Alright yeah, it’s a play on band names and there’s only really two reasons to rock on Friday 17th October at Market Lavington Community Hall; Six O’clock Circus and The Reason. See what they did there? Genius! But, they’re two of the heaviest heavyweight headline acts you should discover on our local cover circuit, so, as for the sum of the entertainment you’ll receive by attending, you could deservedly multiply them by at least three, and make six! (I do maths too!)
Big time Calne mod-Britpop loving lads Six O’Clock Circus will raise the roof, and Westbury’s The Reason, with a penchant for timeless rock classics only intend to double it. Fronted by Nicky Davis, formerly a member of People Like Us and co-founder of the Female of the Species fundraising supergroup, find The Reason gigging locally and strap yourself in for a party! Not usually a function band, likely because they’d upstage the reason for the actual function, (ambiguously the story behind their name?!), they recently performed at Melksham’s proudest country-rock singer-songwriter Becky Lawrence’s wedding, where the bride simply had to join in!
Likewise with Six O’clock Circus, find them gigging locally everywhere. A longstanding band of friends knocking guitar frenzied indie-mod-pop-rock favourites out of any park they care to stop by, and a few others along the way! I appreciate there’s already been a lot of maths for a Sunday article, but this is simple; tickets are £12 a pop. The show starts at 7:30pm (NOT 6′ o’clock like the circus) at Market Lavington Community Hall, next Friday 17th October for a highly recommended party!
It was a fantastically successful opening night for Devizes Musical Theatre at Dauntsey’s School for their latest show, Disney’s Beauty and the Beast, and I returned home still singing Be My Guest and Gaston; they’re still stuck in my head now truth be told, and I’m not usually one for musicals!
Remaining faithful to Disney’s 1991 adaption of the French fairy tale by Barbot de Villeneuve, widely regarded as one of the greatest animated films of all time, new director Georgia Watson and the entire team at Devizes Musical Theatre pulled out all the stops last night; amateur dramatics has never been this good, surely?!
Already clued up on the plot, as my daughter had a “thing” for the film when little, didn’t prevent me thoroughly enjoying this show, rather it’s likely it aided it; familiarity transformed from film to stage is kingpin to a universally welcomed musical, which this is. Aside from the stellar performances, it was arduously and thoughtfully produced with attention to detail, especially the costume design; they were brilliant. Easy for a cartoonist, but how do you recreate inanimate objects such as a clock and teapot as characters on stage, I wondered beforehand, but not now!
And in this, commendations in particular go to Tia Shafee and Oli Beech, also Sarah Williams, Natalie Angus and Claire Abraham, all for adding those comical elements as candlesticks, clocks and teapots. Yet it was up to Georgia Saunders to add the sparkle, as the compassionate bookworm protagonist Belle, and her relationships with Samuel Phillis as the troubled Beast, Gareth Lloyd as the bawdy egomaniac Gaston, and Graham Day portraying her troubled inventor father, all of which were played confidently and rapturously.
Interactions between Gareth and his literal sidekick LeFou, played with camp hilarity by Adam Sturges were comedy gold, as was the “silly girls” fighting for Gaston’s affections, Georgia Claridge, Mimi Martin, Laura Bartle, and Bronwyn Hall. With special shout to Pip Emm who was last night’s Chip, a role which takes on a different young actor each performance, everyone on that stage looked to be loving the spotlight and this enthusiasm shone through, reflecting back off the audience in awe.
It never fails to amaze me how much work and effort goes into Devizes Musical Theatre’s shows, and how professional they are. Beauty & The Beast runs until Saturday 5th April, with a matinee performance on the final Saturday. Ticket holders are in for a real treat, anyone looking for a ticket should act fast as the last rose petal is about to drop; last look there were some left for tonight, the rest is already sold out. At £16 a pop, you’d pay more at the bar in a West End theatre for a glass of fizzy pop, or for parking.
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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A sublime evening of electronic elegance was had at Bath’s humble Rondo Theatre last night, where Cephid’s album, Sparks in The Darkness, was played out exclusively to a packed house. It was, in a word, breathtaking….
The type of genius who built a laser-harp at seventeen years old, Cephid‘s composer, producer and multi-instrumentalist Moray McDonald is bound by modesty, and appeared, prior to the show, understandingly nervous about the prospect of performing. He hadn’t contemplated ever reproducing this masterwork on stage, for the project began as a collection of demos he created “for fun.” “With all my focus being on creating an album that would live up to the grand ideas in my head,” he explained, “I didn’t stop to think about whether this music could be performed in a live environment.”
Seems he shies from being centre of attention, his comfort zone on stage favouring the many occasions he hides as a keyboardist in prog rock bands. Moray, currently residing in Lavington, cut his teeth touring with progressive rock and metal artists such as That Joe Payne, Godsticks, Kim Seviour and Ghost Community, more recently he remixed for OMD.
Moray was adamant this was a totally exclusive show which wouldn’t be taken on the road, although it has the magnitude of doing so. The show was produced and promoted by his partner Charlotte, who’s theatrical flamboyance encourages Moray to overcome his reservedness. Therefore a communal air bloomed in the audience, that this was a one-off treat, and we were the lucky few; because we were.
Being I was there to review, it probably didn’t help his anxiety any telling him I’d seen Kraftwerk at a Tribal Gathering of yore, where from every tent of every subgenre ravers descended to observe the roots of it all. “Kraftwerk was the beginning of everything,” he agreed.
While it’s an accurate summary of the origins of electronic pop music, Sparks in The Darkness delves beyond this for inspiration. It’s orchestral on a Jean-Michel Jarre level; even if the show wasn’t to the same scale it was in spirit. It nodded to the trial phase of electronic music, prog-rock’s psychedelic swirls found in Pink Floyd, Led Zeppelin et al, and continues to the ambient house pioneers like The KLF and Orb. It rests on the heyday of electronica, the quirky experiments of new wave post-punk like New Order, and early US electro outfits, like Newcleus. Yet it incorporates contemporary technological advances, the variety of modern subgenres stemming from it, and it evoked in me a fascination with the history of electronic sound.
To contemplate futurist Luigi Russolo’s 1913 The Art of Noises theories, that music would change due to the ear becoming accustomed to mechanical, industrial and urban noises, and the dadaists flouting this, is to consider the eighties clunkiness of the engine sampling of the aptly named Art of Noise, or Yello, or the piercing hubbub of acid house’s 303s, for the sake of artistic expressionism rather than melodious music. Sparks in The Darkness doesn’t go there, it doesn’t tumultuously provoke, rather it’s polyphonically beautiful, sampleless, and tonally complimentary on the ear. In this, the decades of electronic music progression has become an epoch, therefore a “folk” music, effectively turning music full circle; Cephid is on that cusp, and proved it last night.
But not beforeThat Joe Payne, who later returned to the stage to provide vocals for Cephid, supported with an astounding original set. With just keyboard and voice he acoustically gifted us with a one-man rock opera, the like I’d never seen before. Combining camp comedy with tragedy, reminiscent of Elton John’s heyday and expressed divinely with the vast vocal range of Freddie Mercury, this was delicious vaudeville. Though I cite these clear influences, they broke the mould when they made That Joe Payne, and that is the only shame about this highly entertaining character.
If That Joe Payne was something which bucked my norm in the nicest of methods, the whole evening was equally different for me, who these days is used to traditional rock, folk, or blues bands, and even with a history of dance music under my belt, this wasn’t a rave anymore than it was a gig in the tradition of, even if the effect was similar. This was a showcase of modernism, an electronica fantasy in fruition. If at any point I likened it to something visually, it was Howard Jones meets Orbital, and that’s a high compliment.
The Rondo ignited with laser lights after the interval, colouring the subtle smoke machine output, and doused with a building ambient drone. Moray appeared onstage with electric percussionist Graham Brown, both dressed in white bodysuits with scarlet tie-belts. Layers developed and the album was played out sublimely, stretched to fit the show. The skill of the pair, to unite in sound and highlight exactly how these tunes were accomplished was insightful, and amazing. The only analogue instrument being a snare, the rest was digital technology caressed to evolve the most refined musical topography, an audio landscape masterpiece.
The grand finale was the usage of the triangular centrepiece, the laser harp Moray created at seventeen but had never used publicaly. Even if many in the crowd were connected in some way to Moray or the team, akin to a family party, everyone was held spellbound when the laser harp strings lit up, and Moray took position behind it.
If the perfect composition of this groundbreaking sound, with the laser show and theatrical performance wasn’t enough to convince anyone in the crowd to the monumental importance to the artist, and the rare and wonderful occasion this was, it was Moray’s expression of sheer joy, at the audience’s standing ovation. It was confirmation that this project, so immensely well received, is surely the testament, plus an ego boost, to the diffidence of a creative genius!
You might have missed this show, but you can (and should) buy the album HERE.
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If I had to be magically turned into a candlestick or a teapot, I believe I’d rather be a teapot than have a wax candle on fire wedged into the top of my head! Fear not, it’s not a worry I’m losing any sleep over, rather the kind of bizarre fleeting notion which popped into my mind when previewing Devizes Musical Theatre’s next production, Beauty & The Beast….
The wardrobe is definitely out of the question, anyway I digress! For if there’s one local amateur theatre collective to make you question the definition of “amateur” it’s Devizes Musical Theatre, in my experience. To pay a king’s ransom for a West End production is to expect, much less assume, you’re in for a treat, but to see the dedication and hours of labour which goes into an amateur production like those of Devizes Musical Theatre, is the surprise element, that the magic isn’t so far from a professional production.
So, get ready, Gaston, for a tale as old as time, as Devizes Musical Theatre’s curtain is rising once again for Beauty and the Beast. It’s running from Wednesday 2nd April – Saturday 5th April 2025, at Dauntsey’s School’s Memorial Hall in West Lavington and tickets are available now at www.devizesmusicaltheatre.co.uk or Devizes Books.
Devizes Musical Theatre’s last sold-out show was Sister Act back in March 2024, of which I reviewed and said “it’s the combination of their motivation and exceptional effort which makes this such a dynamic show, coupled with the elementary notion, Sister Act has universal appeal and is simply fun on a stick!” But no one listens to me, so please note the show was nominated for Best Musical and Best Publicity at the prestigious Rose Bowl Awards.
