltshire market town of Slapam-on-the-Fye, some forty plus years later? And if so, how?

To answer this you’ll need to research, and my book, Murder at the Scribbling Horse will be the only way to do that.

If there’s ever any proceeds from the book, they will go to a much needed new Lynx Africa deodorant set, and a Brazilian back, sack and crack wax for the obnoxious author; the twat needs it, he looks like Posie from the Flumps’ rustic vajazzle.

Seriously though, being funny is the only thing I’m serious about. If you laughed at any part of this internal press release you’re a bit weird, and the ideal target audience for my book! You’re going to laugh a kazillion times (that’s a zillion zillions) more with a copy Murder at the Scribbling Horse in your grubby mitts. And even if you’ve no sense of humour, you know a good Christmas present idea when you see one!

You can buy the paperback online here. And the e-book here. It’s out for global distribution but buying direct from Lulu cuts out the middle man and gives the best royalties to the authors. 

Not for sale to children or the over sensitive, though; as if I needed to say!

Murder at the Scribbling Horse is available at Devizes Books for a reduced price of £20, and next Saturday 22nd November, I’ll be in the shop praying to the Norse god of biscuits someone might stop by and purchase a signed copy at the super reduced price of £20!

If you cannot make it, you can message me and I’ll personally deliver you a copy if you live locally. I still need to work out posting & packaging costs, so message me if it needs posting and I’ll let you know about that asap. Happy reading…well, I say that but do I really mean it, I mean, really?!

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Chandra Finds Heaven on Earth

Usually I just write what I think, but if I had a point-scoring system this new single from Bristol-based indie-pop outfit Chandra would tick every box. It’s called Heaven on Earth; if Belinda Carlise made it, Chandra rocked it! Punchy, tick. Find that perfect hook, tick. Subtly righteous narrative, tick. Balance pithy narrative with equal…

Darren Worrow's avatar by Darren Worrow

Peter Gabriel to Release Live at Womad Album

Peter Gabriel – ‘Live At WOMAD 1982’ will be released on 8th May 2026. It was a simple idea; to create a festival out of all the brilliant music and art made all over the world, stuff made outside of the mainstream – music that wasn’t getting on the radio and was even harder to…

Darren Worrow's avatar by Darren Worrow

Fulltone ‘26 to Ignite Wiltshire with an Epic Weekend of Live Music

Now in its seventh year, and at its new and better venue, Park Farm on the edge of Devizes, it’s full steam ahead for The Fulltone Festival ‘26. From the 11th–12th July Fulltone is set to ignite Wiltshire with an epic weekend of live music….. Promising a “spectacular, joy-filled weekend of live music which brings…

Darren Worrow's avatar by Darren Worrow

Wiltshire Music Awards: Results and Ups and Downs

Well, we did it! I sincerely hope you had a great night at the first Wiltshire Music Awards as we filled the Devizes Corn Exchange with a cross-section of people involved in the music scene of Wiltshire, musicians and fans. Positive feedback already, and a few teething issues, noted, which we must take onboard and learn from….

But for those who unfortunately couldn’t make it, I guess you are eager to hear the results. Let’s do this easy bit first! But before we do, I ask you, please, to take a few issues into consideration. Firstly, there was a monumental process to arrange, coordinate and launch during and also months prior to the ceremony. From the voting process and organisation of a panel of judges, to decorating the tables and corresponding all those trophies to each category.

So many volunteered their time to help with this, and we are extremely grateful to them. Overall, the management of the whole process and ceremony was carried out by Eddie Prestidge of Stone Circle Music Events. Eddie worked arduously on this project, and was dedicated to creating an extravagant event to be remembered. With the help of so many volunteers, myself included, stage tech and the staff of the Corn Exchange, I believe we achieved this to the best of our abilities, and a fantastic evening was had by most.

There should have been one more trophy, it should’ve been big, extra shiny, and presented to Eddie for his dedication and the tireless work he put into this. Exhausted, Eddie fell ill a few days before the ceremony, but strode through it the best that he could. The end result of this was that he was rushed into hospital a few hours prior to the conclusion of the ceremony. I have heard from him this morning, and he’s doing okay.

If you witnessed me on the sideline, rushing up and down the stairs like a headless chicken, it wasn’t my step aerobics workout, it was because I was honouring my part as co-host on stage but attempting to coordinate the floor as well, as best as possible, as Ed seriously needed to take a step back. Whilst the beginning therefore went to plan, as the evening progressed we stumbled on issues, but I ask you to please take this into consideration if you’re intending to criticise the evening on social media. I apologise for any breakdowns in communication, but the condition was out of our control and we strived through best we could.

Results

The results, then. Congratulations to everyone who bagged an award, commiserations to those who did not. To those unable to attend, we have trophies reserved for you and will arrange the best way to get them to you as soon as possible.

Best Venue. Sponsored by Pat Robertson of Trowbridge Motor Supplies ltd.

Runners Up: The Royal Oak, Pewsey. The Vic, Swindon.

Winner: The Three Horseshoes, Bradford-on-Avon.

Best DJ: Sponsored by Mark Anthony Burdge.

Runners Up: Maurice Menghini – DJ Mister M. Mark Lister of Fantasy Radio.

Winner: Paul Alexander of Solstice Sounds, This is How We Do It Entertainment.

Best Drummer.

Runners Up: Tom Gilkes. Callum Rawlings.

Winner: Jamie O’ Sullivan.

Best Bassist. Presented by Alex Morgan of Waldrop Salisbury Sounds.

Runners Up: Nick Gorman. Nick Beere.

Winner: Mark Turner.

Best Guitarist.

Runners Up: Alastair Sneddon. Nick Beere.

Winner: Jolyon Dixon.

Best Duo.

Runners Up: Jolyon Dixon & Rachel Sinnetta. The Sylvertones.

Winner: Matchbox Mutiny.

Best Covers Band. Sponsored by Simon Woolley of The Three Crowns, Devizes.

Runners Up: Pinky & The Slapcats. The Unpredictables.

Winner: The Brit-Pop Boys.

Best Original Band: Sponsored By Peggy-Sue Ford of Don’t Stop the Music on Swindon 105.5 Radio.

Runners Up: Nothing Rhymes With Orange. Burn The Midnight Oil.

Winner: Talk in Code.

Best Tribute Act.

Runners Up: Painted Bird. BC/DC.

Winner: Mick Jogger & The Stones Experience.

Best Female Artist.

Runners Up: Sammi Evans. Rosie Jay.

Winner: Ruby Darbyshire.

Best Male Artist. Presented by Lesley Scholes of Fantasy Radio.

Runners Up: Lucas Hardy. Vince Bell.

Winner: George Wilding.

Best Original Song.

Runners Up: I Don’t Give a Damn by Rosie Jay. Do I Really Have The Blues by JP Oldfield.

Winner: All In by Talk in Code.

Best Instrumentalist.

Runners Up: Ruby Darbyshire. Andrew Hurst.

Winner: Jolyon Dixon.

Rising Star New Comer.

Runners Up: Ruby Darbyshire. Rosie Jay.

Winner: JP Oldfield.

Best Vocalist.

Runners Up: Chris Stevens. Lucas Hardy.

Winner: Rachel Sinnetta.

There were four special awards given out on the evening which didn’t receive runner-up places as according to the information given to the hosts. If there was an oversight about this, we apologise.

Outstanding Contribution to The Wiltshire Music Scene was won by Colin Holton of Salisbury Live.

Outstanding Contribution to Music in the Community was won by Jo Baines Robbins.

A Special Award was given to Wiltshire Hop & Harmony, The Wotton Bassett Dementia Choir. The Second Special Award was presented to Brian Mundy of BMS Stage Tech.

A Lifetime Achievement Award was presented to Peter Lamb.

Ruby Darbyshire opened the evening with a bagpipe song and two others, as a surprise special guest.

We also had live performances from Nothing Rhymes With Orange, Burn The Midnight Oil, Lucas Hardy, Matchbox Mutiny, George Wilding, and The Britpop Boys. Due to technical issues, Jolyon Dixon and Rachel Sinnetta were unable to perform.

I would like to sincerely thank our panel of judges.

And, Ruby and Brian Darbyshire

The Britpop Boys

Burn The Midnight Oil

Matchbox Mutiny

Lucas Hardy

Jolyon Dixon & Rachel Sinnetta

George Wilding

Nothing Rhymes With Orange

Sponsors:

Val Bewley VB Arts Studios

Alex Organ Wardrop Salisbury Sounds

Colin Howton Salisbury Live

Pam Robertson – Trowbridge Motor Supplies

Simon Woolley – Three Crowns, Devizes

Peggy-Sue Ford – Swindon 105.5 Radio

Mark Jones & Lesley Scholes- Fantasy Radio

And a sponsor and our host DJ Mark Anothony and wife Sandra.

Thanks to Anya and Marc of Soupchick.

To Ian and all the staff at the Corn Exchange

To Brian Mundy and BMS Stage Tech.

To everyone who got behind this, I thank you.

Anthony & Jemma Brown for helping us set up.

Charlotte & Moray MacDonald for help on the front desk. 

But massive thanks goes to Eddie Prestidge and Stone Circle Music Events

And finally, thank you for coming, supporting the local live music scene.   

