“Black & White Cookie” by

Gary Morgenstein

Under The Headstocks Zoom Read Through.

For those who do not know, a black and white cookie is a chocolate and vanilla Jewish confectionary, massive in New York City for over a century. President Obama declared black and white cookies to be an edible symbol of racial harmony. That in itself gives you an idea of what this superbly written short play is all about.

Covid 19 has meant that we look at a lot of things in a different way and theatre is one of those things that, albeit paused in a physical sense, still manages to be performed in a clinical and safe way online. It provides directors with either a headache or a challenge to be relished.

On Friday evening I was lucky enough to join a Zoom read through of “Black & White Cookie” with members of Under The Headstocks drama group based in Mansfield as well as the play’s critically acclaimed writer,

Gary Morgenstein

, author of The Dark Depths series and obvious baseball fan, zoomed in from New York. Also on the transatlantic Zoom call were actors

Russell Jordan

, in Brooklyn and

Jacqueline

Youm, zooming from Washington DC.

The play is set in Manhattan in Spring 2021 and sees a newspaper and snacks street seller, Harold Wilson (Jordan) on the eve of closing up the street stall and regular patron, Albie Sands, read by Mansfield actor

Vic Wilkinson

.

Sands had no idea that his local stop off point was about to close and he is very much against this idea, and protests vigorously over this decision. The first thing that you start to notice is the relationship that these two men have, but a later lifestyle discovery brings the two men closer, mutually benefitting both.

There are three main characters in “Black & White Cookie”, and the third being Wilson’s niece, Carol Wilson, read by Jackie Youm. Carol is protective of her uncle and sees the sudden introduction into their circle, and home, with great scepticism.

With Wilson, an Afro-Caribbean, being offered a substantial amount of money for his stand, and Sands being Jewish, she thinks that Sands is after her Uncle’s money, an idea that is far away from what this friendship between Sands and Wilson is really about.

Friendship is the key to this story and just being nice and lending a helping hand to your fellow man, irrespective of their creed, colour or which baseball team they support.

There was a Glen Campbell song that comes to mind called “Try A Little Kindness” with lyrics that go “You’ve got to try a little kindness and you’ll overlook the blindness of the narrow minded people on the narrow minded streets”, and that is core to this story.

There are several other threads woven into the story line such as Covid fears and superstitions and the obvious racist stereotypes, which are broken down, even with one of the minor characters, Pham, who works in the council offices and we meet when Albie and Harold make an appointment to discuss the future rental of the spot where Harold has his newspaper pitch, and the actions arising from this seemingly unsuccessful meeting.

Several other characters are on the interim of the play like the sports announcer, the narrator (read by

Sandy Edwards-Walsh

), Pham, the council official (read by Amy) and Mitchell (read by

Jack Liversidge

) complete the play’s jigsaw. And I say jigsaw as some characters may not seem to be that important, but if that part were missing, the picture would not be complete.

The three main actors, Russell, Jackie and Vic really brought the script to life, and while sitting reading a script does not provide the physicality of the character, their facial recognition delivered the emotions of all three home.

There are many things we can learn from a script such as this. You can overcome differences by the things that we have in common and by everyone coming together we can fight against hate and any “ism”.

I really hope that we get to see this play on the stage some time in the future. It would be a "shame, shame, shame" if that did not materialise because there are many funny moments, provided by the well observed script and the delivery of said script by all actors involved. The characters are well written with strong personalities.

We see, and I hate to use this phrase, the “journey” the three main characters go on, and especially the thawing of Carol as she gets to see the real Albie Sands, as well as the friendship and understanding developed by Harold and Albie.

I also like the way that Mr Morgenstein does not have to explain every little thing that happens and credits his audience with the knowledge to work things out for themselves. One particular moment comes when Albie is trying to work the TV remote control and can’t. Albie’s back story explains why this is such a task for him and once this has been registered, many scenarios surrounding Albie fall into place.

It is also admirable that Gary, Russell and Jackie gave their time to join Mansfield’s Under The Headstocks cast and Director,

Alan Dawson

, for the reading. This shows the unifying love for theatre world-wide and the eagerness to get actors back on stage, however big the stage, right where they belong.