“Tickets are already flying off the shelves,” we’re informed, so don’t miss your chance to experience the magic of live theatre right here in our community. Whether you laughed with the nuns, hissed at Curtis and his baddies in Sister Act, or you’re a newcomer to the DMT productions, this show is guaranteed to leave you spellbound; be their guests, be their guests, be their guests!
Tickets are limited and selling fast for a staged reading of Oscar Wilde’s most renowned comedy masterpiece, The Importance of Being Earnest, performed in the glorious setting of West Lavington Manor House and garden, on Sunday 8th September 2024….
It’s undoubtedly Wilde’s magnum opus, a timeless hilarity of dissimulation getting out of control, which I cite as the influence of many classic comedy series, particularly Fawtly Towers and Rising Damp.
It’s a promenade performance, moving from space to space, which means seating will be limited. The ‘stage’ consists of the Hall and garden of West Lavington Manor. The show promises to go on whatever the weather, so be prepared.
The Old Bag Theatre Company have assembled a superb, and unconventional cast to bring Wilde’s play to surprising life in a setting he would have adored.
All profits from the performance will be donated to The Nestling Trust, a UK Charity established in 2013, with the support of people from a small community in Wiltshire, to give protection, and hope of a future, for destitute and abused children of Nepal, also to help provide basic healthcare and health education for people living in remote areas of the country without any medical facility.
Performances take place on Sunday 8th September at 2pm and 6pm. The grounds will be open from Midday for browsing and picnics, camp chairs are allowed but not in the house. There will be a bar available. But remember, if you take muffins, eat them calmly!
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We’ve been chatting with the Community Organiser and Campaigns Manager of Devizes and District Foodbank, Alex Montegriffo, about an important free community conversation on Monday 3rd June, on the subject of the rising costs of school uniform……
A local campaign group of parents, guardians and carers in and around Devizes has been speaking to schools about how to make sure their uniform is affordable over the past year, and their campaign has now branched out to include support for a Wiltshire Council strategy that schools can join to make all aspects of the school day affordable.
The original campaign arose during the height of the Cost of Living Crisis in 2022 when the impact of school uniform cost was discussed in Devizes and surrounding areas. In 2020, The Children’s Society found that the average annual cost at state-maintained schools per child was £337 at secondary schools, and £315 at primary schools. Families in Devizes reported spending between £200 and £300 a year on all items of clothing and footwear needed for school.
Research shows that these costs can cause families to struggle with other essentials, such as food or bills, or can even contribute to debt if money has to be borrowed to buy school uniform. This affects families both in and out of work. For example, one person involved in the campaign had to borrow money from a family member to afford uniform, and another had to take a Universal Credit advance which they then paid back. This is especially the case where there are multiple items of logoed uniform that can only be bought from a specialist supplier, as these tend to be more expensive.
In response to research revealing the high cost of school uniform in the UK, the UK Government passed a law in 2021 stating that schools need to consider affordability when setting uniform policies. Locally, the campaigns team engaged with schools on the topic of affordable school uniform and invited schools to sign an Affordable Uniform Pledge. Local schools were able to work with parents and guardians to make changes to their school uniform to increase affordability to the benefit of every family. The campaign also received media coverage.
After speaking to Wiltshire Council about affordable uniform and the impact it has on families, the Council launched their Affordable Schools Strategy in September 2023. This is much wider than uniform, as it covers topics such as accessible school trips and activities, the provision of free school meals, and making changes towards affordability to benefit both schools and families. These come under the headings of Resourcing the School Day, Enrichment and Opportunities, Healthy Body, Healthy Mind, and Securing Positive Partnership. Schools can join the strategy each year, and will get accredited as they take steps toward affordability. They receive resources, handbooks, case studies and networking opportunities. One of the resources is the Affordable Uniform Pledge, and there is a section on affordable school uniform.
As part of the final phase of the campaign around school costs, any family in and around Devizes can add their support to this strategy, and engage with their school to encourage them to become a member in the next launch on 26th September 2024. This strategy benefits all families, and engagement can be made by families working with schools in person or in writing to encourage them to sign up, with guidance.
To learn more, please come along to a free community conversation from 6:30-7:30pm on Monday 3rd June at the St James Centre, Devizes, SN10 1LR. This phase of the campaign is being organised by Alex, the Community Organiser and Campaigns Manager at Devizes and District Foodbank. Tea, coffee and a wide range of snacks will be provided, and please let Alex know if you’re thinking of attending by email, phone call, text or WhatsApp: T: 07483 377346E: alex@devizesanddistrict.foodbank.org.uk
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White Horse Opera members, Soprano Barbara Gompels, Mezzo Soprano Paula Boyagis, Tenor Carlos Alonso together with pianist Tony James join forces with international cellist Anup Biswas for a special musical concert to raise money for the Mathieson Trust in Kolkata India which celebrates its 30th Anniversary…
The evening will take place on 15th June at Market Lavington Community Hall starting at 6pm with a home cooked Indian meal followed by a range of musical delights from opera to songs from the shows.
The Mathieson Music Trust – The Mathieson Mission School was established in 1994, by Maestro Anup Kumar Biswas, it is a registered charity and was set up in memory of his guru, Father Theodore Mathieson, an Anglican priest from England. Father Mathieson of the Oxford Mission dedicated his entire life to the poor children of Bengal. After Mathieson’s death in 1994, Mr Biswas became his torchbearer, aiming to emulate his work and morals by helping children from the poorest families.
Mr Biswas wanted to give the opportunities he received through Father Mathieson’s generosity, to other children coming from impoverished backgrounds like his own. For 30 years, Mr Biswas has singlehandedly fundraised globally for the trust through concerts, classes, workshops, and other such events. Some key performances were in the presence of the late Queen Elizabeth II of England and King Charles III; the venues Mr Biswas has performed in range from the Royal Albert Hall (UK), The Carnegie Hall (USA), Commonwealth Institute (UK) and the Bayreuth Opera House (Germany) to name a few. The funds raised from these events have paid for the construction of the school buildings and their maintenance, resources, and teaching of the children.
White Horse Opera warmly invite you to join them in celebrating the anniversary of The Mathieson Music Trust and all its accomplishments in the last 30 years .
Donations will be gratefully accepted on the night but tickets are needed for numbers for catering purposes, they are available from Devizes Books. For more information on White Horse Opera, Here.
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Last night I was privileged to sit in on the Dress Rehearsal for this wonderful production. It was like having a private viewing of a great work of art, with a chance to see how it all came together, and to figure out what made the whole thing tick. It was also a chance for cast and crew, together with Musical Director Roland Melia, and Stage Director Matt Dauncey to iron out any last-minute wrinkles. There were a few but, as the song goes, too few to mention. This show is absolutely ready to go live for the rest of the week!
Giacomo Puccini’s La Bohème is one of the most famous operas ever written, following the unforgettable story of two young bohemian lovers in Paris at the end of the 19th century. When young poet Rodolfo meets seamstress Mimì, it’s love at first sight. But, faced by the cruel realities of poverty and ill health, will the flame that burns between them flicker and die? Or will the timeless strength of their youthful passion withstand every trial and tribulation that life can throw at them? With a great love story comes a beautiful score, including arias like Musetta’s Waltz and ‘Yes, they call me Mimì’ (Si, mi chiamano Mimì).
A classic tale of tragic romance, La Bohème is a great opera for beginners and regulars alike. Director Matt had updated the setting to the 1960s, with fashion to match but, to me at least, it made little real difference to the superb quality of musical operatic delivery. Using WHO’s trade-mark stripped back lines in terms of scenery backdrops, props, costumes and musical accompaniment, this was nevertheless a production that felt rich and full.
The four principals absolutely shone. Guest tenor Robert Felstead (Rodolfo), and WHO stalwarts soprano Lisa House (Mimi), baritone Jon Paget (Marcello) and soprano Jess Phillips (Musetta) all put in superb performances. And that’s not to diminish the quality of the rest of the cast in any way. Contributions all round were spot on, and the staging was confident and upbeat. The rapid interplay of dialogue singing during certain scenes meant that everyone had to be completely on their game and if there were any slip-ups I certainly didn’t spot them.
The whole production is sung in English in four acts, with a half-time interval. The programme provides excellent notes and a synopsis of the plot for each act, and the whole thing wraps up in about two hours. These factors make the production accessible to all and easy to digest. If you’ve not tried opera before, this is the sort of production that should change your mind, and I’d encourage anyone to give it a shot. Equally those who are perhaps more familiar with the opera will not be disappointed, as what’s on offer here is a truly sparkling version of a classic.
Tickets are still available (both online and at Devizes Books) for performances tonight (Wednesday), and for Friday and Saturday.
Future WHO events:
Sat 18th May Top Of The Ops Seagrey, nr Chippenham
Fri 6th December Christmas Concert St. Andrew’s Church, Devizes
An exodus of musical lovers and, I’d assume, a healthy handful of friends and family, trekked southwards through winter’s final ambush last night, to enjoy the opening night of a dazzling performance of Sister Act at Dauntsey’s…..
It was presented by the established local amateur dramatics group, Devizes Musical Theatre. I stress my usage of the word amateur in its foremost dictionary definition; the opposite of professional. The second connotation it was in some way inept couldn’t be further from the truth in this case. A common misconception in creative arts, I find, whereby those in it for the love thrust their hearts, soul, and elbow grease into it, more so than a pro going through the motions for their paycheck. The result usually is perhaps something raw, but highly entertaining and enjoyable, and their production certainly was the latter.
The run ends on Saturday (30th March,) at the last count just fourteen tickets remained, so I advise you to be quick, and lucky, to pick some up. It’s a large hall, selling it out proves the grand reputation Devizes Musical Theatre has built locally, this performance hits their pedestal.
With a debatable focus on the singing rather than acting, the benchmark of a good musical, surely, there’s some show-stopping moments. Georgia Watson makes the perfect diva Deloris, and there’s both astounding vocals and comic timing from Louise Peak as Mother Superior and Barry Gibney, who plays the socially awkward police chief Eddie. Particularly noteworthy is Grace Sheridan who plays Sister Mary Robert, in song and conviction of the influence Deloris holds over the convent.