Still Alice at The Wharf Theatre Raises Dementia Awareness

Valedictorian graduate of Bates College in Maine, and with a PhD in neuroscience from Harvard, neuroscientist Lisa Genova self-published her debut novel, Still Alice in 2007. Acquired for publishing two years later, Still Alice made The New York Times Best Seller list, was adapted for the stage by Christine Mary Dunford of Chicago’s Lookingglass Theatre Company, and spurred a 2014 movie by Memento Films, winning Julianne Moore an Academy Award. Under the direction of John Winterton, The Wharf Theatre brings this poignant play to Devizes……

It’s lovely to be back at Devizes’ cosy and communal theatre. Ian assigned himself our theatre critic and while his brilliant inside knowledge is gratefully appreciated, I figured I fancy this one, as I have a personal angle on the plot. Alzheimer’s Society suggests “every 3 minutes someone in the UK develops dementia,” therefore I imagine many others will find relevance in it too, and if not, might one day.

We found it amusing at the beginning, my Nan in Dad’s car still wearing her slippers for a party, and other trivial mishaps. But the last time I saw her I was saddened to note she didn’t remember me, as she spoke to me of her “husband,” rather than address him as “grandad.” My children were young and understandably apprehensive about going into the care home. But when they plucked up courage my boy stood before her and she was delighted to be face-to-face with who she assumed was me. Here was the relieving point; I realised she hadn’t forgotten me, she just didn’t recognise me because thirty-plus years was missing from her memory; thank you genetics!

The journey between these two points in time was arduous for her and our family. For her it went from confusion to frustration and onto an immune state of obviousness. Lisa Genova wrote Still Alice in first person narrative from the point of view of Alice, a university professor at the height of her career who is diagnosed with early-onset Alzheimer’s disease; it mirrors what we went through, and sheds a fascinating light onto what my Nan must’ve gone through too.

The play honours the narrative perspective by an ingenious method of a personification of Alice’s psyche. With a dual-Alice on stage, the real Alice, played sublimely by Linda Swann, says what she believes she should say, while her conscious shadowing her, equally delivered with skill by a younger version of Alice, Sophie Kerr, offers the audience an insight into what she is thinking. Just as I suggested, with the lost time of my Nan’s mind, Alice perceives herself as being younger, so this age gap works as her sense of reason, until reason runs short in her mind and her consciousness is reduced to the childlike drawing of pictures.

There are many elements to the happenings in the play which anyone who has experienced a loved one going through Alzheimer’s or dementia will recognise, and tears might trickle. There’s periods of thought-provoking awkward silence, intense confrontation at others, when the confusion turns to frustration. There’s poignant reality and touching scenes as the family come to terms with Alice’s deteriorating mind. There’s thought processes from Alice exposed, causing you to identify with her greater than that of her family; a window into the mindset of anyone suffering with this terrible condition.

Overall, akin to a film like Schindler’s List, this is a play you might not want to face, oh, but you must, and you should. 

Still Alice is evoking brilliance, you will leave impelled to discuss the subject further. It raises awareness of this horrifying condition and doesn’t meander from this for any purposes of entertainment. On the impaired particularly, the sentiment is pragmatic, but also in her relationship with her family and their emotions, all poignantly represented and acted with believable precision by John Myles, as the calm under pressure husband, Adam Sturges as the solicitude son, and Kezia Richards as the estranged daughter.

Still Alice raises awareness about Alzheimer’s or dementia in a similar way as Barry Levinson’s Rain Man raised awareness of autism, but only if we could have seen into the mind of Raymond would it be any more comparable. That’s the beauty of theatre, this is a play with the power to change you. 

Still Alice runs at The Wharf Theatre, Devizes from September 1st until September 6th 2025, Tickets HERE or at Devizes Books.

World Alzheimer’s Day is Sunday 21st September. You can find more information about local dementia groups at Alzheimer’s Support, and sign up for their Walk to Remember at Wilton House, HERE.

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“love you, bye” at Ustinov Studio, Bath, July 7th-10th 2025.

By Ian Diddams
Images by Luke Ashley Tame of Acadia Creative

Around 2 million women are victims of violence perpetrated by men every year, that’s 3,000 offences recorded every single day.

A year ago, Uncaged Theatre brought their work in progress production “Faith” to the Rondo Theatre. Its review can be found here. A year later they are about to take its completed version – now entitled “love you, bye” – to the Edinburgh Fringe and are warming up with a four-night run at Ustinov Studio, Bath. It has indeed come a long way since that nascent concept and has become a more rounded, holistic production …  which is still sphincter clenchingly, seat squirmingly uncomfortable watching at times – especially if you are male.

The number of offences has grown 37% in the last five years and violence against women and girls accounts for 20% of all recorded crime. That’s recorded. Not total, only what is actually told to the police.  

The fundamental premise and action of the play remains the same – four friends, a missing woman, the ramifications. The external pressures on the group of trial by social media and finger pointing, and on the missing woman of asking for it, being out alone after dark. The media’s gloss-over reporting with its own inherent racial and societal biases, the group’s individual coping mechanisms, personal even selfish concerns…  and collapse of trust…  all remain in this final product. But while “Faith” was a work in full, “love you, bye” uses the play as a glorified MacGuffin to the real message of the production.

A woman is killed by a man every three days in the UK. That’s 168 women murdered at the hands of a man every year.

As writer Meg Pickup – who plays Colly – says “We didn’t want to write a play just about the victim – we wanted to write about those still standing, and how they carry the weight. We wanted to create something that doesn’t just speak to grief, but to the fierce loyalty and messy beauty of a chosen family. The group at the centre of the play acts as a microcosm of society’s response to violence against women and girls.”

In the year ending March 2022, there were 194,683 sexual offences, of which 70,330 were rape. Thats reported rape, again not total, only what is actually told to the police.

Is the performance a lecture? Is it “entertainment”? These are the questions asked by Colly/Meg directly to the audience. The characters reflect people we all know. Some reading this review and seeing the production will have shared in the characters’ own experiences. It uses real audio of the likes of Trump, Marilyn Manson, Andrew Tate interspersed with real voicemails of ordinary people wishing each other well, saying “I love you”, saying “’bye”. The social imagery is stark, uncomfortable. How do we as a society that individually expresses love to partners and friends combine to create monsters that prey on the vulnerable? Why is it those that are in positions of authority to protect, instead abuse that position. We all know these cases – and also not those cases that the selective media with its own biases omits from our newsfeeds.

Only 3.2% of reported rape is even prosecuted. Then of that 3.2% only 62% are convicted.

The play part of the production includes two new characters from “Faith”. Firstly, a collective female character “Everywoman” who is represented by the three female protagonists in their drinking game of “Never Have I Ever” requiring a downed shot for every challenge that has happened to them which quickly becomes increasingly dark outlining their shared experiences of violence as females. And there is now “Not-All-Men” –  a, it must be said, loathsome character insisting that it’s all somewhat overblown and not widespread, and whose own words condemn himself for his self denial and lack of collective responsibility and empathy, while wallowing in the words of Richard III and King Lear to justify his position.

The broad indication is that, during the last year, of the 70,330 rapes reported to police only 1,378 led to a conviction…

“love you, bye” is performed by four actors with six parts. Meg Pickup – who also co-wrote the piece – excels as the bullish and frankly bullying Colly who in some ways actually – unbeknownst to her – reflects some of the toxically masculine traits she so despises, in her relationship with Kaia, played by Taruna Nalini. Both portray their failing relationship with skill, neither overegging the tragedy that is happening to them externally and internally nor shying away from the difficult concepts of the story. Taruna’s vulnerability is the perfect foil to Meg’s bullishness and in so doing they reflect the wider society the premise of the play explores. Taruna combines the pain and pleasure of a relationship that isn’t always equal, while carrying a secret from her youth in a different culture, different social mores that nonetheless has a profound lifelong effect – her ability as an actress to mix these emotions and repressed fears is masterful. Billie-Jo Rainbird plays the pivotal role of Mercy, slightly on the outside of her friendship group but devoted to them all and they to her. Her strength is subtle, not worn on her sleeve but she is clearly supportive of not only her friends but also her partner’s anxiety back at their flat, all played sweetly and calmly, a unifying force. Billie-Jo also designed the sound and lighting for the show as well as the digital program. These three also represent collectively “Everywoman”, a combined edifice of womanhood sharing their abuses in a drinking game. These are fast paced scenes delivered perfectly with all the hidden menace in their reported words starkly evident while externally they just blankly down their shots. That just leaves Mercy’s flatmate, the promiscuous devil-may-care gay friend, played by Nicholas Downton-Cooper. Nicholas captures the sexually blithe character of Theo with ease – then the unsure, worried, slightly selfish man concerned at how the world later perceives him. He flip flops this role with the strident, I’m-all-right-Jack delivery of the Not-All-Man character, the polar opposite of Theo’s character in many ways. Flip-flopping between two such opposite characters takes care and skill and Nicholas achieves this seamlessly, aided and abetted by just a pair of spectacles and a yellow shirt in his role changes. Evie Osbon is the directorial genius behind the show and between them all they deliver sixty-eight minutes of gripping, compulsive viewing. It is something everybody should see; the writing is precise, pertinent and pulls no punches.

… This is a conviction rate of less than 2%.

So – is this a lecture?  Is it entertainment? Are you uncomfortable? Find out for yourself – the show runs until Thursday 10th at Ustinov Studio Bath, and then at the Edinburgh Festival Fringe from August 19th-25th at 12:30 daily at the Bedlam Theatre (Venue 49), 11b Bristol Place EH1 1EZ.

