REVIEW – Devizes Arts Festival – Alfie Moore’s Fair Cop Unleashed @ Corn Exchange 24th June 2022

Criminal Humour

Andy Fawthrop

The Devizes Arts Festival left it late in their programme to unleash one of its comedy big guns Friday night, but it was well worth the wait. And a huge audience packed out the Corn Exchange to witness some great comedy in action…..

Alfie Moore is a comparatively recent talent to come on to the comedy circuit, but he’s already cornered the market in combining real-life police experience with a natural comedic ability. Recently retired as a police sergeant, with over twenty years’ front-line service with our finest, he has a wealth of real-life insights and comedy moments to share.

Looking every bit the slightly overweight, world-weary copper who’s heard every excuse in the book, Alfie has developed a wry, observational comedic style, which lends itself to witty, and sometimes gritty, anecdotes based on everyday modern policing. He also proved himself to be an adept socio-political commentator and weaved this all together with his take on the comedy gold of real life, the stuff that you just can’t make up.

He led us through his back-story, including his dyslexia, lack of formal education and his low self-esteem. Born and raised on a council estate in Sheffield, he was an apprentice in the steelworks before managing to join the Police, possibly through a mix-up in the paperwork. He was later inspired to take up stand-up comedy in 2007 after his first taste of live comedy at a local comedy club. He quickly became well and truly hooked, and was soon performing regularly up and down the country. (Since then he has written and performed his own one-man show at the Edinburgh Fringe Festival six times now. His BBC Radio 4 comedy series ‘It’s A Fair Cop’ debuted in July 2014 and, following exceptional feedback from listeners and media reviews, further series have since been commissioned.) Last night he was touring his latest show ‘Fair Cop Unleashed’.

The first half consisted mostly of a general stand-up routine, getting himself into the murky world of gender politics, treading a very fine line between the acceptable and the very non-PC, beautifully rescued at the end by a great gag about having to know someone’s gender in order to know how much to pay them. There was some great stuff about police nick-names, the CPS (“Couldn’t Prosecute Satan”), and the ongoing struggle with paperwork in his Grimsby posting.

But it was the second half before he finally laid out his “real life” incident with a mysterious and inebriated clown walking in to his police station, asking for help to find four lions lost from the circus. What followed was the tale of his hilarious attempts to make sense of it all, to work with others (armed police that he referred to as “the Milk Tray men”) to re-capture the four dangerous wild beasts roaming the town (he was advised “try not to look like prey”), whilst overcoming his genuine fear that he might actually die.

His style throughout was engaging, confidential and dead-pan. The whole thing was genuinely funny, laugh-out-loud hilarious, with the gags and asides coming thick and fast. Long and loud applause was his just reward.

The Devizes Arts Festival finished Saturday 25th June with Absolute – Last Night Celtic Party at The Corn Exchange. Devizine congratulates The Devizes Arts Festival and thanks them for putting on such an excellent programme of events, looking forward to another great summer in 2023.

Editor’s Note: I’d also like to thank Andy for his extensive coverage of the Arts Festival over the last fortnight, covering almost every event can be exhausting, but it goes a long way to show how jam-packed the Arts Festival is and the dedication from the team to provide Devizes with some quality and diverse performances.


REVIEW – Devizes Arts Festival – The Second Best Bed @ The Merchant Suite 23rd June 2022

The Plays What She Wrote

Andy Fawthrop

The Devizes Arts Festival’s presentation last night was a right little gem.

Alright, it definitely helped if you were slightly interested in William Shakespeare and his back-story, but it certainly wasn’t compulsory in order to have found this production quite fascinating. The central conceit of this compelling monologue, superbly played by Liz Grand, was that her recently-deceased husband William, that “upstart crow”, hadn’t in fact written any of his famous plays and poems at all – and that she, Anne Hathaway, was the real literary genius behind the scenes. Addressing a bust of the bard in her bed-chamber, occasionally sitting upon and referring to the eponymous second-best bed, Anne recounted in hilarious detail how the two of them had, jointly, carried off this major deception over the many years of their marriage.