Yet high accolades go out to all the actors, stage directors and team; Adam Sturges, Oli Beech and Simon Hoy as the mobsters, Gareth Lloyd as mafia boss Curtis, Graham Day as Monsignor O’Hara and the huge backing of those wonderful singing nuns! It is the combination of their motivation and exceptional effort which makes this such a dynamic show, coupled with the elementary notion, Sister Act has universal appeal and is simply fun on a stick!
In critical reflection, the musical concludes somewhat differently from the movie. Without spoilers, the amusing scene where Deloris prays for God’s forgiveness unto the mobsters holding a gun to her head, causing them to question their ability to shoot her, wrongly perceiving her as a nun, is replaced by a more slapstick finale akin to a Benny Hill chase scene. Yet on further consideration into my rather geeky complaint, I guess this works better on stage, such is the jollification of a musical, often bordering pantomime. And it wraps it up faster, allowing more time for these astute and timeless Motownesque songs. Devizes Musical Theatre use this to their advantage; you certainly get your money’s worth.
Veils off to first time director Emily Holmes, and musical director Naomi Ibbetson for an apt and fantastic show, which will send you off thoroughly entertained, and with a smile.
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West-side in the Lavingtons last night, tumbleweeds could’ve blown along the High Street as an army of highway operatives rode into the village with heavy resurfacing artillery. Yet, behind blockades at the village hall, a pocket of gig resistance stood their ground, guided by their temporary sheriff of entertainment, Gaz Brookfield. They were going out-out, even if it meant marching from Littleton Pannell or Rickbarton!
No one’s fault, just unfortunate timing, but I gladly report any clashes between parties was reduced to the mere possibility of some reveller tripping on a traffic cone in the dark – what else can I say of the incident? My mum always told me to watch where I was going!
In this wonderful village hall, though, everyone was made to feel welcome. Warmed with chilli, rice and choice of drinks, curious villagers and local Gaz fans melded for a memorable evening. Armed with just a guitar this all-round entertainer of the singer-songwriter variety fulfilled a promise to book himself into willing village halls as an initial part of a wider annual tour. Who am I to argue town and city venues get all the fun, and this genius idea breathes life into otherwise often quotidian or redundant halls? But the true genius of Gaz Brookfield isn’t only present in marketing concepts.
Your typical singer-songwriter can be categorised thus; wonderfully creative yet timorous, bold but perhaps not so accomplished, or a pick of both positive qualities, as Gaz clearly falls into, an expert in confidently delivering self-penned marvels. It would seem nothing is off limits as a subject, as life takes its course Gaz reflects on any occurrence or newfound knowledge and views them equally as worthy of writing about. The result is variety. Habitual vow of playing a fun song after a melancholic one, Gaz explains this, as is he summarises the thought process behind each song with a balance of serenity and good humour.
You know what I mean, though? Some singer-songwriters, while talented, stand tense and only address an audience with “this next song is called,” whereas someone like Springsteen will drag a backstory out to epic proportions. Gaz finds the middle ground, a perfect balance. Yeah he gave a locally themed backstory related in his first gigs in a band playing his own village hall, but all intros were a brief synopsis, and on with the associated song.
Everything he plays is original, fans chant them back to him, but every layer of his personality, thoughts and observations are exposed on the stage he commands, that’s his honest beauty. Also worth noting, parallel to Springsteen or folk singers like Seeger, there’s sunny-side of the street, hometown themes, but Gaz confines himself to nada; there’s historic or apocalyptic stories, thoughts of symbolic tree carvings, blues about diabetes, and quite often, frank insights to being a musician. Through the quips and ditties to the sombre or reflective moments, if I’m making this sound as if Gaz is a jack of all trades, he’s not, he’s a king of them, an all round entertainer.
Weaving an audience under his spell, he relates, he engages an audience, makes them feel a part of the show rather than observers. Relaying an anecdote about an ukulele fashioned guitar, he drops off the stage and sings a shanty unplugged. A communal moment of sublimity alongside archetypal latest album plugs, and ending with a selection of previous known and loved works. Gaz is a tricky one to pin down, given the variety and proficiency he plays with, but he certainly ticks every box with a gold star.
A national gemstone from down our way. Expressing a love for the West Country just one tangent he focussed on, an ode to a friend amusing titled “nuggets,” and too many other ingenious prose to mention. Though this was not before a Tilshead support. Mischa of Mischa and his Merry Men arrived without said merry men, calling an opportunity to play some songs he wouldn’t usually do with his accompanying band. Singing of desperation, eco-anarchy though with a mildly blasé approach, and citing seventies electric blues influences in song, Mischa was apologetic about swearing, thrilled to be performing with Gaz, and made an apt and superb support act which would’ve been perfect with his collective as a headliner.
Being I reviewed Gaz’s 2016 album, I Know My Place pre-Devizine for a now redundant newsite, alongside Richie Triangle, Tamsin Quin and Phil Cooper he was fundamental to this voyage of discovery in local talent, I’m glad to finally tick him off the top of my must-see list, but wouldn’t mind at all making his gigs as something of a devotee. Aware of his music before last night, even in reviewing a live album, is a solid base but his ability to deliver a live performance in person borders on legendary.
The village hall tour continues until March, the closet being Hook near Swindon on the 23rd, further dates for his new album Morning Walking Club from April takes in Salisbury’s Winchester Gate on April 6th, and includes full-band festivals such as the My Dad’s Bigger Than Your Dad Festival at Swindon’s Old Town Bowl on July 20th. Find more details HERE, and do, you’ll be glad you did!
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Breaking news, and it’s not often I get to say that here! As part of Gaz Brookfield’s Almost All Village Hall Tour, which kicked off last night in Kidderminster, he arrives at West Lavington Village Hall this coming Friday, the 16th Feb. It is likely that you know this already, hence why it’s sold out. But, be quick, Gaz plans to release a further twenty tickets for the gig…..
Quick-fingered Gaz fans keep your beady eyes fixated on this here ticket link, as while it might say it’s sold out at the moment, after returning home from a show in Devon tonight, tomorrow he will add twenty more tickets, and they could be yours!
West country based Gaz Brookfield is predominantly an independent solo musician. Although, on occasion you will find him on stage with his band, The Company of Thieves.
Since winning Acoustic Magazine’s singer/songwriter of the year back in 2010 he has spent his time on the road, building a strong and loyal following all over the UK and beyond. He was the first independent musician to sell out Bristol’s, The Fleece, (450 cap), and The Bierkeller, (750 cap), and SWX, (1000 cap).
Gaz has an impressive back catalogue of nine studio albums. The latest of which, Morning Walking Club, went straight in at #1 in the Official UK Folk Album Charts, #3 in the Official UK Indie Breaker Charts, #6 in the Official UK Download Charts, #10 in the Official UK Indie Album Charts, and even #37 in the Official UK Album Sales Charts.
He’s one artist I picked up on BD (before Devzine!) when the precursor rant column ran out of negatives and I begun hunting for more positive stories, finding myself on a voyage of discovery into a local music scene I had no idea existed. It was Devizes gigs for Richie Triangle and Tamsin Quin which got the ball rolling, and before long I was penning album reviews for the likes of Gaz and Phil Copper. I believe I splashed some fond words about the 2016 album, I Know My Place, but the website finished and all traces of it have bitten the dust.
While Gaz has sporadically featured here, I regret to say our paths haven’t yet crossed, so after seven years since reviewing the album I’m looking forward to being able to knock up a live review. Here’s hoping The Tale Of Gunner Haines is on his setlist, if he has one, prolific and quite the master of improv I believe he is!
The Almost All Village Hall Tour takes in twelve rural UK locations in a bid to get his music out beyond towns and cities, and begun with a Facebook post asking for village halls to stand up and be counted. West Lavington’s Community Hall on Sandfield makes the perfect space, a hall with so much potential, and I for one, am glad to see it on the shortlist. Ever a grand idea, getting gigs out to the villages, Gaz, and we wish you all the best with it.
Now, readers, stop reading this and keep one eye on the ticket link!
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If the most popular band to come out of Devizes recently, Nothing Rhymes With Orange are really gathering pace and attention nationally, frontman Elijah Easton has turned his hand at a solo single……
A Californian author friend with her roots in Venezuela once told me about chilli peppers with the opposite effect to the chillis we here take for granted; they cool rather than heat. Good this, Street Lights takes us on a different journey with Elijah’s familiar vocals. Akin to the chilli, if NRWO are heating up right now, this solo single is Newton’s third law, the equal and opposite reaction; this is cool!
To listen to it alongside the NRWO skate-punker outpourings is to listen to Springsteen’s I’m on Fire alongside Born in the USA. Yeah, so its romance theme isn’t so divergent, but the acoustic-folk-folktronica approach is. But don’t run off spreading rumours of a band break up, though, this is more Careless Whisper, and something Elijah has been working on, self-producing alone whilst they’re saving pennies for some studio time to record future band tunes. Selected as BBC Introducing in the West Showcase Act, it’s worthy of your ears, and displays the range Elijah is willing to explore.
Meanwhile you can find Nothing Rhymes With Orange at Moles, Bath, on Friday 24th November supporting Pet Needs and Glitchers, and again in Bath on Thursday 30th November supporting The Manatees at Komedia.
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Market Lavington Community Hall was filled with music and applause on Friday 7th July, as Lavington Community Choir presented their summer concert under the direction of Paula Boyagis…..
The choir showcased their vocal skills and versatility in a range of jazz-inspired songs, accompanied by a talented jazz ensemble featuring Tim Price on piano, Tony Jones on flute, James Monckton on double bass, Henry Liebling on Sax, Nick Kingman on percussion/drum kit and Nick Hale on miscellaneous percussion.
The first part of the concert included some classic jazz tunes such as ‘Moon River’ and ‘The Way We Were’, arranged for choir by Bernard Wight. The choir sang with rich harmonies and expressive dynamics, creating a warm and engaging atmosphere. Jessica Phillips, Soprano, charmed the audience with her sweet voice in ‘Let there be Love’, while Paula Boyagis, Mezzo Soprano, delivered a rich and expressive performance of ‘Autumn Leaves’. Jim Donovan then entertained everyone with his rendition of ‘Mack the Knife’, complete with a trilby hat!