Tickets from www.theatreroyal.org.uk/events/love-you-bye/ (Bath)
                          www.edfringe.com/tickets/whats-on/love-you-bye (Edinburgh)

REVIEW – Devizes Arts Festival– Mark Watson – Corn Exchange – Friday 13th June 2025

Welsh Favourite Comes to Devizes

Andy Fawthrop

The Devizes Arts Festival came up with another of its heavy hitters last night with a packed house at The Corn Exchange, all ready to welcome comedian Mark Watson to the town.

Mark Watson is an English comedian, novelist and producer.  Born in Bristol of a Welsh mother and English father, he has adopted a somewhat Welsh lilt in his delivery.  He’s won a number of comedy awards and is well known from his frequent appearances on TV, as well as being a Radio 4 regular.

Introducing himself, Mark climbed on stage to do an introductory 10-15 minutes before bringing on his support act for the night – Vicky Slater.  Projecting a slightly larger-than-life persona, Vicky delivered her material well, but I’m not sure that quite all of it landed.  Her tales of coming out as gay were delightful and amusing, rather than particularly hilarious.  She at least avoided the current lazy habit some up-and-coming comedians have of trying to pick on audience members in order to prompt some witty improv, and instead stuck to her own original material.  Respect for that. She was slightly rambling and incoherent in places, but she gradually won the audience over.

After a slightly short first half and an early interval, the main man was back to deliver his set.  Mark kicked off with comparing how difficult it was being a stand-up comedian versus, say, being a brain surgeon or, prompted by an audience member, a menopause therapist.  His key criteria for the comparisons were, aside from the training and basic aptitude, the amount of sheer stress and anxiety that such an activity could induce.

This was all by way of introduction to his first main theme – stressful situations in ordinary life.  But this was no feeble Michael Macintyre “observational comedy”, laughing at “isn’t it funny when…?” type comments.  This was full of little anecdotes of his own personal experience that everyone could easily relate to – flying with a small airline, getting into a car thinking it was an Uber (when it wasn’t), asking for help in Tesco (from someone who wasn’t even an employee), dealing with a homeless man (who began to take advantage), interacting with chat-bots online (who seemed very concerned for his continued welfare after once buying some towels a few years previously), and coping with his son whose only apparent language capability seemed to be through frequent WhatsApp messages.  The situations were carefully crafted and set up before the always droll and almost exasperated punchlines.

His second “theme” (if I can call it that) was around the “corporate” gigs he’s sometimes had to do, particularly the waste-processing and meat-processing industries.  The latter’s “Meat Management Awards” provided a rich vein that he mined repeatedly for jokes about sausages and how he’d become “an advocate for natural casings”.

Against his own better judgement, he’d been persuaded to use ChatGPT to create a self-description, and it had come up with “a breathless delivery by a neurotic personality”, and even he had to admit that it wasn’t too far from the truth.  And I’d agree.  Watson came across as genuinely curious about the world, bemused by modern technology, amazed by other people, and surprised by how much of modern life created stressful situations for him.  And out of this melting pot there came a genuinely funny man.  He was self-deprecating, very natural and – no doubt about it – absolutely hilarious.

Absolute top marks to Mr Watson and to the Devizes Arts Festival for booking him.  Top notch. Find  out more at www.markwatsonthecomedian.com/  

The Devizes Arts Festival continues until the night of Sunday 15th June at various venues around the town.  Tickets can be booked at Devizes Books or online at  www.devizesartsfestival.org.uk  

“Prostitutes Marry In May,” Devizes Arts Festival at The Wharf Theatre, June 11th, 2025.

by Ian Diddams
images by Ian Diddams, Play on Words Theatre, and Devizes Arts Festival

Who was paying attention in history at school when they covered the Tudors? Hmmm? Anyone? Yes – you at the back – you did? Swot! I have a vague recollection of a thirteen-year-old me, pre O-Level options, quasi snoozing through something about lots of people with the same name – Mary this, and Mary that, and Mary Queen of Scots who was at least more memorable, if only because she had her noggin removed. I dropped history when it came to O-Level options, so my knowledge of the Tudors stopped there and then, although I did manage to understand when an American, I was playing “Trivial Pursuit” with back in the late 80s read from the card “What two door battleship sank in the Solent”; the answer of course being the Mary Rose. My how we chortled.

Fast forward some fifty years almost and thanks to the wonderful people that are Devizes Art Festival, I was able to improve my knowledge significantly on a small part of the Tudor dynasty – though in fairness the bar was very low to start with. “Play on Words Theatre” visited the Wharf Theatre as part of D.A.F. with the phenomenal Miriam Cooper, to portray the lives and relationships of two queens from that family – Queen Elizabeth the First of England, and Mary, Queen of Scots. The two queens were first cousins, once removed with a shared ancestor of Henry VII, but despite this close familial relationship, and reasonably close distance between London and Edinburgh, the two never actually met until Mary fled Scotland following a revolt, where Elizabeth basically imprisoned her for nineteen years before finally having her head cut off.


The one woman, seventy minute play delves into these lives as Miriam portrays not only the cousins but also a handful of other characters to flesh the story out. A chessboard stone floor and basic set of chair, shrine and tables with some excellent lighting and sound from the tech team provides a more than adequate setting for the tale of desperation, hope, chicanery and power struggles between reigns and imprisonment for them both. The political chicanery of the period was complex, and no doubt the truth rather depends on whose side one takes, but the play rattles along attempting to be fair to both women, neither praising nor condemning their actions, words and deeds.

The actual history one can find in a plethora of places online, in books, films, TV documentaries and so on, so I’ll leave you to educate yourselves if that is your wont. But if you caught this show, or can do so as it continues to tour, you’ll get a good head start into it all.

Oh – and what of prostitutes? And marriage? In May? Mary utters the line towards the end of the play to describe the entangled complications of her, and Elizabeth’s lives apart but together. So, apologies for anybody that was hoping for some spicy extracurricular activity …

Devizes arts Festival continues with multifarious offerings until 15th June and details and tickets can be found at https://www.devizesartsfestival.org.uk/events/

Play on Words Theatre continue to tour “Prostitutes Marry In May” and further details can be found at https://playonwordstheatre.com/navigation-mary/tickets-mary/




REVIEW – Devizes Arts Festival– Julian Costello Quartet – Assembly Room – Thursday 12th June 2025

Nice place.  Nice music. Nice.

Andy Fawthrop

The Devizes Arts Festival has almost run its course, with only a couple of days to go, but still seven events left.  But it’s not going quietly, and last night in the Town Hall’s Assembly Room was no exception……

British jazz saxophonist Julian Costello, a superbly gifted musician, composer and teacher from London, and who writes for various ensembles, was the Festival’s guest.  Playing tenor and soprano saxophones, he was joined by John Turville on piano, Andy Hamill on upright bass and harmonica, and Tom Hooper on drums.

The quartet has recently released their third album, ‘And All The Birds Were Set Free’ on the acclaimed label 33 Jazz Records, and their two sets last night featured many tracks from the album.  The album’s title is a reference to Costello’s idea that the musicians should be free to express themselves and able to fly. The pieces they played, including the title track, The Gecko, London Blue, Song For Anna and Sunflowers, were all good examples of this open, loosely-structured approach.  Each musician took his various solos easily, improvising on the scenario, but slotting into the structure laid down at the start of each piece.  The particular highlights of these for me were provided by John Turville’s piano passages.

The original material was tempered with a leavening of jazz classics, including material from John Coltrane, La Rosita by Benny Goodman, and Carlos Jobim’s If You Never Come To Me.  Costello himself, leading the quartet very much from the front, moved over from tenor to soprano sax for his composition Connections, based upon the structure of an Indian raga.  And bassist Any Hamill strayed onto a very welcome harmonica during the encore Song For Anna (written for Costello’s wife Anna Stearman).

Costello’s personal style was laid-back and chatty, bonding easily with the audience using dry humour, and the quartet were clearly very comfortable in each other’s company. Their enjoyment on stage was very evident.

After an absolute dearth of live jazz in D-Town, it was like drinking at an oasis after a long crawl through a musical desert.  But, parched as I was, I was left very slightly wanting.  The sets needed more variation in tempo, more contrast between light and shade.  Each number they played was very good, but it was slightly one-paced across the whole programme.  Don’t get me wrong – this was a hugely enjoyable affair, featuring some great music in a beautiful room.  Sound and lighting were spot on (as usual).  But I was left wanting just that little bit more. More jazz please!

Find  out more at www.juliancostello.co.uk/  

The Devizes Arts Festival continues until the night of Sunday 15th June at various venues around the town.  Tickets can be booked at Devizes Books or online at  www.devizesartsfestival.org.uk 

Lions, KITT, Moonrakers and a Whiskey River; Sunday Stroll Around Devizes

If it’s good enough for Knight Rider it’s good enough for me. I see the Hoff ditched his Knight Industries Three Thousand on the Green for a stroll around Devizes on Sunday. He probably found a crusade to champion the cause of the innocent in a world of criminals who operate above the law, whereas I ended up at the British for a scrumpy or three….

Image: Simon Folkard Photography

Unlike some guys who act like Spongebob Squarepants on his tenth bag of Haribo at Chessington World of Adventures, I can only get yay excited about a car show. But Devizes Lions do it with cherries on… and debatably false advertising. There were no lions on the Green, but it was Lions on the Green this Sunday past, an annual free fete/car show crossover which never fails to appeal universally; kids nag mums for Rowdey Cow ice cream while dads furiously argue for three hours with a total stranger in sandals that the Mk2 2.8 Injection Granada handles better than the Mk1 with a 3.0 V6 engine.