The piece managed to convey both much factual (or at least conjectured) biographical detail – their marriage, the deaths of their children, the vagaries of the court and the theatrical players of their times – as well as the comic flights of fancy that constructed the central myth of bard’s true authorship. Her description of her trips to London, disguised as a man, to see her own plays performed on the stage, and debated in the taverns, whilst passing unrecognised by her oblivious and complacent husband were hilarious. And to later catch him in flagrante with not just one, but two, whores, just proved to her that her that the man was none too bright.

Anne, now widowed, spoke of her regret that her contribution, indeed her literary genius, had not been recognised. It was not now enough, following William’s death, to simply claim authorship since no-one would ever believe her. It would have needed Will to admit the deception, to corroborate the deceit, whilst he was still alive. And the chance of that had now gone forever. She railed at her ex-hubby – a man who couldn’t even spell his own name the same way twice – for having taken all the credit.

There was some clever stuff here if you listened carefully, with many famous lines from both the plays and the sonnets freely scattered in among the scripted lines, and some hilarious explanations of why certain things had been written the way they had. Indeed one of the highlights towards the end was the now-dead Bard arguing with his own genius wife about why she’d written the various roles of the plays’ heroes and heroines the way she had. Richard III, Macbeth, Hamlet, Lear, Othello, and all the flawed tragic men were swiftly eviscerated, and the roles of the women – Lady Macbeth, Juliet, Desdemona, Cordelia, the “Dark Lady” and the rest – were all grounded in the lives and feelings of real, oppressed women.

Both the script, and Liz Grand’s performance, were a tour de force, eagerly lapped up by an appreciative audience. An entertaining and instructive evening all round.

The Devizes Arts Festival continues only for two more days until Saturday 25th June at various venues across town. Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk


REVIEW – Devizes Arts Festival– Simon Calder @ The Corn Exchange 21st June 2022

Travel Tales

Andy Fawthrop

Well, we’re on to week two of the Devizes Arts Festival, but there’s been no let-up, as the entertainment continues to come thick and fast. Following Florian Felcitta’s wonderful Free Fringe performance in the Three Crowns on Sunday afternoon, and yesterday’s highly entertaining talk from gardening expert Adam Frost, last night it was the turn of The Independent’s travel writer and commentator Simon Calder.

I suppose there was a deep irony at play in Simon coming to D-Town, a place that last saw a rail service back in the 1960s, and which “enjoys” the bus services of a third-world country. Added to which, of course, was the added insult of it being the first day of the national rail strike. Simon’s day had started very early (as early as that of our esteemed milky editor) in his attempt to catch the first (still running) train of the day from London to Gatwick. And even then, his only purpose in being at Gatwick at sparrow’s cough was to be aboard the first Gatwick Express back to London, just so that he could report on the experience for various TV and radio stations. His quest turned out to be forlorn – the first train failed to run (staff shortages), and the second one only managed ten miles before it broke down. It was the start of a day which, he remarked in an understated stage whisper, had “gone completely Tango Uniform”. If you don’t know, Google it.

Following that, he’d made his way via Swindon, and the rigours of the cross-country 49 bus, to finally haul up in The Vize – and there were plenty of graphic pictures to prove it, including a shot of him in Tea Inc. doing yet another media despatch. Having played this early sympathy card, and got the near-capacity audience fully on-side, Simon was off on his more standard presentation on the life of a travel journalist, using photos of funny signs from around the world, personal travel experiences, and his reflections on such issues as the Covid travel restrictions, and the sub-optimal outcomes (for travellers at least) of Brexit.

His style was confident and brisk, with quips, asides and much dry humour in evidence. He was deft in praising the charms of D-Town, whilst playing to the gallery by snarking at Melksham, Swindon and Trowbridge. He’d done his homework all right. The main presentation having concluded, Simon spent a good half hour fielding audience-generated questions (ably delivered by DAF Chair Margaret Bryant) and providing helpful and hilarious advice on topics as wide as Avios points, best and worst places to visit, when to board an aircraft, the quality of airline catering, the value of rail travel, tourism in post-conflict Ukraine, and the feasibility (or otherwise) of electric planes.