The second half featured a jazz cantata based on Robert Browning’s poem ‘The Pied Piper of Hamelin’, composed by accompanist Tim Price when he was only 16 years old as a student at Dauntsey’s School. The choir, soloists and jazz ensemble brought this humorous and whimsical story to life with catchy melodies, lively rhythms and colourful narration. The original director of music at Dauntsey’s School, David Price, was present in the audience to enjoy the revival of his former pupil’s work. The conductor of the cantata was Paula Boyagis, who also sang the role of the Piper (complete with flute solos) resplendent in a colourful costume of red and yellow.
Mark Wastell, sang and acted his role as the Mayor with great conviction.
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The Lavington Community Choir will stage a production of the Pied Piper of Hamelin, a musical cantata by Tim Price, on Friday 7th July at 7.30 at the Market Lavington Community Hall….
Written and 1st performed 35 years ago at Dauntsey’s School under the baton of David Price (no relation) when Tim was a 16 year old schoolboy, this wonderfully mature, jazz-inspired work remains as fresh and exciting today as it was then.
Conceived as a light-hearted adaptation of Robert Browning’s poem, the work combines humour and pathos, vividly illustrating this apocryphal, sinister and timelessly topical tale. Jazz riffs and toe-tapping melodies weave their magic as the story unfolds of a town plagued with rats.
The Townspeople debate, the pompous Mayor pontificates, the Piper makes a startling entry with a solution until the Establishment ‘rat’ on the deal that is struck. A lone lame child left behind tugs at our heart-strings with an ethereal tune, before the story concludes on a rare note of hope and peace.
The evenings music is accompanied by a jazz band, and the programme also includes Verdi’s Anvil chorus, and jazz standards: Moon River, Dream a little Dream, Mack the Knife and others, featuring guest soloist Jessica Phillips and conducted by Paula Boyagis.
Tickets £10 from Devizes Books, St. Arbucks, members of the chorus and edwardsjean39@gmail.com Bar available.
If Lidl Shoes, April’s blast from our aspiring homegrown four-piece indie-punkers, Nothing Rhymes With Orange certainty raised the rafters with energetic enthusiasm, I held subtle solicitude, despite the amusing name, it did only a smidgen to progress the band any further than their mind-blowing debut EP Midsummer. By contrast today’s new single, Butterflies, is a Neil Armstrong sized leap in the maturing direction they need to be heading to attain a mass appeal.
With an infatuation theme, the band express a continuation of narrative relating to Lidl Shoes, yet while maintaining their archetypal jab of youthfulness, Butterflies ventures into a pensive mood, it’s dreamier, swapping guitar distortion and resounding choruses for a softer emotional sound. Don’t run off with Coldplay connotations, it remains punchy enough to warrant influences they cite, like Arctic Monkeys, The Killers and The Wombats, and it lies equally as beguiling as their most celebrated tune to-date, Manipulation.
If the chorus of Manipulation is hailed back at them by fans, Butterflies is clearly in the making to evoke the same effect. It’s instantly loveable, their best work so far, proving as I said since day dot, Nothing Rhymes With Orange are going places.
Nothing Rhymes With Orange Image: Gail Foster
With this interesting development, I wonder how their predominantly teenage fanbase have responded to this, as they will mature in-line with the band, and should, in theory, relate. Idolised acts of teenage years always rely on this familiarity with the path their fanbase are personally on, and their songs become stories of their own life. Butterflies identifies definitively, calls out to them, it’s an anthem, I tell you!
Frontman guitarist Elijah Easton, drummer Lui Venables, guitarist Fin Anderson-Farquhar and bassist Sam Briggs have cracked it again, furthering a natural development in their sound, and in conglomeration have penned another standout masterpiece; you’d be a fool to yourself for failing to make it down to the mainstage of Devizes Street Festival on Sunday by 2:30pm, where we should join in celebration at the remarkable achievement this young Devizes-based band has made, amidst the selection of international acts on show.
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I could’ve guaranteed myself a great night with peers and those purveyors of space rock, Cracked Machine down the trusty Gate, or danced socks off with twenty/thirty-somethings at the Three Crowns to the unique take on covers of the ever-entertaining People Like Us. But, oddly if not in the know, I opted for a Saturday night at West Lavington village hall, nodding my approval as frontman Elijah Easton mingled with a gen z frenzied crowd singing back to him their beguiling magnum opus, to-date, Manipulation, for an encore the fans will forever cherish…..
For if it’s Devizine’s intention to highlight all that’s great about our music scene, it’s surely a priority to point out what’s upcoming, and Nothing Rhymes With Orange are the freshest squeezed fruit on that tree right now. I’ve been singing their praises since reviewing their EP Midsummer, unseasonably released last November, and now I can tick catching them live off my must-do-list I’m only going to enforce my words on how astoundingly awesome these youngsters are.
With blow-up orange segments bouncing between them on stage and their enthused blossoming fanbase, I figure I’m witness to a burgeoning local phenomenon akin to the roots of any mainstream band, left pondering the pensioners once screaming teenagers at Liverpool’s Cavern Club, when Beatlemania was imminent. If you consider that’s a tall order for comparison, I’d shrug, but while NRWO can clearly rouse the crowd, it feels like the building hysteria is a newfound blessing for them and they’re unsure how to react. This is a wonderful inaugural experience for a blossoming band, exposing them to reactions to the hard work they’ve clearly put in, and digesting those streams are from real kids, appreciating their sound.
Nothing Rhymes With Orange
For the fanbase so young in our rural zone, it’s not so simple just to rock up to venues, particularly pubs, and if the village hall is kinda “village hall like,” it’s because it is, but it’s an adequate space with a hospitable outlook. The band and their families have self-organised this sell-out gig with the intention of making this a homecoming atmosphere for a local band venturing to Bristol, Bath and Trowbridge’s Pump, and who will undoubtedly take that road a lot further in the near future.
For the time being, they are here and they are now. If seeing Springsteen in the eighties was an amazing experience, seeing Springsteen play New Jersey was another ballpark, ergo in this case, Lavington is those Badlands.
The sound is frenzied indie-pop, but not all-out ferociously punk, they find the perfect middle-ground; easy on the palate for any age demographic. Precisely why they’re subject to my highest acclaim, homing in on what the kids want, is, historically, the recipe for success. They did this with bells on, belting out their known EP tracks, a couple of defined Arctic Monkeys covers, their latest release Lidl Shoes, and treated the crowd to a sneak at the forthcoming two singles.
But not before a triple bill of support they’re introducing to home fans. First up Dauntsys own Paradigm, who, though I only caught the final couple I’d suggest are a promisingly tight young band to watch out for.
Paradigm
Secondly Frankcastre from Portsmouth with a frontman originating locally, even penning a song named after Great Cheverall, which has to be a first! Perhaps as oddly as their name, to generation X a band attired in Fred Perrys and skinheads might connote mod influences, but the confident frontman was looking decidedly teddy-boy!
Frankcastre
Trivial is the significance of the uniforms of youth cultures of yore to this era, their originals came fiery and skater-punk; they refined the contemporary noise with brewing confidence and it was welcomed by the NRWO fanbase, particularly the girls. Two covers either side of their set though revealed a penchant for sixties blues-rock, covering firstly The Doors’ Break on Through, and The Animals’ version of House of the Rising Sun, with gritty vocals and devine accuracy. Something for the parents to acknowledge, perhaps, though the frontman delighted to elucidate his fondness for the era to me and I had nothing but to accept his knowledge on the subject. Their sudden usage of a keyboard, for example, to replicate The Animals classic was different, tilting it to one side while playing was beyond Jerry Lee Lewis; put him in your Google search bar!
Arguably the more accomplished of the two, Bath’s StoneFace produced lengthier original compositions, evoking mood with pitch and tempo alterations. With an air of neo-emo Stooges, interestingly with saxophone, damn they looked the part of Iggy Pop to envy!
Though sounding as good as they looked, this volatile style didn’t seem to wash down quite as well with the teenagers as Frankcastre, who, like punk, seem to favour the frenzied three-minute hero, though I personally fished with their hook. Introducing a new track Blue for You, and a particularly adroit one called Cave, the downtempo was plodding indie of perhaps a previous generation, but they did it exceptionally.
StoneFace
To conclude, those in local media sensationalising a minority of hooliganism for click-bait would’ve had their tails between their legs if they’d bother to attend this last night, for all I saw was the new generation, clean-cut by comparison of formers, thoroughly enjoying themselves and causing no issues in the slightest. Just in awe of four of their own, who’ve worked tirelessly to perfect a cooperative brand and inspire others. The forthcoming single Rishi speaks volumes for a current tongue-in-cheek satire they’re intelligent self-penned anthems extend to, though for the most part politics are avoided in favour of topics relative to gen z, like romantic interludes breaking down, and for this Nothing Rhymes With Orange prove their diversity.
It was an astounding achievement, bringing some class acts to Lavington’s youth, and onwards for NRWO I’m pleased to say in collaboration with DOCA, Devizine is proud to now annually suggest a best upcoming local act to feature on the main stage at the Devizes Street Festival, and you can bet your bottom dollar they are the chosen ones to get that ball rolling on Sunday 28th May.
You can also catch them next Saturday, 29th, at the Pump in Trowbridge, Bath’s Party in the City at St James’ Vaults on 12th May, at Corsham Rugby Club’s CorrFest on Sunday 17th June, The Barge on Honey-Street on Saturday 1st July, Marlborough Festival July 8th, and Urchfont’s Boundary Bash on the 15th July…. The future is bright, and doesn’t rhyme with orange!
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First one in what I hope to be a series diverting negative local social media hysteria about wayward youths in our area, must be a Devizes-based indie-pop band of young hoodlums with nothing better to do with their time than pick up guitars and drums, practise like crazy, self-promote themselves, and name themselves with a rational band name, like Nothing Rhymes With Orange……
Even though we have a mountain in Wales called Blorenge, and, the technical term for a sac where spores are made, sporange, all of which they could’ve Googled, but perhaps were too busy becoming the band the best upcoming band in the South West, Salisbury’s Carsick, cite as the best upcoming band in the South West…. maybe!
Whatever the reason for them overlooking these obscure words which do rhyme with orange, the guys are really at the top of their game right now, something we all should tip our hats to. Since fondly reviewing their EP last November, they’ve ventured off to perform in Bristol, Bath, and Trowbridge, as well as Chippenham’s Take the Stage contest. I’ve be encouraging some home-turf gigging too, which is never easy being they and their prospering fanbase are predominately under eighteen.