Image: Simon Folkard Photography

I browse unacquainted with such matters, unfazed by contemporary cock extensions, but in admiration of vintage, retro cars and those with a movie reference attached. Every local from MP Brian Matthews to Pete of Vinyl Realm, and outsiders like Marty McFly have brought their big boy toys along to display, as Fantasy Radio blast Gary Numan. It’s a sunny morning, it’s a lovely occasion, it’s raising funds, and there’s nothing to dislike about it. 

Image: Simon Folkard Photography

Cars ticked off, hot dog and an extended conversation with a detectorist who’d discovered a variety of civil war shots and cannonballs on Roundway, if the Lions on the Green is a great and unbroken walkthrough event it coincided with Crammer Watch Day further along on, at the Little Green.

With long term solutions outstanding for unsafe conditions for wildfowl on the Crammer, there appears to be a far more communal tenet between concerned residents and the council compared to the outcry a few years ago, and this day was intended rather to celebrate the Crammer than address expensive possible solutions. As it stands, the simple fix is to raise public awareness that the only escape route for swans is across the roadside and they should apply caution when driving through….please.

With live painting from the Lawrence Arts Society, stands from the RSPCA, Sustainable Devizes and hosts Friends of The Crammer, conservation was a topic, if overshadowed somewhat by historical tomfoolery, which was something new to the day and personally my highlight.

Image: Simon Folkard Photography

A random team of amateur thespians, some from the Wharf Writers Group and others along for the giggle and wearing of knitted beards, staged a short promenade satirical play “reenacting” the fable of the moonrakers, aptly at The Crammer. The premise didn’t sound so inspiring to me, and I thought I might have to hold my tongue. The actuality surprised me, it was absolutely brilliant!

Image: Simon Folkard Photography

Pythonesque humour delivered with skill on a local legend, deliberately naff props such as a paddling pool for the pond, and astutely scripted silliness, it was indigenous and hilariously original.

Image: Simon Folkard Photography

Authenticity deliberately skewed for amusement; they couldn’t have done this anywhere else but here, the setting of the beloved fable, which is amusing enough without the added gags. Francis Grose was a witty Victorian chubster and nothing more needs to upset the applecart about the origin of the moonrakers, as this wasn’t intending to proclaim historic fact checking rather to amuse, which a country gent in Harris Tweed with a carrot in his mouth pretending to be a donkey will inevitably achieve.

Image: Simon Folkard Photography

I don’t know where the Hoff got to, but he missed a rarer treat than reuniting with Pamela Anderson for a titillating slow-motion beach jog. Oh, and a whistle stop to Morrisons was a let down culturally compared to what was outside. Along the road I shrug at a classic bus, for its appearance would’ve been more expected trekking the Sahara than parked outside the faithfully traditional British Lion, and there was no explanation for it being there.

Nevertheless I’m one step away from the bar, pondering if there’s one thing expected in Devizes: it’s that The British Lion doesn’t change, because it doesn’t need to. With Devizes Arts Festival is full swing, they’ve arranged a Cwmbran roots trio called Whiskey River to play us some of their sublime classic rock covers, Celtically, with a deep southern Americana twist, as a free fringe event; I cannot argue with this.

Devizes live music aficionados amassed and were thankful, as if they needed an excuse for a pint and fundraising burger from the barbecue. The British Lion is a fond institution, Whiskey River was a great break from our usual circuit, The Lions put on a brilliant and well organised family event, Crammer Watch added to an already great day and those awesome actors with rakes did make us laugh as promised.

It was all too much for me, the White Bear and Southgate continued the music, but I needed a little lie down, while our roving reporter Andy outdone me, partying like Prince in 1999, so I’m also putting up his account of weekend adventures for it’s fuller, far more informative and factually accurate than mine, even if it doesn’t mention Pamela Anderson, because really, she didn’t show. Devizes though, doesn’t need Pam, the fun never stops here, Sunday proved it.

Image: Simon Folkard Photography

Hannah Rose Platt’s Fragile Creatures

If Whitney Houston set a benchmark for female vocalists many did before her too, but while others were influenced by them, they never felt obliged to attain a sound precisely mimicking them, as, it seems to me, many modern female singers striving for pop success do with Whitney’s. And when they do, it sounds, well, manufactured and impassive. A Liverpudlian now residing in Bristol, Hannah Rose Platt releases a concept album tomorrow, Fragile Creatures, of which I’d compare more to like of Kate Bush, whereby Hannah can weave beautiful tapestries, adapting her voice to reflect the sentiment of her narrative, mood and style of the track; and there’s a lot going on in Fragile Creatures….

It is undoubtedly a concept album, anatomising the complex relationship between women and medicine throughout history. It explores how antiquated myths and misconceptions in the pursuit of science have impacted female health, while creating countless injustices and inequalities. If this comes across sounding more akin to a poignant lecture, Hannah Rose Platt shifts between a collection of musical influences to imprint her wisdom, causing Fragile Creatures to be an altering and compelling journey of prowess and refinement.

It opens introductorily with a spoken word sample of Helen Andelin’s Fascinating Womanhood, a controversial sixties manual encouraging women to uphold their conventional marital role. Ataraxia is as calming as the meaning of its Greek philosophical title, ambiently floating over an acoustic guitar riff and drumbeat, musically reflecting on Diazepam-flavoured tranquillity, as if conformity to the sample will land us all in a world to make Aldous Huxley quiver. In this, Hannah’s voice is bitter, eerie, to convey the point.

But by the second tune, Curious Mixture, a drifting acoustic vibe, Hannah’s voice is as silky and smooth as Kylie, which shifts to a sharper more indie-punk feel as the songs progress. There’s a definite Bristol trip hop scene there too, causing me to consider Portishead as an influence. By the fourth tune we’re blessed with the most gorgeous ballad to Mary Magdalene, reminding me of Daisy Chapman’s folk angle. It’s at this conjunction I realise Hannah is reciting her deepest thoughts and observations on the theme, historically, and they’re gender ecumenical rather than bitter stabs of feminist vendetta. I didn’t feel under attack as a guy listening to this, provided I ponder the meanings Hannah so poignantly expresses.

This is eleven tracks strong, melding myths of pseudoscience, superstition and patriarchy with medicine and chronicles of the resilient and defiant women who unyieldingly fought for equality and autonomy. At times it’s Kate Bush vocalising for Massive Attack, as is the tune The Yellow Wallpaper, at others, such as La Grande Hysterie, it’s a contemporary Alanis Morissette’s Jagged Little Pill covered by Siouxsie and the Banshees. It ends playfully like musical theatre, but penultimately is horrific and beautiful in equal measure.

The album is a themed anthology. Each song has its own narrative, weaving into each other. From the tale of Anne Greene, accused of infanticide under the Concealment of Birth of Bastards Act, and pardoned after being revived from hanging to reflections on the health gap that lingers to this day. There’s so much more I still need to discover exploring its sheer brilliance as a concept and how the music compliments it.

Hannah explains the concept, “This record is both an offering and a tribute to female pioneers in medicine; and an endeavour to honour, and give voice to, the unsung heroines in the history of our health. What struck me most during the research and creation of this album was the deeply ingrained, sinister nature of myth and misconception surrounding women’s health, and the harmful, cyclical dismissal of experiences; decade after decade, century after century, often reinforced by outdated and dangerous practices. My hope is that listeners will not only be intrigued by these stories but also inspired to dig deeper and empowered to challenge the systems that have long ignored or misrepresented women’s voices, as this dismissal remains so prevalent today.”

At this I could agreeably sigh, like any poignant art which usually preaches to the converted those who really need to take heed of its message will likely overlook it. Nevertheless, if others cite Fragile Creatures as the work of an upcoming artist, I’d favour to compare the depth and production of this fantastic album to Dark Side of the Moon. And with that the right audience might spare its lesson a thought. A high but deserved accolade, in considering it took Pink Floyd seven albums to accomplish this magnum opus, when this is Hannah Rose Platt’s second; what comes next will be astounding because Fragile Creatures is a sublime keeper.

The advance single Curious Mixture is out now. Full album is released tomorrow (April 25th) via Xtra Mile Recordings and mastered at Abbey Road, with production and playing from Ed Harcourt. Launch party is Friday 25th at Rough Trade, Bristol.

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Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes…

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Killers, Catalysts and Devizes Author Dave McKenna’s New Novelette

On impulse I speculated, just short of a quarter way through this book and at the conjunction the format of the narrative is sussed, that if the author, Devizes’ Dave McKenna, has a favourite Quentin Tarantino film it might be my favourite too, the lesser acclaimed Jackie Brown. Not for its plagiarism of blaxploitation nor usage of derogatory slangs, rather for the multiple point-of-view conclusion, because The Killer & The Catalyst follows this formula throughout, and this is what makes it engaging….

This and breakneck volatility, conspiracy inducing, disloyal and sadistic action from nearly every character and the intense velocity it’s all delivered with. Coincidently, Dave cites Tarantino as an influence at the back matter, alongside Harlan Coben and Stephen King. Some of the book’s settings are drawn from actual features and places in Devizes. Most commonly the now closed and speculated as haunted Roundway psychiatric hospital, and an alley besides it in which Dave elucidates his inspiration for the story’s events set there were developed from a real incident at the location. It’s with these eerie settings, familiar if you’re local, I find understanding for citing King as an influence, especially to begin with; it feels like a horror, yet while the book has an unnerving ambience, a crime thriller might better pigeonhole it.