An altogether professional and entertaining evening, and another coup for DAF in getting a media personality down to our neck of the woods.

The Devizes Arts Festival continues for the next few days until 25th June at various venues across town. Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk


She Robot Assimilates the British

Images used with kind permission of

Gail Foster.

 

Summer Sunday afternoons in the beer garden of the British; it’s a Devizes thing, a ritual stretching back long before I anchored on these shores. Yet it’s unusual for an android to be found there. In all truth, if any kind of automaton did start socialising on the pub scene, the British Lion would probably be bottom of the list. There’s nothing modern or chic about this favoured watering hole, no ultramodern silver-plated décor, just a good bunch of humans, the odd canine, a happy atmosphere and casks of affordable drinks.

The name of this Devizes Arts Festival free fringe event somewhat misleading, I expected She-Robot to be mysteriously mechanical, and gregariously unresponsive, akin to a robot, even if it was to be that she wasn’t really a robot. I suspected weirdness, machinelike repartee, as the name suggests. Instead, Suzy Condrad is most definitely human, affable, humoured and inspired, wearing her heart on her sleeve regarding her art, and modest with her talent.

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Queen of the Boss loop station, this multi-instrumentalist, one-woman band interlaces, effects and autoharp, glockenspiel, thumb piano and random objects to produce a unique sound, reflecting synth-pop and electro of yore, yet with a twist of contemporary ambient house like a strong bassline, and perhaps most poignant, her echoing voice and beatboxing.

She Robots hails from Bristol, her loose, avant-garde repertories remind me of Portishead, least the Bristol techno downtempo scene, to an extent, yet it’s more inimitable and individual. Captivating the audience to silence as she glides through her own compositions, and discretely reassigned covers like Kate Bush’s Running up that Hill, and one I virtually missed the source of through her own take, KRS-1’s Sound of the Police.

So yep, there’s something unquestionably electro-80s about Suzy, archiving influences I suspect from Depeche Mode, Joy Division and Yazoo, to perhaps the Art of Noise. Yet, here’s the thing, the style, the namesake gave me this preconception it’d be Kraftwerk-stiff and structured, Art of Nose secretive, but the sound flowed stunningly, ambiently and she spoke with poise and ease during prolonged breaks as she aligned her technology and instruments to perfection; far more down-to-earth than your typical robot.

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She jested, with accounts of previous gigs, such as excusing malfunctions in her loop-pedal as mud from a festival, or recounting an amusing episode gigging in Camden where the sound of an ambulance siren got caught in the loop-pedal. See, robots don’t do that, they cannot articulate socially, joke and frantically dance like a raver, with all the joy of presenting her music unto us, and that, was the most appealing part of She-Robot’s show.

So, I could argue her one-woman-band was not the master of a particular instrument, more so, the skill is the precise timing, using that loop-pedal like an instrument all of its own. I pondered what atrocity of unorganised clamour I’d create given half a turn on the thing! Yet to turn away, you’d be forgiven for thinking there was a full band up there.

Aptly, and prior to her encore, Suzy finished on Blue Monday, pure and effective nod to her principle influences, and doubtlessly as it’s an irresistible foot-tapper. But along with her genial charisma, and immense skill, it was the individuality which allured me, and her use of the ukulele, in particular, to bless the otherwise electro-synth pop sound with a reggae skank; trust me to pick up on that!

If I was informed in the past, the free fringe events of Devizes Arts Festival often failed to attract attention, it was not the case here. I hope I’m getting through those who may wear this out-of-date typecast of what the Arts Festival is about, because let’s not name and shame, I’ll admit I was once like you, but now I’ve seen the light.