Seems my bleating to DOCA paid off, and all looks set for the guys to perform at Devizes International Street Festival in May, for here’s something without age limitations which can all enjoy. This is an opportunity I’d like to see become an annual thing, where we recommend a local upcoming band of the year to play the main stage, rather than any kind of bolt-on substitute. Because these guys thoroughly deserve all the attention they’re getting, and you thoroughly need to see them perform.
Which you can do sooner, Saturday April 22nd to be precise, as they play a hometown self-organised gig at West Lavington Hall, with support from three bands new to me, Stoneface, Paradigm, and Frankastre. Showing my age, maybe, but Nothing Rhymes With Orange’s accomplishments are also sharing the attention with a next generation circuit developing, and without trying to sound like a Mandalorian, something which has been “the way” since the eve of rock n roll!
If you don’t wish to take my word for it, someone you should never doubt when it comes to music, Sheer Music’s Kieran Moore, sung their praises after a sell-out show last night at The Pump, alongside Chippenham-based (I believe?) band The Sunnies, currently taking a similar route. Kieran had this to say, “wow, just wow. When the bands first played, they were a bunch of teenagers looking for opportunities. Fast forward a year, and they’ve both been hitting up Chippenham’s Take The Stage and St James Wine Vaults in Bath, played a number of gigs for us at The Pump, and begun hosting their own gigs in Lavington and generally have grown astronomically quick.”
“That furious year of activity have seen the bands stream line their abilities, build their craft and become the anchors around which we will hang off our scene. Their sounds have become dynamic, more focused, and concise. The crowds now know all their lyrics, and sing and dance accordingly, and the teenagers come and are so respectful. It’s a pure treat to watch this all unfold, and The Pump is beaming with pride, because it’s not just the bands who have been developing, but the team there too.”
Don’t save me a seat, I’ll be crowd-surfing, and hope to see you there! Tickets are just eight quid, HERE. And I’d also like to thank The Pump for continuing to showcase upcoming talent, for more info on forthcoming gigs at the Pump, check here. But, if it’s one incredible thing to see a Springsteen gig, it’s a whole other ballpark to see a Springsteen gig in New Jersey, and wager, least hope for a similar effect in the Lavingtons!
Wayward youths are in the minority, and historically always have been. Sweeping generalisations, tarnishing groups according to age is counterproductive, probably making matters worse. We want to focus on the positives, highlight those youths out there doing good, for really, stuff the clickbait bad press, they’re in the majority, and here is the proof. If you know of more examples we’d like to hear from you.
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Over three years since my most memorable “Spider-Milk-Man” run in aid of Carmela’s Stand Up to Muscular Dystrophy, it’s always nice to catch up with Carmela Chillery-Watson and her family. If I expressed then how much of an inspiration to us all Carmela is, agelessly, it was never said in a patronising manner simply because she was just six years old at the time, because she’s growing up, and surely proving my point…...
This week has seen Carmela in hospital for an operation, for a monitoring device to be implanted near her heart, and still, she comes up smiles! We all wish you the very best here at Devizine, Carmela, and of course, a very happy Christmas too, but the news Carmela plans to start helping one of our local care homes in the new year is outstanding.
Mum, Lucy explained, “on one of Carmela’s sad days a few weeks back, we discovered she was really keen to help put smiles on the elderly who can’t get outside to do sports and fun activities.”
“Carmela said she gets sad because her body won’t allow her to do lots of things she was once able to and she said her weak body is like the elderly. But having me in her life helps her to do lots of other fun stuff. So that’s why she felt she could help the elderly like I do for her.”
Carmela will be coaching bean bag boccia and fun hand sensory activities once a month after Christmas, and visited the home last week where she got to have a brief chat with one of the residents who was 99 years old. See what I mean now? She really is an inspiration to us all.
Well done, Carmela, and I just know you’re going to win their hearts!
Last August a team of fundraisers, led by Carmela’s mum, Lucy, cycled 66 miles through Wiltshire villages for Muscular Dystrophy UK, and plan to do it again in 2023. You can register your interest HERE, or you can donate to the Courageous Carmela fundraising HERE, or the Cure for Carmela HERE.
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Opera Is Back! – The Elixir Of Love! – Go See This Show!
by Andy Fawthrop
We’ve said it before, and we feel no shame in saying it again, but we are incredibly lucky to have so many talented musical and dramatic companies on our doorstep. White Horse Opera (WHO) is but one of these, a company packed with plenty of both talent and enthusiasm. They’d previewed this week’s offering with a few early excerpts at their Spring Concert way back in March in Devizes Town Hall, which I also attended, but tonight’s dress rehearsal was a chance to see how the full operetta had panned out.…
And I have to say that it is a total and delightful success! Regular readers will know that I’m no expert on opera, but it’s one of the musical forms that I do happen to love. This particular 19th-century two-act comic opera production is a very accessible and easy-to-love piece, with some absolutely gorgeous music.
The plot, as is fairly usual in any comic opera, is somewhat ludicrous and unbelievable. Briefly – Nemorino, a poor peasant, is hopelessly in love with the beautiful Adina, a rich landowner. Aware of his adoration, she torments him with her indifference and allows herself to be courted by the recently-arrived Captain Belcore. Nemorino resorts to buying what he thinks is a love potion (in this case a cheap bottle of Bordeaux) from the shameless Dr. Dulcamara, but will it work to enable him to win her love? That’s the set-up in the first act.
Will everything be resolved in the second act?…..well, you’ll have to come and see the production to find out! Suffice to say that there are lots of twists and turns, deceptions, misunderstandings, a secret inheritance and plenty of improbabilities before everything is finally sorted out.
The opera, which essentially is about the triumph of sincerity over trickery and duplicity marks Matt Dauncey’s directorial debut, and he’s made a fine job of it. He’s introduced some nice visual comedy into the production, but without obscuring the essential comedy of Donizetti’s plot. It also features three big duets between the exciting lead tenor (Robert Felstead making his debut opera performance with WHO) and lead soprano (beautifully sung by the ever-reliable Lisa House). There are other star turns too from Jon Paget as the dashing Captain Belcore and Stephen Grimshaw as the duplicitous Doctor Dulcamara.
For regular opera lovers, this show is an absolute must, and for those wondering about whether to dip their toes into the shallow waters of opera, this would be a cracking one to start with. It’s very accessible – it’s sung in English and there are programme notes to guide you through the plot – but, more importantly it’s really well done. To say that WHO is an amateur opera company is to somewhat undersell itself – what they deliver is an extremely polished and professional performance. The opera itself is a delight, featuring lots of great songs and choruses, and it delivers a great night’s entertainment.
In summary the main reason you should go and see it is that it’s bloody good!
Tickets are still available for performances tonight (Wednesday), and for Friday and Saturday.
Future WHO events:
Sat 12th Nov 2022 Gilbert & Sullivan’s Ruddigore 7.30pm Hilperton Village Hall
Fri 25th Nov 2022 Top Of The Ops 7.30pm Holt United Reformed Church
Wed 14th Dec Christmas Concert 7.30pm St. Johns Church, Devizes
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Another sign that things are slowly getting back to normal was the re-emergence on Friday night of the rarely-seen, but very talented, White Horse Opera with their first post-Covid presentation of the dodgily-titled show “Top Of The Ops” in the splendid surroundings of Devizes Town Hall. I think the title was meant to be a play on words involving the word “opera”, but never mind.
The two-hour-plus show featured excerpts from two comic operas – Donizetti’s “L’Elisir D’Amore” (the Elixir of Love) and Gilbert & Sullivan’s “Ruddigore”, together with several other pieces. The purpose in selecting these two particular operas was to highlight the fact that the company are planning to perform them both in full in 2022 – the Donizetti next October, and the G&S as a bookable touring production for local venues from Spring onwards.
But on Friday night (also reprised on Saturday night), the emphasis was on presenting a rich selection of items, and to get singing once more in front of a paying audience. We kicked off with guest tenor Carlos Alonso leading the charge into the Donizetti, with strong support from in-house principals Lisa House and Stephen Grimshaw. And before we reached the interval we had highlights from Mozart, Saint-Saens, Bizet, Gounod, and Borodin amongst others. Paula Boyagis and Barbara Gompels were the stand-out performers here.
The Town Hall is a splendid venue for this sort of music, with its high ceiling, great acoustics, and plush formal decoration. The only minor problem is the chandelier-based lighting, which makes it difficult to dim the lights in the audience whilst leaving the action on stage well-illuminated. But this is a tiny quibble when compared to the overall glory of the historic surroundings.
On to the second half, which took more of a sideways step in its selection of items. A particular highlight for me was Lewis Cowen’s rendition of Tom Lehrer’s “Masochism Tango”, which I discovered I was still nearly word-perfect on, but that’s just my particular perversion. We also had pieces from Flanders & Swann, Kismet, West Side Story, and Little Shop of Horrors. But the key pieces were from Gilbert & Sullivan’s fantastical comic opera “Ruddigore”, a particular favourite of mine. This featured some nice solos from Chrissie Higgs and Jess Phillips, but with strong and fulsome support from the whole company. Pianist Tony James, the sole musician, was impeccable in providing bright and upbeat accompaniment.
So by the end of the evening we were all au fait (and very well-acquainted!) with such musical technical terms as glissando (sliding from one note to another) and colatura (elaborate ornamentation). I’m no expert, and couldn’t carry a tune if you gave me a large bucket, but I know what I like when I hear it, and I definitely liked all of tonight’s performance. Not only did it sound good, but it was obvious that the performers were enjoying themselves, and the packed audience certainly appreciated it. Great night out & amazingly good value for a tenner!
Future WHO events:
18th December Fauré ‘s Requiem/ Christmas Concert7.30pm St John’s Church Devizes
Sat 8th Jan 2022 Top of the Ops 7.30pm West Lavington Village Hall
Spring 2022 Ruddigore 7.30pm Venues TBA
26th, 28th & 29th Oct 2022 L’elisir d’amore 7.30pm Lavington School
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It’s not often that you’ll get me schlepping down to a Community Hall in the middle of nowhere (well, OK, Lavington) on a Saturday night for a dose of Light Opera, but…well…it seemed like a good warm-up for the BBC Last Night of the Proms which was due to be broadcast later that night – and so it proved to be.