It’s causally written in a loose style with nothing academic about it, making it simple to digest, as if the narrator is on equal level to the characters, as if rambling the yarn to his mate in the pub. Breathes a sense of reality into it; the characters talk like you and I, therefore you identity, why not the narrator too? I like this relaxed and contemporary approach, particularly suits the plot and macho target audience; lads need to read more, and if that’s the case, this might be the book for them. Hyper popcorn-munching movie violence fashion this is.

Apostrophes are used instead of speech marks. This, and the abbreviation of okay to ‘OK’ out of speech makes the grammar police inside me cringe, to be honest. Such usages and the out of speech line, “That was a piece of piss,” implies this is hardly Dickens quality! But I’m willing to overlook and ignore these niggly criticisms for this book, because Dave McKenna can weave a story, dammit. He can evoke an appropriate mood within his readers, twist it, and he can suspend you on the edge of your seat. That makes him an author, not an ability to whisk long and misunderstood words (like wot I do to make me sound more intelligent than I is!)

Identifying the protagonist from the antagonist is questionable, when this periodic method of returning to the same opening scene with each point-of-view occurs, and that’s genius and a narrative difficult to construct. It conveys everything is not as it might seem from the angle of each individual and engages you into understanding the bigger picture. That is what makes The Killer & The Catalyst an absorbing and worthwhile read.

With the current state of the literature industry being it’s who you are rather than how good you can write, I wouldn’t imagine finding this on a supermarket shelf alongside ghost-written celebrity autobiographies. This is an example proving the asset of self-publishing, that which a mainstream publisher wouldn’t touch, doesn’t mean a person hasn’t got an exceptional story to tell and the ability in which to write it, it simply means it’s not commercially viable.

People merely need to be brave and take a lucky dip on a rising author, rather than accept what Waterstones throw at them. The Killer & The Catalyst is the good example of this, should you wish to be held in suspense and driven to question which characters were right and which were wrong, not forgoing indulging in some nasty scenes of violence to boot!

You can get The Killer & The Catalyst as paperback or Kindle on Amazon, or pop into Devizes Books for this page-turner, and you’ll look forward to reading future yarns of Dave McKenna, of that I’m certain.

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Headline Tickets For Devizes Arts Festival Available Now, And What Else is to Come?!

Tickets for the headline acts at Devizes Arts Festival are up for grabs now, and the rest will follow for general release on April 28th, unless you become a ‘friend’ of the festival, in which case it will be the 7th April…and why wouldn’t you?!

We all love Devizes Arts Festival here at Devizine, which opens on Friday 30st May and runs right up to Sunday 15th June. If you promise not to go breaking my heart, I’ll tell you what’s happening there…yeah, I know, you couldn’t if you tried!!

The festival opens with headliners, Kiki Dee & Carmelo Luggeri at the Corn Exchange on the evening of Friday 30th, and an exhibition by local landscape artist David O’Connor, who draws inspiration from Paul Nash, and ceramicist Richard Phethean. The exhibit will run throughout the festival at White Chalk Gallery in the Old Swan Yard.

Saturday 31st May sees multi-award-winning teacher, composer and organist Chris Totney returning to Devizes to give this year’s Festival Organ Recital; one of the very first times you’ll get to experience the new pipe organ that has taken the best part of a year to install in St Johns Church. Followed by one of the UK’s finest Latin bands, K’Chevere, at the Corn Exchange. 

Sunday 1st June, there’s a walk with Judy Hible of Wiltshire Geology Group, and furniture-maker Stewart Linford hosts a fascinating and informative talk on “Luxury in Wood” at the Peppermill (free fringe event.) But all eyes will be on the skies, when space scientist and BAFTA-nominated presenter of “The Sky at Night” Maggie Aderin-Pocock, pops in for an inspiring exploration of the universe.

Monday 2nd is time to get interactive, in a writing session with members of Devizes Writers’ Group, exploring writing fiction or nonfiction, one of the first workshops at the festival this year. Tuesday sees an enthralling and earth-moving evening of gardening talk with TV’s top gardener Frances Tophill. Wednesday is the turn of bestselling crime and thriller writer Felix Francis, for a fascinating talk on mysteries in the world of thoroughbred horse-racing. And Conan Doyle expert David Stuart Davies’ ‘Sherlock Holmes: The Last Act,’ directed by award-winning director Gareth Armstrong, plays at the Wharf Theatre, with a second performance on Thursday. Also find guitarist and singer-songwriterAnna Ling at St Andrews on Thursday.

Friday 6th, join Rowde’s only botanical artist and author, Ann Swan, for a workshop in her studio, while ceramicist Keith Brymer Jones will talk about his life as a creative potter and his experiences as a judge of The Great Pottery Throwdown at The Corn Exchange.

Saturday 7th June, and you’ll find the Sunday Times bestselling author of “Miss Austen”, Gill Hornby talking with Mark Jones from Fantasy Radio, a demonstration by the Devizes Regency Dancers (free fringe event,) and an electrifying country show with all-female Country Chicks.

Another walk on Sunday, gosh, they do like their Sunday walks, this time with Wiltshire Wildlife Trust’s Nick Self, conservation lead for North Wiltshire. Then it’s over to The British Lion for some Welsh frontier roots music with Whiskey River, (free fringe event.)

Monday 9th June you can join print-maker Hannah Cantellow at her Printmaking Studio in Rowde, or learn some crossword secrets from Times Puzzle Master Tim Moorey, who has been solving Times crosswords for over 50 years, on Tuesday. Tuesday also sees virtuoso clarinettist Sarah Williamson and soloist and chamber musician Simon Callaghan.

Wednesday 11th sees singer-songwriter Miranda Pender presenting a darkly humorous talk which includes five original songs based around some of the more bizarre stories unearthed from her family history. And Two Queens, One Nation at the Wharf Theatre, Miriam Cooper’s one-woman show exploring the unavoidable collision of dynamic sovereigns and cousins, Elizabeth I and Mary Queen of Scots.

Photographer and naturalist Stephen Davis is at the Cheese Hall on Thursday 12th, and jazz saxophonist Julian Costello brings his quartet to the Town Hall.

Friday is comedy night as Mark ‘Taskmaster’ Watson, celebrates twenty years in standup. Multi-award-winner, YouTube cult figure, Radio 4 favourite and recently ‘Baby Reindeer’ actor, Mark comes to Devizes after seasons at the Adelaide, Melbourne, Sydney and Edinburgh comedy festivals.

Author of English Civil War historical fiction series ‘Divided Kingdom’, Charles Cordell is with us on Saturday 14th June. His writing has received high praise in editorial and readers’ reviews alike, his latest novel, ‘The Keys of Hell and Death’, is set between Wiltshire and Somerset in July 1643. Followed by the Bath Male Choir in St Johns, and Torbay’s five-piece 80s party band Riviera Dogs at the Corn Exchange.

For the final day of Devizes Arts Festival, Sunday 15th June, author Charles Cordell finishes his talk with a guided walk and discussion of the Siege of Devizes in July 1643. Journalist, writer, and experienced skydiver Sally Smith is at Devizes Books talking about her book ‘Magnificent Women and Flying Machines.’ And Bath-based instrumental jazz-infused blend of Levantine mystery, Balkan passion and Latin rhythms quintet  Radio Banska bring the Arts Festival to a dynamic close at the Cellar Bar. Both of these last two events are free fringe events.

Tickets for the headliners are on sale now, all others will be on sale from HERE on April 28th.

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RowdeFest 2025!

Okay, I can’t keep the secret any longer or I’ll pop! While all the hard work is being organised by a lovely committee, because they showered me with biscuits I’ve been doing the easy bits of arranging some live music and designing a poster for Rowde Fest 2025…..

It’s happening on Saturday 31st May from 1-7pm, it’s free, you can roly-poly down Dunkirk Hill, and join our village family fete-like festival at the Rowde Small Playing Field (next to the church); no pressure, but I think you’ll like it!

Burn The Midnight Oil

Already confirmed we have music from Thieves, Adam Woodhouse’s marvellous Americana quartet. With a village connection, the most wonderful new band on everyone’s lips, Burn The Midnight Oil are playing too. The incredible Sarah C Ryan Band are up for it, and local legend Andrew Hurst is also on the blossoming line-up.

Sarah C Ryan Band

And I believe we may have some super-duper, and I mean super, surprises, like, “possibly” the best indie pop band in Wiltshire, and acoustic god, and oh, did I say it’s super-duper?!

Hold the front page!! More great acts to be confirmed!

Update: Wiltshire’s finest indie-pop band Talk In Code have just confirmed; you’ll love these guys!

Thieves

There’s Devizes Jubilee Morris dancers, children’s activities, face painting, food and drink and side stalls, and more. You all should know by now Rowde has the best ice cream this side of Italy, so yes, Rowdey Cow are sure to be there.

Talk in Code

It is all free, but, you lovely people, we really need some kind donations on the gate, if you can, so we can ensure we can make it an annual occasion.

If you’ve an idea for a side stall, please let us know and I’ll pitch it to the committee, they don’t bite, or at least I’ve seen no evidence of it yet.

Andrew Hurst

I’m even over-excited to share the poster with you! Subject to alterations, as if I could possibly find any more room on it for other acts yet to confirm, the poster has been collated by me, but is also the fine artistic work of three pupils from Rowde Academy. So a huge thank you to Luca Dowling, Theo Doherty, and Lila Ransome for their inspirational pictures, which were incorporated into our poster.

I look forward to seeing you there; you are coming, right? Here’s the Facebook event page thingy. It wouldn’t be the same without you.

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The Oak Festival; The Best Thing to Hit Pewsey Since…..?!