 

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REVIEW – Devizes Arts Festival – String Sisters –5th June @ St Andrew’s Church, Devizes

A Cracking Little Concert

By Andy Fawthrop

 

There’s so much to do and see in this year’s Devizes Arts Festival that it’s hard to pick out the best bits. From what I’ve already seen and heard, this year’s event is turning out to be another cracker, and there’s plenty still to go.

Today, for a bit of a change, I decided to go to church. No – I’ve not suddenly seen the light. I decided to go and see String Sisters in a lunchtime concert at St Andrew’s church in Long Street. The place wasn’t quite full. But not far off. And it turned out to be a good way to spend a lunchtime.

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Angharad and Lowri Thomas (can you tell that they are from that there Welsh Wales??) are sisters who play the violin and the viola respectively. They also play those instruments darned well. We were treated to a whole range of pieces from classical (Vivaldi, Bach) to modern (Can’t Help Falling In Love, Delilah) to tunes from the musicals (America from West Side Story, I Could Have Danced All Night from The King and I) and all beautifully wrapped up in some charming and funny anecdotes. These sisters not only knew how to play, but how to engage with the audience and therefore how to entertain.

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The concert was only an hour long (I could have listened all afternoon), but it was packed with goodies, and thoroughly entertaining – a little cracker of a concert.

Well done to DAF for finding String Sisters and bringing them to our town!

Don’t forget there’s plenty more music and other stuff before the Festival finishes on 16th June. If you haven’t done so yet, get yourself a ticket and get along to see something!

 

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Cuban meets African, in Devizes: All About Grupo Lokito

You know, I have my ska-reggae show on Boot Boy radio, that’s while I’m so looking forward to Barb’dwire playing the Devizes Arts Festival in June, but feel I differ from its, generally, skinhead cohorts with instantaneous love for all Caribbean styles of music.

There’s something so colourful and lively in these many styles from the islands in the sun, but in my excitement for the ska night, I’ve overlooked the other intriguing main musical booking, London-based Afro-Cuban group Grupo Lokito, and wow, they sound tremendous!

Rhumba down to Corn Exchange on Saturday 15th June, where Grupo Lokito fuse contemporary Congolese and Cuban; I leave a few videos here, certain to wow you as they have me. In addition, we’re lucky enough to have Lokito’s manager and keyboardist, Sara McGuinness to enlighten.

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Keen to scoop some background, I asked Sara about managing a number of Cuban groups in London, Grupo Lokito being just one, and if they were Cuban by birth.

“I have played Cuban music and salsa for most of my life, as a piano player on the UK Latin scene,” Sara tells me. “In the mid-2000s I decided I wanted to investigate Congolese music, found a, at that time, vibrant underground Congolese music scene and started playing keyboards in a Congolese band. Congolese music is one of the few styles that is popular pan- Africa. The fact it has a modern but distinctly African sound is often cited as one of the reasons. It’s vibrant, fantastic music. What became clear to me the minute I started working with Congolese musicians within their community was that the music the African audience, the ‘home’ audience if you will, liked was quite distinct from the music favoured by the world music audience. The Congolese liked the old and the modern stuff, whereas the tastes of the world music audience stopped in the 60s. I loved the modern music that I was playing with the Congolese bands. Furthermore, I could see many similarities in performance practice and musical structure between that music and Cuban music. So, together with a Congolese singer, I wrote some tunes and we brought together musicians from the two traditions.”

“We were lucky as, working within both scenes, we had insider knowledge about who to work with. What was striking was that the two groups of musicians had never met each other or mixed at all before we brought them together in this band. Together in the band we worked hard to absorb each other’s musical styles. I was determined not to have a ‘fusion’ group which played a pastiche of the two styles. Grupo Lokito have a large original repertoire which combines different elements of Congolese and Cuban music. All of the band are dedicated to playing the music well and with an amazing groove.”

I asked Sara to breakdown the band’s origins.

“I’m the bandleader, born in the UK. The two lead singers, the lead guitarist and, on this occasion, the drummer are from the Democratic republic of Congo. The bass player and the percussionist are from Colombia and the trumpet player who is guesting with us on this occasion, is Cuban. What is more important than our origins are we are all Londoners, we have all chosen to make London our home and contribute to the rich cultural fabric of this great city.”