Devizes Musical Theatre (DMT), in their wisdom, had chosen this slightly out-of-the-way place to perform “A Gallery of Rogues” as their 2021 production (their first since 2019 following Lockdown for most of last year). And thus, breezing my way past the various posters for WI and other local events, I found myself in this rather modern and well equipped hall.
The evening was in two parts – the first being a performance of Gilbert and Sullivan’s “Trial By Jury”, a one act comic opera, and the second being the company performing a number of well known songs from many different musical shows.
“Trial by Jury” is a comic opera in one act, with music by Arthur Sullivan and libretto by W. S. Gilbert. It was first produced in 1875, at London’s Royalty Theatre, where it initially ran for 131 performances and was considered a hit. The story concerns a “breach of promise of marriage” lawsuit in which the judge and the legal system are the objects of light-hearted satire. As with most G&S operas, the plot of “Trial by Jury” is ludicrous, but the characters behave as if the events were perfectly reasonable. This narrative technique blunts some of the pointed barbs aimed at hypocrisy, especially of those in authority, and the sometimes base motives of supposedly respectable people and institutions. The success of “Trial by Jury” launched the famous series of 13 collaborative works between Gilbert and Sullivan that came to be known as the Savoy Operas.
In this production, using mostly modern dress, no scenery, and virtually no props, the guys and gals from DMT had nowhere to hide. Using only a simple piano accompaniment, it was down to the strength and quality of the voices only. And, after a slightly nervous start, they pretty well nailed it, with each singer growing in confidence as the play progressed. The call-and-response choruses, so beloved of G&S fans, were used to great effect and the whole production swung along with very few flaws. Of particular note were Naomi Ibbetson as The Plaintiff, and Tom Hazell as The Defendant. The supporting roles, especially the three bridesmaids, were also strongly played to great effect.
The second half consisted of a series of songs from various musicals including “Cats”, “Oliver” and “The Wizard of Oz”, culminating in a full-cast version of the Lockdown classic “Somewhere Over The Rainbow”. Not a dry eye in the house.
For me, it was a good evening of entertainment, and well worth the trip out to Lavington. And I’d say the rest of the audience agreed, as the applause was hard and long. However, I’m still mystified as to why a concert that clearly took a lot of time and effort to be produced was only to be given this single performance, and why at such an out-of-town venue. Surely more people would have gone to see DMT in action if this had used a more Devizes-central location?
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A Gallery of Rogues, huh? Can’t be, they look okay to me; it’s always the quiet one. I’m just pleased to hear the Devizes Musical Theatre is back and coming to a Market Lavington Community Hall near you!
Presenting a complete performance of “Trial by Jury,” W.S Gilbert and Arthur Sullivan together witha collection of other ditties, performed by members of the cast, and directed by Laura Deacon and Susan Braunton.
On the 21st October 1965, Devizes Musical Theatre (formerly named ‘Devizes Light Operatic Society’) was born. A society committed to the arts, with an emphasis on fun, team work and a love for all things musical. Since, ‘DMT’ has grown into the talented, passionate and friendly society that it is today.
The society performs two full-scale productions each year with a number of concerts and showcases alongside these. In two sections; youth (‘DMT Footlights’) or adult, aged 8 or 80 they have something for you! On stage, behind the scenes or front of house alike, they are always keen to welcome new people.
Rehearsals began in a back garden and they’re now ready to bring you a large slice of G&S, followed by a pot pourri of songs. A light-hearted evening’s entertainment for all the family, on 11th September. Doors at 7:30pm, £7 payable on the door. Or email chairman@devizesmusicaltheatre.co.uk to reserve your tickets.
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First thing I’ve got to do this week is to congratulate Carmela Chillery-Watson, our seven-year-old local heroine, for being chosen by WellChild, the national charity for sick children as their inspirational child in her age category. The celebration finale came last week, with a ceremony in which Harry Duke of Sussex presented her the award, amidst a star-studded audience.
I couldn’t agree more with WellChild’s excellent choice, being personally inspired by Carmela. It’s been a little less than two years ago when Carmela’s mum Lucy sent a fundraising poster for me to share on Devizine, and after talking to her about her daughter’s rare form of muscular dystrophy I thought, you know what, I could do more than this to help. And yes, it ended in a warm August morning, delivering milk, as is my “real” job, dressed in my Spiderman onesie!
Lucy had suggested Carmela prefers Wonder Woman as a superhero, but the practicalities, not forgoing the visual impact of me in blue star-studded hot pants might be pushing it too far! So, Carmela joined me for a short stint, to deliver the bottles, dressed as Wonder Woman, and we raised approximately £1,500 for some specialist equipment to make her life somewhat easier.
The apt association with Wonder Woman stuck for Carmela, who’s various fundraising efforts caught the attention of Wonder Woman actress Gal Gadot last year, and she kindly donated over £3,000. Inspired by the superhero, Carmela took on 300km in 30 days dressed as her hero, but it really did take it out of her with. There were days spent in pain and suffering with vertigo sickness, due to her spine curvatures and strain on her weak muscles.
A similar gauntlet is laid this year, the aim being a united 1,500 miles, the total it takes from Wiltshire to where they filmed Wonder Woman in Southern Italy. Commencing on the 1st September, the family hope to do it with the help of teams, raising money towards the medical research, in hope of giving effected children hope of a future or even just a treatment to slow the progression down. More information here.
And progress on a cure, or at least slowing the process down has recently had a breakthrough. INews Science & Environment Correspondent, Tom Bawden reported; “a cure for muscular dystrophy is on the horizon after gene editing experiments in mice completely eradicated the disease. Although far more research is needed to test the technique in humans the researchers are hopeful the process could one day be used in the NHS,” just last week.
Therefore, it’s been long overdue to catch up with the Chillery-Watson family, to congratulate them for the award, find out if the breakthrough treatment applies to Carmela’s rare strain of the disease, but mostly, to get the gossip on the celebrities she’s been meeting, making her something of a celeb now herself!
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“I don’t think I ever met a celebrity until Carmela came along,” Lucy replied to my verbal probing about the renowned faces I see her pictured with. I suggested pictures posted on Carmela’s Facebook Page with Harry, she seemed to have her husband Darren pushed aside while displaying a flirty-face in his presence! “I’ve always got a flirty-face on!” she laughed, “we’ve met Harry once before, and he really is a great guy to chat to. He’s been patron of this sick child’s charity since 2007. He’s very passionate about it, I think because he gets it from his mum. Carmela was telling him her rude jokes!” she giggled.
I pointed out that Carmela has got so used to being in the spotlight. “She’s so blasé about it!” Lucy said, “it’s my fault because we wanted to get awareness out there, and it’s helped her confidence. She has gone through stages of low self-esteem, particularly now as she comes to terms with what her limitations are. So doing things like this makes her feel a little bit important. It boosts her self-esteem.”
Amanda Holden was one of Carmela’s chosen celebs to have turned up. “What a great chick she is,” Lucy responded, “so, so, one of us; she doesn’t mince her words, and made us feel at ease.” One I do know, Rolling Stone’s Ronnie Wood was there, she told me, but another was one my age made me ask my daughter for her identity, revealed to be pop star Anne-Marie, who sang live at the ceremony. Lucy praised her voice, but moved onto Ed Sheeran, claiming he was shy.
“Throughout lockdown,” we moved onto, “she did loads because she had to. With muscular dystrophy you can’t sit down all the time, because you get joint contractions, you get tight muscles and it’s irreversible, you have to keep that balance, and that’s very difficult.”
The gene therapy advances I wanted to mention. “The one we’re hopeful with is LCMD Research Foundation.” A family in the USA with the same condition to Carmela, but more severe. “They found some researchers in Spain willing to take on the gene therapy project specific for Carmela’s type, if they raise two million,” Lucy explained, stating they’ve already raised half in just six months. Lucy was unsure what strain the INews Science & Environment Correspondent reported on was specifically for, “but is also promising news.”
Somewhere in the conversation I doubted she would even remember me, the mere mortal milkman, now she’s rubbing shoulders with all these icons and celebs. But in the perfect finale to our chinwag, Carmela broke her bedtime procedure to disrupt the sombre and mature themes we were discussing, and bounded in to say hello. I confess, this part melted my heart, it’s been so long through lockdown since I’ve seen her, and was delighted to note, she knew me and remembered our shared work-shift almost two years ago.
Cheekily, I asked Carmela if she had a favourite celeb she met, and she confirmed they were Anne-Marie and Amanda Holden; mine too! Amanda in particular, I pointed out, being I had to inquire to who Anne-Marie was, truth be told. Intent on keeping me on my pegging, Carmela asked me, “have you heard Anne-Marie’s voice….” of which I was intending to reply a yes; now I have, when she added, “but, in real life?!” To which I can only confess she had this one over on me!
“Well,” Carmela added, “you could always come to the WellChild as our guest.” Lucy laughed; she’s invited a number of guests already. Well, every celeb needs their entourage.
But I did finish on my surprise she recalled me, being she’d met all these “important people, when all I’ve been doing is putting milk bottles down.” Carmela replied, while dancing, “it’s very important for you to put the milk bottles down.” And it’s responses like that which makes her such a special person, and her zest for life is truly inspiring for all ages; the very motive, I might plug, for me to channel efforts into this compilation album for Julia’s House, who I might add, provide support to Carmela with regular home visits.
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I don’t know where the ingenious pub name The Chocolate Poodle came from, or why it had to sadly close, but it always sounds like it should be the name of an East End pub to me, so, for fun, here’s a preview today written in cockney rhyming slang, (although there will be no jellied eels) with translation in brackets so not to ganderflank the yokels!
Allwhite me ol China (mate)? Thee know those gorgeous lads with their gourmet Lilian Gish n jockey whips (fish n chips) slice (van) The Fiesty Fish, right? Well, usually they’re up at the ol’ Chocolate Poodle bath (pub) in West Lavington on a poet’s day (friday) evening, right?
Well ave a Butcher’s (look) at this;
This Saturday, June 19th, they’ll be driving a few yards up the Jack n Jill (hill), at a’ Becketts vineyard where you can try their fantastic sparkling Calvin (wine) while you get your laughing gear around yer tucker in the picturesque surroundings!
Pre-order from their website and join them from 11am-2.30pm. That sounds sugar (nice), innit?! Roll out the barrel.
Best way to locate these travelling fish n chips virtuosoes is to like their Facebook page.