Yet to witness it myself but heard on the grapevine, the blossoming liveliest place to be in Pewsey at the moment, is, apparently the Royal Oak. Wiltshire Music Events, who brought us CrownFest in Bishops Cannings and sold out Devizes Corn Exchange with The Marley Experience, has been at the forefront of furnishing the pub with gigs from the growing wealth of talent on their books. Tempted to drop by and check it out asap, but if all else fails, Saturday July 5th sees them holding a debut mini-festival, which is double-underlined on my personal calendar……

The Oak Festival is an all dayer boasting seven bands, food and outside bar, but it’s the lineup which will really wow. Three, no, thirty yeses from me, to The Marley Experience headlining, being smitten with Bob Marley & The Wailers since day dot and after much deliberation, these guys recreate their music and vibe with such unprecedented precision it’s unmissable.

There’s also a lively Irish folk element to the festival with The Tipsy Gypsies, and Pouges tribute, The Phogues, both I’ve yet to tick off my must-see list, but they also dive into indie with the blues edge of The Leon Daye Band, and our favourite-most indie-pop masters Talk in Code, who need no introduction here neither further praise; forget sliced bread, they’re the most electrifying exciting local act we have.

There’s two acoustic singer-songwriters too, Lucas Hardy who I’ve heard only good things about, and Salisbury’s Rosie Jay, who with her poignant writing and exquisitely unique delivery overnight clocked into our all-time hall of fame here at Devizine!

Early bird tickets at an extremely reasonable £25 are available until 1st Feb, HERE.

Later the price goes up but only slightly, to £32.50, which, once you’ve seen The Marley Experience, you’ll realise the ticket stub was worth it just to see them alone, and why I’m all excited about this one!

It could be the best thing to happen in pea island since carnival, since the coronation of Alfred the Great; trust me on this one!!

Discover the perfect destination for Walk Your Dog Month at Nightingale Wood

Image credit: Forestry England/Crown copyright.

Forestry England Nightingale Wood invites dog owners to celebrate Walk Your Dog Month this January…..

Walk Your Dog Month is a great opportunity to build your bond with your four-legged family members. It can be tempting to stay indoors at this time of year, but regular walks are essential for a dog’s physical and mental health. The good news is, they’re pretty good for owners’ health too! So, grab a lead and some poo bags, and read on for Nightingale Wood’s top tips for a brilliant Walk Your Dog Month.

Beat the January blues

With festivities over, January can be a difficult month of cold weather and long nights. Spending time in nature with your best friend by your side is a fantastic way to enjoy natural light and fresh air. Physical activity can increase your energy levels and reduce stress. Even a short walk can clear your mind and lift your mood.

Fun for the whole family

Fun awaits the whole family at Nightingale Wood. Spot wildlife, build dens, and splash in puddles.

Dog-friendly environment

With clearly marked paths and plenty of space to roam, Nightingale Wood is the perfect spot for exploring. Choose from three easy-to-follow walking trails or create your own route from the network of surfaced trails and forest roads. There are so many scents and sounds to explore, your dog will never get tired of returning to the forest.

Build your fitness

Fancy trying something different? Look out around the trails for pieces of fitness equipment which have been installed as part of the Great Western Community Forest project.

Canine community

With fellow dog walkers enjoying the forest, there is always someone to pass the time of day with during a walk. Human connection is one of the NHS’s essential ingredients for positive wellbeing. You never know whose day you might change with a smile – or who might change yours.

Don’t miss the chance to celebrate Walk Your Dog Month at Nightingale Wood. Lace up your shoes and head into the woods for an unforgettable adventure.

For more information, visit https://www.forestryengland.uk/nightingale-wood

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Discovering Swindon Story Shed

With Dad’s taxi on call in Swindon and a few hours to kill whilst her majesty is at the flicks, it was fortunate local author Sorrel Pitts posted a thank you on Facebook yesterday evening, to all who helped promote her fantastic book, Broken Shadows. Because, as well as Devizine for reviewing it, she also mentioned an intriguing thing called Swindon Story Shed…

Not having heard of this travelling bookshop literacy project before, I thought I’d poke my nose in, being they had a popup bookshop in the Brunel shopping centre and with said hours to kill I’d only otherwise have spent stuffing my face in Greggs!

Swindon Story Shed is a partnership project by Debi and Nick. The latter was running bookshelf errands while Debi managed the shop. A self-confessed bookworm, Debi explained the ethos of the project. Alongside this lovely travelling bookshop with an arts and craft space, the two also hold free creative writing workshops at Swindon’s Central Library, book signings, workshops on immersive storytelling, in which Debi explained they were looking to create a “walk-through” story, and last year they hosted a “BloodShed Crime Fiction Festival,” of which I believe Sorrel took part in, hence the connection.

The ethos was basically anything books, and they had interesting ways of promoting reading and writing for all ages. Support for local authors self-publishing, there were book-related handmade gift items and books Debi pointed out designed for both children and adults with dyslexia or learning disabilities. They even had little cuddly burger toys with a book in its zipped inside; loved that especially!

Whilst there were modern books, self published or by small publishing houses you’d be unlikely to find in commercial bookshops, there were mainstream reads and a few classics. I browsed through a collection of DC Thompson annuals from the 60s to 80s, but Debi told me while they had graphic novels, they didn’t display them here because the wonderful Incredible Comic Book store was opposite, of which I also felt inclined to pop into afterwards.

She spoke so enthusiastically about the Shed, telling me how personal it was to them; she had read every book of the shelves! Debi reviewed books for distributors, and had advise for aspiring authors; imagine, I could have chewed her ears off all day, about books, publishing and local related enterprises, but a young boy came in with his mum, early for a storytime session, and was put immediately to work, creating some bookmarks!

From the Percy Jackson series and anything YA fantasy to Nick’s more artistic reflections in manga and sequential storylines, 3D paper sculptures, and art classes, this is simply an enchanting literacy venture. Driven with such passion, Swindon Story Shed is living proof that literature can be exciting and interactive without the need of tech; this was a place of pen and paper with no sign of a tablet or device, yet with far more universal appeal than the niche of zine culture. It’s just a friendly place for book worms of any age.

The popup bookshop is only at the Brunel until Sunday, but you can find out more about The Swindon Story Shed on their website HERE and Facebook page HERE. There is a Crowdfunder HERE to help Debi and Nick find a permanent base, but Debi was adamant that this wouldn’t lessen the “travelling bookshop,” aspect to the project.

What a nice discovery and first article of the year. And, for the record, I still found time to stuff my face at Greggs; what? Turns out you save money having a side of wedges. Who knew?!!

“A Monster Calls” at The Mission Theatre, Bath, November 26th-30th.

by Ian Diddams
Images by Rowan Bendle and Ann Ellison

When is a Monster not a Monster? When is a good person not good? When is a bad person not bad? When is wisdom not positive? When is being invisible a terrible thing? What is the truth?

Bristol Old Vic took Patrick Ness’ novel “A Monster Calls”, based on an idea of Siobhan Dowd, and with the help of Adam Peck created this quasi-fantasy tale of an adolescent coming to terms with teenage angst, awakenings and the complex realities of the adult world. Whilst not harnessing Sondheim (“Into The Woods”), Wilde (“The Picture of Dorian Gray”) and Shakespeare (Macbeth’s witches) nonetheless tiny elements share some areas of those three…  but more of that later…

“Next Stage Theatre Company” perform this powerful story of growing up this week at The Mission Theatre, Bath, in the round. A cast of eleven mixed youth and adults form the principal and secondary characters and general ensemble Greek chorus style seamlessly. Directed by Alexa Garner she has carefully crafted this beautiful tale into the powerful vehicle that intensifies its emotions as the play progresses. It is a simplistic play at face value – young teen faces bullying, adult repression, nightmares, and the worst scenario imaginable at such a youthful age and eventually learns the solution to dealing with life. In this regard the youth orientated novel by Ness is quite clear – but its more than just teenage angst. This is a play of onion skins, where if desired peeling away each layer reveals more and more philosophical and at times disturbing facts – possibly about oneself.

The primary character is Conor O’Malley wonderfully portrayed by Fin Hancorn. Its an emotional role and Fin clearly digs deep into himself to reflect all the emotions demanded of his character – he was clearly emotionally drained at the final curtain last night, full kudos for a young actor. He is more than ably contrasted by the Monster, superbly portrayed by Nicky Wilkins as the overbearing and at times demonic, Freddy Kruger like, Yew Tree …  that despite the name and the presence reveals his true purpose at the play’s end.

Conor’s main protagonists are played by Jonathan Taft as the arch bully Harry, and his two henchpersons Sully (Poppy Birch-Langley) and the fully convincing as the unconvinced bully Anton (George Chivers). Treading that wary line between teachers that “don’t get it” while simultaneously caring for their charges are Bob Constantine as Mr. Marl, and particularly Perrine Maillot as Miss Godfrey. Adding insult to injury are two of Connor’s family members, estranged Dad (Mayur Batt) who has lost all realistic connection to his son whilst trying to clumsily help him – and failing, and Grandma (Kay Franksen) who redeems herself at the end after being impervious to teenage needs or Conor’s own wants. Members of the cast also appear throughout as that Greek chorus style ensemble.