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This Cuban/Congolese fusion, I had to ask; are African fusions common in Cuba’s contemporary music scene, or something unique to Lokito?

“Absolutely not. My experience of Cuba is that most Cubans know very little about contemporary African music. Yes, there are many African derived musical traditions in Cuba but these hark back to an imagined Africa and African of 200 years ago. My experience is that initially the Congolese musicians I involved in the project had more idea about Cuban music, albeit a little old fashioned, than the Latinos did about Congolese music. The band is unique.”

The idea of an “imagined” Africa of yore is interesting, I think akin to all Caribbean music, particularly reggae. On Cuban styles though, I can’t believe it’s been over 20 years since the Buena Vista Social club album when, Ry Cooder popularised the genre. I wondered what Sara thought about this, does she think it’s been good for Cuban bands in the UK, as it’s probably the only album the masses would recognise from a bucket of “world music” albums.

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“The Buena Vista Social Club project certainly was part of the opening up of Cuba and popularity of Cuban music in the world,” she explains, “It is often said to be a Ry Cooper project, but was actually a consortium of Juan De Marcos Gonzales, Nick Gold (World Circuit) and Ry Cooder. They decided to bill it as Ry Cooder in order for the project to gain wider popularity and not just end up in the world music bin; it worked!”

“In terms of it being good for Cuban music in the UK there are positive and negative consequences. On the positive side; many people became interested in Cuban Son and there was more call for Cuban bands to play old style, Cuban Son. On a negative side, it did create a nostalgic, polarized image of what Cuban music is and created a standard repertoire that bands were required to play. In fact, the island of Cuba has a huge number of musical styles which have come out of the island, a product of the mix of cultures on the island: Mainly European and African but also Chinese, and other.”

My research suggested Cubano Son is the style associated with an African and Latin fusion in Cuba, which has been around since the 1920s. So, is Grupo Lokito similar? But does Sara think this wouldn’t be popular in Cuba today.

“I don’t agree Son is the style associate with African and Latin in Cuba,” Sara corrected me, I’m here to learn! “There are definite African and European roots to son,” Sara continues, “Son has been constantly developing since the 20s and, as you point out most people are not listening to son in the style of the 20s. Cuba has definitely opened up to the world and there is a lot of music coming out of Cuba now, from Jazz to Hip hop, timba, son.”

But Grupo Lokito brings together contemporary musicians from two musical traditions, okay, similar more so to Soukous, a popular dance music from the Congo Basin derived from Congolese rumba, or better still, stop pigeonholing Worrow! Grupo Lokito write their own original tunes: stories of life ranging from love tales, reflections on the trials facing musicians trying to make a home away from home, the wisdom of the elders, to the simple joy of dancing, and sounds awesome!

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To return this fascinating and enlightening chat to the beginning, what of reggae and ska, surely the most popular forms of Caribbean music in the UK, due to the Windrush generation. I asked Sara, what she thinks African, or Cuban styles would have to do to become as ingrained in our culture as them, is that even possible does she think, and is it something to aim for?

“I think it depends who ‘we’ are,” Sara replied. “There are many second, third and more generation British people of African descent and for them, the music of home is embedded in their culture. Latin-American music, in cities such as London, where there are large Latin American communities, particularly Colombian and again, second and third generations have Colombian musical styles ingrained in their culture. I definitely think that multi-cultural society is something we should be proud of. I do realise the London is a cultural bubble and the rest of the UK, particularly outside the large cities, is far less multi-cultural. If you look at some of the new music being created in the UK cities it will all be in there.”

Ah, but this be Devizes me lover! I’m extremely grateful for Sara’s time in chatting with us, must say, it’s a great example of the diversity on offer at this year’s Devizes Arts Festival, and something exotic and exciting for us bumpkins!

 

Tickets to Grupo Lokito are on sale now at £18.

 

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