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 … Continue reading “Rooks; New Single From M3G”
A huge congratulations to Carmela and the Chillery-Watson family of Lavington, who knew nothing about the Points of Light awards until Carmela was rewarded with one this week. “We are absolutely bowled over with pure happiness at this surprise award,” mum Lucy said.
First established in the USA by President George Bush in 1990, UK Points of Light was developed in partnership with the US programme and launched at Downing Street in 2014. Since then, hundreds have been named Points of Light by the Prime Minister, highlighting an enormous array of innovative and inspirational volunteering across the length and breadth of Britain.
Points of Light are outstanding individual volunteers; people making a change in their community, and after her 300km challenge last year, we couldn’t think of anyone more suitable and deserving than our lovable Carmela.
Diagnosed at the age of three with L-CMD, a progressive muscle-wasting disease which weakens every muscle over time, Carmela is now six and has come a colossal way in raising awareness and funds for Muscular Dystrophy, and continues to be an inspiration to us all.
“Thank you, Boris,” Carmela said, “this is awesome news, I can’t believe it, it’s so amazing. Thank you so much.” Although the prime minister is just another celebrity notched on Carmela’s campaign trail, meeting with the likes of Beverly Knight, Frank Bruno, Jimmy Carr, and even Harry Duke of Sussex. Oh, and not forgetting last September when Wonder Woman actress, Gal Gadot, donated over £3K to Carmela’s fund. Face it, between Boris and Gal, I know which one I’d rather meet!
It’s a wonder, excuse the pun, if Carmela remembers the morning when she helped me on my milk round at all. I hope so, as it was a pleasure to meet her, Lucy and dad, Darren, and an occasion, I’ll always hold dear; even if I was a little tired and smelly!
CEO of Muscular Dystrophy UK Catherine Woodhead congratulated Carmela, and added, “everyone at MDUK is thrilled that Carmela’s outstanding fundraising efforts for the charity have been recognised by the Prime Minister. To date, Carmela and her family have raised nearly £50,000 for MDUK.” Which is simply, amazing. Well done Carmela.
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For those who don’t know Carmela, she has a very rare progressive muscle wasting disease which weakens all skeletal muscles, weakens the respiratory system and cardiac issues occur, and receives care from Julia’s House Children’s Hospice twice a week. You may recall the day I did my milk round in my Spiderman onesie August last year, when I was delighted Carmela came to help dressed as Wonder Woman.
Her love for Wonder Woman has become somewhat of a running theme in the fundraising effort, Wonder Woman actress Gal Gadot recently donated over three thousand pounds when Carmela walked her own mini marathon in place of her father Darren, who was intending to run the London Marathon.
Superhero is apt though, to describe Carmela, she is a little fighter, determined with her physical exercise to stay as mobile and strong for as long as possible. More to the point though, I can vouch for her charm, you’ll never meet a more inspirational girl than six-year-old Carmela and everyone immediately warms to her natural magnetism.
The tables have turned for this venture though, as her determination is to put smiles on other’s faces this Christmas. November is a time when Carmela usually raises money for her cure campaign with Muscular Dystrophy UK. But she asked to help children have presents for Christmas, as she saw a TV programme about vulnerable families and wants to help.
So, Carmela will be taking part in a virtual 4-week physical challenge with http://www.superheroseries.co.uk called Winter Wonder Wheels, Race Around The World, and instead of asking for sponsorship she is asking for at least £5 unwrapped gifts for any aged child sent to her home address so they can take them to The Salvation Army, as one trip at the end of her event. Please privately message Carmela on her page for address. Precisely why we love Carmela! If you want to get involved, here is the Facebook event page.
Who watched our Carmela and family on the telebox on Wednesday? Surely the most heart-breaking section of a documentary about life in lockdown and those taking the highest risks or making the worst sacrifices.
As her Dad, Darren said while driving his van around, delivery samples to hospitals, and unable to hug his daughter, the funding for muscular dystrophy research has dried up. But here’s a way you can help from home, and even win yourself a grand. The blind card advert can be found on Carmela’s Facebook page. You can help fill this lottery up. Pick a number from 1-150, pay £10 per number, so can have more than one if you so wish. Pay via PayPal.me/carmelasfund
Once all the numbers are taken the winning number will be revealed and the winner receives £1000, Carmela gets £500 towards a safe garden access area to play. Yep, it is play, Carmela’s family say, but only in a form of. It is, in fact, crucial exercise for her at a time when swimming, and other activities have been restricted. It helps build her muscles, and rather than most of us, being for a healthier life and perhaps some abs for the opposite sex to swoon at, muscle building is essential for someone with a muscle-wasting disease. The lockdown is already taking its tow on Carmela’s health and wellbeing.
So, please, if you can, support this sweepstake and be in with a chance of winning. Thank you. x
It was a sunny afternoon when we arranged a photoshoot for our Spider-milk-man fundraiser last spring, so the playpark outside my house was an ideal location. Carmela played on the climbing frame while I got to know her mum, Lucy. It was sadly evident then how restricted her muscular dystrophy limited her ability to do what so many other children love to do, run and jump and play.
The lovable part to this six-year-old is her optimism and endearing personality, but the inspirational is her zest for life and determination to overcome. For Carmela’s family life is a constant fundraising campaign and together they strive to find new ways to promote it. If Muscular Dystrophy UK, like many other charities is feeling the effects of Covid-19, for the family personally it hasn’t been easy either. In a heart-melting film for Points West last month, we saw Carmela’s Dad Darren unable to see his daughter as he’s a key worker and communicating with sign-language with her through the garden’s patio doors.
Alongside the many fundraisers for ‘Carmela’s Stand Up To Muscular Dystrophy,’ and for MDUK in general, Darren was due to run the London Marathon on the 26th April for MDUK, but this event has now been rescheduled for October. MDUK needs our help now though, for those with a progressive muscle wasting disease, at high-risk from the pandemic and the usual systems for coping vastly restricted.
Save the UK’s Charities General fundraising has been hit very hard by COVID-19. Thousands of fundraising events have been cancelled and many charities, particularly smaller ones, are struggling to maintain services because of this huge reduction of income. This impacts all sectors of society from children to the elderly as well as the vital work in areas such as palliative care, serious diseases, mental health, housing support, food supplies and countless others that charities support.
Step in our six-year-old heroine, to replace the 26.2 miles of a Marathon, Carmela is going to attempt to do 26 laps of her therapy assault course LIVE via her Facebook page on 26th April at 2pm. Carmela would normally only do two to three laps. “This is going to be a very tough challenge,” Carmela’s mum Lucy explains, “we may have to take out certain high equipment during the challenge as she is not meant to over exert her exercises as damaging her muscles is permanent and won’t repair.”
Who thinks I’d make a good job replicating Clare Torry’s orgasmic vocal improvisation on Pink Floyd’s Great Gig in the Sky?! Don’t all jump at once; Purple Fish’s bassist Roger Marsh suggested tight trousers may help, I reckon a vice or at least some mole-grips would be more appropriate!
It can’t be an easy section to reproduce live, of an album that can’t be easy to reproduce live, yet local rock covers band Purple Fish have already done it, five times. Originally to celebrate Dark Side of the Moon’s 40th anniversary, they bring their tribute of this stunning and timeless album to the Market Lavington Community Hall on Saturday December 28th. Face it, the Quality Street tin will be filled with just empty wrappers by then, and you’d have had it with cold turkey sandwiches.
On another night, Purple Fish cover rock classics, a seamless five-piece, female-fronted function band, who cite Pink Floyd, Rush, Dream Theater, Doobie Brothers, and Heart as some of their influences. They also have a couple of side projects, namely this Pink Floyd tribute and amusingly titled Mick Jogger & The Stones Experience. Tricky Sunday quiz time, I’ll leave it up you to decide who that’s a tribute to!
Roger, who’s been Purple Fish’s bassist for the past four and a half years, informed me guest musicians and singers are pulled in to enhance the show, which includes all the sound effects from the album, plus a background projection which, although might not be possible for this gig, completes the effect usually. There may well be other Pink Floyd songs added in too, for your money’s worth!
The Great Gig in the Sky vocal then, is okay, no need to recruit me after all. Roger explained it’s performed by a trio of girls who were originally pupils of lead singer Adrienne’s, when she taught at their school. Tickets are £15, in aid of Alzheimer’s Support. Best of luck to them all with this project, one of my all-time favourite albums, and I’m sure you’ll agree no easy feat to replicate live…. already said that bit, didn’t I?!
For want of a feel-good story this stormy weekend, what a marvellous opportunity for the kids at MACS Theatre School, as a group performed a musical melody Halloween show on the main stage at Disneyland Paris this week. “Each and every one of them were absolutely fantastic, and a pleasure to take on the trip,” the Devizes theatre school announced.
A proud moment for the school, and a memory that’ll last a lifetime for the group. Twelve-year old Evie, who performed, said, “I had the best time with MACs last night, attending has given me the confidence I never knew I had.” Many other parents and children have expressed their delight at the chance. It’s an achievement proving what we’ve said before, “Mac’s Theatre School is refining local drama and putting Devizes on the map!”
With a high quality of standards, Mac’s aim is to “create and produce theatre that excites, entertains but more importantly inspires. Giving young people a chance to shine, to challenge themselves and exceed expectations,” and I think this news goes to show just that, if you’ll pardon the pun!
“We’re so incredibly proud of them,” said Emily Dodd, assistant director and Mini Mac coordinator, “the show was a huge success!” Held in anticipation since the wonderful “Our House” performance, I asked if she could give us a hint as to what might be next for MACs, or if it’s top secret?!
“We’re taking a break from big shows this year so we can spend time with our own little mini Mac! However, we will continue with our full membership groups, which run on a Wednesday and our mini Mac’s sessions on a Monday.” Membership fee is just £15 for weekly workshops. Weekly workshops run as Mini Macs (aged 5-10), First Stages Group (aged 11-13) or the Centre Stage group (aged 14-16.) Places are available, contact: macs_theatre@yahoo.com for more information.
As for me, I’d risk a roller-coaster ride, but I’m not singing and dancing; no one needs to see that, even Mickey Mouse! I’m just wishing all those involved my very best wishes for the future. Well done to all!