Not everyone is against Conor though – Lily is Conor’s best friend (Millie Sharma) though Conor drives her away to a position of frustrated friend looking on from afar. That just leaves Conor’s mum, beautifully portrayed by Hayley Fitton-Cook as her health deteriorates, the one character throughout that maintains a caring, loving, and symbiotic relationship with Conor. The stage chemistry between these two is palpable and reaches its peak in the beautifully surreal healing scene that is played out in their minds but enacted with no spoken word, other than a song, and dance and mime and the use of Makaton to communicate through their void. The Monster plays his part also in the scene as the barrier between them whilst being the source of the hope of healing.

Overall the play works through multiple layers …  themes reoccur though not always obviously. The Monster tells a tale of an apothecary – a practicer of old medicine of plants and herbs – while then being the last chance cure from his bark. The overarching meme however is how good and bad can be mixed – a bad pious parson, a good greedy apothecary, the misery of invisibility and the pain of being visible.  These are all flipsides to perceptions; the complexities of adulthood that Conor is beginning to enter and where self-delusion is the greatest barrier of all.

Which just leaves the creatives to praise. The set (Alexa Garner, Liz Wilson, Brian Fisher) is a simple one with excellent use of various props in multiple uses – a hatstand becomes a grandfather clock becomes a hospital I.V. pole, stools also represent industrial mechanisation and so on. The pièce de résistance is undoubtedly the yew tree plinth on which the monster spends most of the show, and height differentials are subtly crafted where the Mission’s layout provides. Costume is simple and contemporary – clever use of school ties to juxtapose the earthy woodland nature of the yew tree, a simple hospital gown and the ethereal Monster garb. Lighting and sound (Kris Nuttall, Rowan Bendle) were subtle but oh so effective – the soundtrack was sublime. Alexa, director, was full of praise for her hard working stage manager – the ironic sign of a great stage manager being that you never know they are there!) Liz Wilson. Choreography totally spot on (Hayley Fitton-Cook and Dynamic Stage Action)

So what of Sondheim, Wilde, and Shakespeare? Shades of “No-one is alone” the worst thing of not being talked about is not being talked about… and is the Monster leading – or controlling Conor? These themes all whirl around this play constantly…  until finally all is made clear.

“If you speak the truth – you’ll be able to face anything.”


“A Monster Calls” is performed by “Next Stage Theatre Company” at The Mission Theatre, Bath nightly at 7.30pm from Tuesday 26th November until Saturday 30th November 2024.

Tickets from https://www.missiontheatre.co.uk/tickets?category=A%20Monster%20Calls

REVIEW – Devizes Arts Festival – Belinda Kirk @ Cheese Hall 11th June 2024

Right Out Of The Comfort Zone

by Andy Fawthrop

Following a lively few days of entertaining and varied events over this last weekend, we’re now into Devizes Arts Festival’s second week. 

I decided to trundle along to the Cheese Hall earlier this afternoon to find out what Belinda Kirk might have to say for herself.  Stuff about being adventurous, I’d heard.  I settled down into my seat and awaited a comfortable afternoon chat.  But an hour later things had changed somewhat.

Belinda Kirk is a world-record holding explorer, researcher and a leading campaigner promoting the benefits of “adventure” on wellbeing. She’s written the best-selling, award-nominated, book “Adventure Mind: Transform Your Wellbeing By Choosing Challenge”.  She’s led dozens of international expeditions, numerous youth development challenges, and pioneered inclusive adventures for people with disabilities. She established the Explorers Connect organisation and website in order to spread the word about the life-changing impact of adventure. She’s encouraged over 30,000 ordinary people to engage in transformational outdoor challenges. And most recently she’s faced her greatest challenge: to continue to live adventurously since becoming a parent.

Belinda spoke for about 45 minutes before hosting a Q&A session.  In her talk she emphasised that she was not just talking about “being in Nature” (the benefits of which are now well documented), but about engaging with the world in a much more vigorous way by taking up personal and/ or team challenges.  She was talking jungles, deserts, remote places, open seas, and I was just beginning to feel slightly uncomfortable.

Outlining how participating in the Duke of Edinburgh’s Award Scheme as a sixteen year-old had been a complete sliding doors moment for her, she described how she got the bug to get “out there”.  Over the next few years she joined, and later led, several expeditions, worked for five or six years with that Big Softie Bear Grylls, worked as a diver for a year, and took part in a row-round-Britain challenge.  I was fully awake by now and starting to feel how exceptionally lazy I’ve been all my life.

She discovered how impactful it was to undertake both large and small adventures.  She saw with her own eyes time and time again how people of all ages found these challenges to be, literally, life-changing. And it was then that she began to research the psychology of what was actually going on here.  She described in great detail a major expedition she’d led to cross Nicaragua coast-to-coast with a group of severely disabled youngsters, including (incredibly to me) climbing to the summit of an active volcano.  And there were many other examples and stories too.  Much against my will, I was actually on the edge of my seat listening to this stuff.  And I wasn’t alone either – the rest of the packed audience seemed pretty enraptured too.  She’s an enthusiastic, energetic and very articulate speaker.

Belinda spoke of moving from your “comfort zone” to your “stretch zone” and heading towards your “panic zone”.  It sounded like jargon, but it wasn’t – I was definitely on the same page by now.  Pushing yourself has many benefits in enriching your life – giving yourself new skills and confidence, finding out what you’re really capable of, and (crucially) having some fun.   I’m having some of that!

She finished with a lively Q&A session, before signing copies of her book “Adventure Mind: Transform Your Wellbeing By Choosing Challenge”.  But I couldn’t wait around for that – I needed to get outside into my “stretch zone” to swim the K&A Canal, sort out the problems in The Crammer, and single-handedly remove all the traffic-lights across D-Town.  Then I might sit down with a well-deserved cup of tea and a biscuit.

A solidly entertaining afternoon, and another absolute gem from DAF.

You can find out more about Belinda’s adventuring at www.explorersconnect.com/

The Devizes Arts Festival continues until Sunday 16th June at various venues around the town.  Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk

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Broken Shadows; New Novel from Wiltshire Author Sorrel Pitts

I arrived in a Wiltshire village aged fourteen from suburban Essex, anxious this was my new home. While my parents awaited keys from the estate agent, they sent my elder brother and I to the shop for milk. Wandering the lane an elderly gent wished us the customary “mornin’.” It left me bewildered; why was he talking to us, he couldn’t possibly know us?! This amusing archived memory of an introduction to the way of life in rural Wiltshire popped into my tiny mind recently, jogged by a book I’ve been reading……

You may’ve seen it on social media ahead of its release on 6th Feb. If you’re active on our music scene you may know the author, Sorrel Pitts, often found at open mics, accompanied by Vince Bell. I caught her at one in Great Cheverell’s Bell and was astounded by her songwriting ability; now I realise I was only skimming the surface.

Sorrel is undoubtedly well travelled but raised in Wiltshire, though if it’s not the picture-painting words describing our landscapes, culture and mannerisms giving this game away, it’s the characters reflecting on foreign lives they’ve built for themselves in comparison to the sensations of a homecoming which illustrates Wiltshire life so vividly, hence my jogged recollection.

The village in Broken Shadows is fictional, but believably set in the Marlborough Downs, west of the town; if you know the area you could hazard a guess to the inspiration. Sorrel was born here, and from the tracks to the primary school and pub, to sacred neolithic stones, and down to the wildlife and weeds defining a scene around a dilapidated barn, her remarkable proficiency of illustrative writing is abounded.

As Steinbeck paints an image of rural Oklahoma to the point you can smell the cotton on the drylands, Sorrel equals in building a visual environment we’re familiar with. Perhaps Hardy would therefore be a better geographical comparison, and like him, Sorrel exemplifies subtle differences between rural working class and the affluence of classic Brontë characters. Though this is modern, mentioning a lack of internet connection, covid tests, or housing developments in the village, as two characters return to the village they grew up in, to recollect their rural upbringings.

With the scene set superbly, you’re in a picture frame, prepped for fictional first-person narrative, building in intriguing layers, diary-like over a two character’s POVs, those of Tom and Anna. The pair begin unattached though schoolfriends, are reunited through a similar circumstance of returning there, Anna to recover from an operation, Tom to care for his dying father. In this connection there’s an archetypal narrative of forbidden love sidelining, the thrill of lust against commitment, amidst an unfolding mystery, Tom’s brother’s unsolved brutal murder in the village when they were children. Anything further might be considered spoilers, needless to suggest, Sorrel rocks the boat of the stereotypical tranquillity of rural Wiltshire, with this mysterious loss and the unveiling its developing backstory.

It takes time to unravel the truth of what really happened, the pace of reading steady, as characters are introduced through various other family or village happenings, and varying amounts of suspicion you will cast upon them. I certainly had my chosen suspects, but when the revelation arrived, the penny will not have dropped, and Sorrel accelerates to breakneck speeds as the climax unfolds, leaving you breathless and unable to put this book down. I swear, right, my wife had to take my Kindle off me so I could get on the school run!

Not sure I like the term “page-turner,” to describe a novel, and until halfway I wouldn’t use it anyway, but if the suspense building in layers will tempt you back to it, I recommend you go for it. Feeling you’re close to summit of the tale when all will be revealed will tie you to the characters and their circumstance personally, and that, my friend, is the sign of a fantastic novel.

It could be set anywhere and would be a great read, the fact it’s local makes it seem that bit more real. You’ll pick up on cultural references and geographic locations, identify with the surroundings, architecture and particularly, the mannerisms of the villagers; it’ll leave it convinced you know Tom and Anna. The stunning wordsmithery of Sorrel is elementary, being the account is written akin to diary entries, there’s nothing to confound you, but the juxtaposition shows that pure competence to weave a convincing, heartstring plucking, and edge-of-your seat story. Sorrel can write, and I was hooked, Sir Michael Parkinson too, apparently! Ah, at least I’ve one thing in common with Parky!