Carmen is an opera in four acts by the French composer Georges Bizet, based on an original story by Prosper Merimee, first performed in 1875. It is written in the genre of opéra comique, with musical numbers separated by dialogue, and it shocked its early audiences with its breaking of social conventions. Nowadays it is one of the most popular, and frequently-performed, operas in the classical canon. And, of course, it features two very famous arias – the Habanera, and the Toreador Song.
It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery gypsy Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen’s love to the glamorous torero Escamillo, after which José kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage, broke new ground in French opera and were highly controversial at the time.
So – what have White Horse Opera done with this absolute classic of an opera? First up they’ve kept it simple. There are just four backdrops to represent the four locations of the four acts, the costumes are modern and unfussy, and there are very few props. This allows the music, the singing and the acting to speak for itself. It’s also sung in English to keep it very accessible. Even the orchestra is a stripped-back unit of only seven musicians + conductor.
Stand-out performances came from all the leads – there are no weak links here – Paula Boyagis as Carmen, Phillip Borge as Don Jose, Jon Paget as Escamillo, Barbara Gompels as Micaela, Brian Brooks as Zuniga and Graham Billing as Morales. But the cast has strength in depth, with some fine support work from Jess Phillips, Bryony Cox, Lisa House, Stephen Grimshaw and Robin Lane. The only wooden thing on the stage (making a key contribution to Act 2) was one of the benches from The Vaults!
I enjoyed the production a lot. It had pace, passion and a great freshness. Why wouldn’t you? – the story involves love, smuggling, jealousy, seduction, and death! Definitely worth the trip out to Lavington School.
White Horse Opera will be performing Bizet’s Carmen at Lavington School Wed 30th Oct, Fri 1st & Sat 2nd Nov at 7.30pm.
The secret of Carmen’s success is its excitingly exotic setting in and around magical Seville, its devastatingly passionate story charting the downfall of two people pole-axed by love, and the ravishing music whose impact is both immediate and lasting.
Paula Boyagis plays the fiery, seductive gypsy Carmen, Don José is being played by Phillip Borge who is flying in specially from Gibraltar! Barbara Gompels plays Micaela, his childhood sweetheart. The dashing bullfighter Escamillo will be played by Jon Paget.
Fully staged sung in English with an excellent professional orchestra.
Do you like opera? What about “light” opera? With rather a lot of comedy thrown in? Good – because you’re really going to love this!
Last night I was privileged to attend the full dress rehearsal for “The Mikado” by the splendid White Horse Opera company. I was expecting something perhaps still a little rough round the edges, maybe the odd fluffed line, the occasional note or cue to be missed, but there was really none of that. The company had been rehearsing for months, had chosen their principals carefully, and were absolutely up for it.
Yet again – another gem in the entertainment crown of Devizes – we are so lucky to have these people doing this stuff!
This particular bit of nonsense, a “comic opera” in two acts, with music by Arthur Sullivan and words by W.S. Gilbert, their ninth of fourteen operatic collaboration, opened in March 1885, in London, where it ran at the Savoy Theatre for 672 performances, the second-longest run for any work of musical theatre, and one of the longest runs of any theatre piece up to that time. Since then it’s been translated into numerous languages, and is one of the most frequently played musical theatre pieces in history. The setting is Japan, an exotic locale far away from Britain, which allowed Gilbert to satirise British politics and institutions more freely by disguising them as Japanese. And the company has done an excellent job of the now-traditional exercise in updating the lyrics of some songs to reflect politics Britain in 2019. Particularly pointed was Ko-Ko’s (The Lord High Executioner’s) song about who he’d like to execute (“I’ve got a little list, and they’ll none of them be missed”).
It’s always difficult, and sometimes a little invidious, to pick out individual performances but I think it’s worth mentioning particularly Graham Billing, who delivered a hilariously nervous and dithering Ko-Ko, Charles Leeming as a wonderfully pompous and self-important Pooh-Bar (Lord High Everything Else), Lisa House as Yum-Yum, and the resilient Ian Diddams, playing The Mikado splendidly as a power-crazed modern dictator. But there were strong performances all round, from every member of the cast. It was so obvious that they were thoroughly enjoying what they do, delivering a top-notch production.
I’m not going to give the plot away, nor would I even attempt to summarise the complicated ins and outs leading to the hilarious denouement – suffice to say that the story is stuffed with disguises, mistaken identities, the fickleness of emotions, and the usual human drivers of fear and greed. The main characters ham it up splendidly, and deliver the songs with confidence and panache, squeezing every last drop of comedy out of the script.
Given that it’s performed in modern dress, sung in English, and is a laugh-a-minute, it’s completely accessible and enjoyable. So, even if you thought that you didn’t like “opera”, I can assure you that you are going to love this. Thoroughly entertaining stuff!
It’s going to be performed on Saturday 15th June at St Mary’s church at 7.30pm. Tickets are an absolute bargain at only a tenner, and are available via Ticketsource or the company’s website at https://whitehorseopera.co.uk/
Future productions by WHO include:
• Wednesday 30th Oct to Saturday 2nd November @ Lavington School – Bizet’s “Carmen”
• Tuesday 17th December – venue TBA – Christmas Concert
• Friday 20th March 2020 – venue TBA – Spring Concert
And if you’re interested in getting involved yourself, whether singing, playing or behind the scenes, just head over to their website. You can also support them by becoming a “Friend” of the company for £20 p.a. Remember – they are an amateur company, supported by volunteer efforts and by voluntary contributions from their supporters.
What’s all this about then, another invitation to “like” a Facebook page? I was glad to catch up with Claire Gilchrist yesterday, as she announced a new venture with other former People Like Us originator, Mark Povey…….
The fresh electro-acoustic duo dubbed, De Novo, promises to “create something frickin’ stratospheric!”
Bassist Mark left People Like Us after a sell-out New Year’s Eve gig at the Three Crowns, Devizes back in 2017, while Claire left towards the end of last year. Let’s not dwell on details, I wanted to press Claire for what we can expect from this silver lining, for does she see it as thus? “Quite,” Claire agreed, and informed me, “De Novo is Latin for New Beginning.”
But is De Novo something dreamed up on a whim, this Sunday afternoon in a beer garden? “No. Mark and I have been toying with the idea of a duo for a while now,” Claire explained, “but I was far from ready to sing again after last year.” The split from People Like Us left Claire disheartened, so we are pleased to hear she’s found her feet again, and that wonderfully punctual and expressive voice too, obviously.
But, what kind of music can we expect?
“We will be producing our own take on chart and album songs, old and new,” she explained.
How far do you plan to go back? I inquired, requesting them to give us some eighties!
“Foo’s,” Claire namedropped, “Beach Boys, Adele, Guns & Roses, The Police…” Then Erasure, The Human League, and Simple Minds were also cited.
A broad pop mix, “choosing your favourites?!” I asked.
“The One and Only!” came a knee-jerk reaction, I hope in jest! “Yes, but also songs that people won’t necessarily recognise.” The blurb on De Novo expresses: Anyone who knows either of us already will not be surprised to read that our duo will not be that of the ‘every day’ kind.
Original People Like Us line-up, Andy, Nicky, Claire and Mark
Claire agreed with my belief, that it’s fascinating to cover songs, when putting your own stamp on them. But what about originals, has the duo their own compositions up their sleeves?
“Yes, Mark and I are songwriters.”
“Together?”
“Yes.” Claire was keen to open up to a little of her history, “I had a record deal with an independent label when I was in my early twenties. My song-writing partner and I had songs that were put forward to artists in Nashville, at the time.” Yet she sings and plays by ear, “I always need an ‘actual’ musician to realise stuff properly.”
Mark and Claire are at “the very beginning of our musical journey together,” and we wish all the best for this promising duo, but are they ready?
“Not quite yet, we’re honing our act. We don’t want to go out and perform without being 100% happy and ready,” she explained, “but we’re hoping to pop up over the summer to give people a free taster and be gig-ready by September. Like flash-mob, out of the blue, street kinda stuff.”
“Buskers,” I jest, though Claire professed the importance of busking, informing me her idol KT Tunstall started as a busker. So, track their progress by giving the De Novo Facebook page your “like,” and we look forward to hearing from them soon.
The White Horse Opera’s Magic Flute, Reviewed by Andy Fawthrop
No – not a night with the Marx Brothers or a Queen concert, but an actual night at the opera! And in Devizes too – well it was Lavington School actually (no passport required) – to see the wonderful White Horse Opera’s 2018 production of Mozart’s most-loved opera The Magic Flute.
This two-act opera is a classic tale of good and evil, of love and loss, serpents, fairies, magical queens, spirits, sorcerers, castles, magic flutes and….well, you get the picture. Just the normal, classic stuff of your average opera.
And this production was bang on. Well sung, well acted and well (musically) played by a dedicated (and very talented) company of amateurs, this was an extremely enjoyable night. By singing in English, using modern dress and a minimalist set, the team made the story accessible and easy to follow for a non-opera buff like myself. Mozart’s music, as ever, is light and lyrical. The libretto is straight-forward, eschewing the usual long miserable and repetitive arias so favoured by some composers, so things move along quite briskly.
Particular shout-outs last night:
• to Matthew Bawden who, playing the lead role of Tamino, had only taken up and rehearsed the role within the last ten days or so when his predecessor had to drop out due to unforeseen circumstances. He sang and acted well, betraying no sign whatsoever of being short of practice;
• to Barbara Gompels, playing the Queen of the Night, (not for the first time in her career) for her pitch-perfect delivery of some of Mozart’s most demanding soprano parts;
• to Chrissie Higgs for not only shuffling around the stage playing a shambling old lady in one of the chorus parts (frighteningly convincing!) but for the fact that she directed the whole production;
But, to be honest, I didn’t spot any weak links at all – either in the cast or in the orchestra. A fine all-round production.
White Horse Opera is based in Devizes and was founded back in 1990. It produces both static and touring versions of many classic operas. It’s supported through sponsorship, fund-raising events and by ‘Friends’ of the Company. It’s all done on a voluntary, amateur basis – which makes it worthy of everyone’s support. It’s yet another jewel in Devizes’ crown.
This production has its last two performances tomorrow (Friday) and on Saturday, for which there are still just a few tickets left. So, if you haven’t already done so, make plans to get yourself out to Lavington and have yourself a great night out! And – reviewer’s tip here – get yourself one of the padded seats!
devizine.com 