Sorrel has a book signing at Devizes Books on Saturday 17th Feb, find the book available there, or at White Horse Books in Marlborough. Find digital copies on Amazon here.

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Blossom with Gail (from Devizes)

Phone memory bursting with text messages from Gail Foster the day I did my fundraising milk round in my Spiderman onesie. A keen photographer as well as accomplished local poet, Gail had cycled to the summit of Monument Hill and sat awaiting to capture the moment I returned triumphant.

I confess, I underestimated my ETA massively due to the media attention, Carmela and family arriving, and passers by stopping me to donate. I was also irritable and smelly by that point, but those are occupational hazards at the best of times, doubly so in a onesie in the sweltering August climate. Gail, though, was as dedicated as paparazzi to getting the snap she wanted, got me smiling just to see her there, and it’s the same commitment she shows through her expressions in poetry. Her shiny new book, Blossom is a prime example.

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Images by Gail Foster herself!

Perhaps its very title coveys Gail’s grouping of photography and poetry, natural elements crucial to her snaps, but her books bestow only the written word. We’ve reviewed Gail’s books in the past, never an easy task. Poetry not my bag, usually, so I cannot liken to similar creative outpourings. There’s also the fear that my own penmanship doesn’t compare and will not do justice to her creative writing. Poems are hard, something about bacon. Yet it is down to befriending Gail which has re-sparked an interest in poetry in me, and deflected my juvenile fear of a Ted Hughes book facing me on a school desk. That’s how universally appealing her words are.

While subjects chronologically stream from one poem to another, expect also, sudden changes in Gail’s train of thought. Blossom kicks off with a memorial forward and dark subjects follow, of wintery funerals and melancholic seasons. One may expect this, the platitude of poems often reveals a shadowy side of the poet. But, just a few poems in and though we’re still on the seasonal theme, winter cries a warning to Gail, to keep her knickers on.

Here is precisely why Gail got me into in poetry, a feat I never cared to assume would happen. The wittiness of the absurd, surreal, Pythoneske can crop up, without warning and provide actual laugh-out-loud observations. There’s a feeling of daring in Gail’s words, while acute and proficiently executed, nothing is off limits. Gail projects drollness, jocularity and just about every other emotion of the human psyche, in manner which though reflects poets of yore, breathes a fresh and unique approach to boot.

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In this, her new book Blossom doesn’t necessarily take us anywhere new in comparison to her previous collections, there’s even a pigeon reference, a running subject in Gail’s words, yet an improvement in skill and wordplay is clearly evident. Gail strives to advance and progress in her wordsmanship, dealing words like a croupier deals cards, snappy and expertly.

The introduction enlightens us to Gail’s motivation and reason for writing, “I write poems for all sorts of reasons. Sometimes an occasion demands it, in which case I stare at a sonnet on a screen for three days; at other times a poem might tickle me in my sleep, wake me up laughing.” Blossom then conveniently divides into sections, poems covering Seasons, poetry itself, “Binky Liked to Bitch a Bit,” Politics, Characters, Sorrow, Love and Prose, even local thoughts in a section titled, “a bit of old Devizes.”

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There are verses dedicated to friends, themes of celebrities, naughty royals and both Greta and Trump, odes to patronising old men, nosey neighbours, political sway, Brexit, current affairs and Nigel Farage depicted as a meerkat. As we pass through an era Gail documents them uniquely. There are unapologetic words of the sweary kind, bitterness at times, jollity in others; bugger, it’s tricky to nail this poet down; what does she want from me, trying to review a book so vastly sweeping with subject matter and prose?! I’m giving up, you have to read it yourself. You can bless your Kindle with one, or Gail favours that you nip to Devizes Books for a paperback, and I tend to agree. Devizes Books brilliantly supports local authors.

In this time of lockdown, you might need a good read, so too does the artists need some revenue. The advantage of holding Gail’s poems in your hand is that you can freely pursue them at your own leisure. We did once review a spoken word CD which Gail recorded, I like this approach and unsure if she will do it again.

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Proof it’s in Devizes Books, here’s owner Jo holding a copy!

I could, but don’t, motivate myself to attend local poetry slams and readings, in fear those poets I know, Gail, our own writer Andy, and Ian too, might encourage me to get up. Yeah right, “here’s one I wrote called ermm, ermm, and ermm!” Yet, I do love to hear Gail actually reading her poems herself, it’s a Jackanory thing, to hear the creator express their words is far more effective for a slow reader like me. But you, clever lot, will love Blossom.

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Angela’s Secret Swindon

My satirical rant, No Surprises Living in Devizes, once popular Sunday reading, now lies dormant. I’ve deliberated writing a conclusion, but that would be the final nail in the coffin I’m not ready to hammer in. The issue; I loved trudging my week, hunting a subject to bombast about the town I live in, and receiving the relative responses, be they positive laughs or death threats.

 
The reason for its gradual demise is simple; there’s finite topics to explore, and while at first the obvious flooded me, as time progressed I struggled. Methods to keep it running when subjects wore thin were many fold; more positive episodes transpired into what we now have, Devizine. The negative I’ve abandoned under the premise life is too short to be whinging, even if some thought it amusing. One of my earliest methods of trapping a good rant when nothing in Devizes sprung to mind though was to take the column to other towns, as a kind of “unwanted roadshow.”

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Chippenham took the brunt of these outings, but one Sunday, when the subject centred on Swindon, I predicted many would assume it’d be the icing on the cake, as it’s a common joke that Swindon has a lot to rant about. However, for this episode I twisted the cliché, determine not to follow sheep and waffle how cultureless and uninspiring our nearest metropolis is, rather share my opinion that while, as any large town does, Swindon has its social issues, it is far from the negative stereotype it’s frequently perceived as.

 
This turned the head of a fellow writer at Index:Wiltshire, Angela Atkinson. Angela was brought up in a Derbyshire mining village and moved to West Swindon in the 1990s. It’s fair to say she has fallen head-over-heels for Swindon, and alongside her proofreading business, AA Editorial Services, scribes a popular local blog called Born Again Swindonian. The original blog entries were the exploration of her new surroundings; a guidebook to the Magic Roundabout or a piece on the West Swindon sculpture trail, and, akin to the direction I took my article the aforementioned week, it now centres around her conviction that Swindon is actually a great place with more than first meets the eye.

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Her argument is convincing and thorough, to the point where she was approached by Gloucestershire publisher, Amberley Books, to pen a title on Swindon in its ‘Secret’ series. This week sees the book “Secret Swindon” released, and its launch is at Swindon Central Library, between 11am and 1pm; July 28th. Angela will be there to sign copies, and it’ll be available in the library shop afterwards.

 
Intrigued to know what “secrets” Angela could uncover to challenge my assumption everything that may be of historical or contemporary interest in the town I’m already fully aware of. That then, some topics did not spring surprise, Angela commences with a brief general history, from it’s namesake “pig hill” origins to the birth of its industrial revolution; the GWR. But it’s the depth Angela goes which is informative, and in the loose, blog-style, she writes which entertains.

 
I thoroughly enjoyed this read, gaining knowledge of many aspects and artistic properties of Swindon I could’ve driven past and only causally pondered their history. From the wonderful mural on the side of the house near Lion Bridge, which I pass, like, but seldom aspire to seek any knowledge of its artist or background, to the thought process of the contemporary architecture which Swindon holds, with all its 1970s futurism; the Meccano-fashioned “Renault” building, or the curvaceous landmark David John Murray tower. All of these popular sites of Swindon are featured and detailed, with fascinating facts you never thought to ask about. And yeah, the Magic Roundabout is covered too!

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There’s quantity and a vast array to subjects, meandering off the concept Swindon has a magic roundabout and that’s about it. One would be forgiven for assuming “Secret Swindon” is going to be a mammoth read and ponder why they’d want to take up so much time reading about Swindon. But while it’s arranged with copious facts, it remains brief enough not to grow tiresome of, and with informal speech style of writing, doesn’t aim to baffle.

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Angela covers art, sculpture, architecture, literature, music, industry, war eras, and many notable Swindonians. In one neat, ephemeral but enlightening package Angela challenges Swindon’s negative stereotype, steps in the ring and knocks it for six in the first round. It’s a perfect natural progression and extension of Born Again Swindonian.

 
It also highlights areas I was totally unware of, agreed I’d heard of Spitfire Way, having worked on South Marston Industrial Estate, but confess I was ignorant as to why it was named thus. So aside the fascinating facts about the more renowned landmarks of Swindon, and people, such as a captivating insight about Edith New, there are some completely new things I learned, awarding the book’s apt title.

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Here is a book which will inform and entertain the proudest Swindonian, the curious history hobbyist, and any mere window-shopper of local history. A perusal for students, or general passing interest, I tick none of the above, but still adored this. I only apologise to Angela for waffling on about my own little column at the beginning of this review, but it was necessary to elucidate my personal relevance to it!

 
If you ever pause while shopping, look around for a brief second, in any town you’ll note something you may not have ever noticed but bears heavy importance to the history of the area; “Secret Swindon” proves Swindon is far from the exception.

 
Secret Swindon’s RRP is £14.99. It can be bought through Amazon and via Amberley Books at https://www.amberley-books.com/secret-swindon.html.
To follow Angela’s blog visit http://swindonian.me/ and for more information about AA Editorial Services go to: https://www.aaedits.co.uk/

 

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