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 "The Show Must Go Online" by Darley Dance.

Darley Dance had to raise £10,000 to get this online show online, and I 'm sure that, once you've seen this presentation, it was worth every single penny.

The quality of the camerawork and the sound is one of the most professional quality I've seen and heard. It's like watching a professional show.

The make up and costumes are excellent and the locations have been sought out to enhance the music and choreography for each piece.

From the opening piece, a wartime remembrance medley performed on stage at Derby Theatre, to some beautiful ballet at Shottle Hall. From Derby County Cricket Club to a night time view over the City location and within Derby Cathedral; these locations are perfect.

Reminding us of the Covid times we're living in at the moment, as well as the hard times that local theatre and performing arts are going through, Steve Jordan reads the poem "Don't Quit" by John Greenleaf Whittier, giving us hope and urging everyone to keep calm and carry on and not to quit. A sobering piece.

The Christmas Show takes us back to the uplifting and empowering music of the war years with the opening medley before swiftly moving on to a 1950's section of "A Teenager In Love" and a wonderfully sharp jive to Jackie Wilson's "Reet Petite".

Next to the serene setting of Derby Cathedral for one of my favourite Christmas songs "O Holy Night", made all the more humbling by the surroundings. I must mention that the lighting for this section is also really beautifully done and the camera work matches the lighting.

There is a brilliant lock down version of "The 12 Days Of Christmas" medley, completely socially distanced of course, and a tap version of Dermot Kennedy's "Power Over Me".

"The Show Must Go On" performed at Shottle Hall is sung with passion and Megan Smith's ballet makes this piece just like a music video.

I love the comic inserts in this show, like the North Pole Newbies speech and a new socially distanced re write of Cinderella made me chuckle.

There's even a touch of comedy, as well as video magic, in the Christmas classic "Let It Snow"

Santa Claus recites "Twas The Night Before Christmas" just before some more wonderful ballet set at various locations in Derbyshire to the stripped back version of "Somewhere Only We Know".

The Christmas vibe is then ramped up for some seasonal salutations, which also gives you the chance to sing along to "Jingle Bells" complete with lyrics on screen.

Directed and Choreographed by

Abbi Burns

, Musical Director is Georgia Harris, assisted by

Sarah Towle

and the excellent sound by

Harry Greatorex

. The online production is by Bob Rushton of Bob On Arts, and to borrow a Northern saying, this whole show is "bob on".

Entertaining us in such fine form are

Abbi Burns

, Rob Harris, Georgia Harris, Chelsea Boyes,

Sarah Towle

, Jade Lee,

Megan Smith

, and Ellie Tatham.

Filmed by Goldbox Productions, the scenes inside and out were of the highest quality, making each section look like a music promotional video.

This show is available to see online by visiting Darley Dance website or Facebook for more information and by making a donation to their Crowd Funder and is available until Thursday 31 December 2020. Any donation of any size will get you the link to the show.

Great entertainment for a night in on New Year's Eve or anytime before. And if that's not proof enough of what a brilliant show this is, just ask Gareth Evans of Smooth FM!

 "A Virtual Christmas Concert"

Nottingham Arts Theatre Youth Group.

It has been almost a year to the day that I was last at the Nottingham Arts Theatre to see the Youth Group, and how I miss sitting in the Arts Theatre for a show.

This is a virtual production so you get to see the performers up close and personal so to speak. What doesn't change is the talent you discover from this showcase of songs, dance and readings.

You even get an interval to pop off and make yourself a quick drink!

This is jam packed with the first part showcasing musical theatre songs and readings from the stage with the second half bringing the Christmas cheer.

"Don't Stop Believing" started us off in a lively vein with a group performance and it was lovely to see that some of these children unable to keep still, even online.

Let's have a look at the stars of this online extravaganza.

Lucy Heatham-Lee, Phoebe Mossop, Eloise Reese, Chloe Chapman, Freya Bird, Jonah Williams, Charles Beckett, Rosie Morgan, Florence Eventi, Lucia Lockley, Jack Symington, George Young, Sarah Nicholls, Isobel Farr, Charlotte Fisher, Olivia Grace-Tiley, Zach Silcock, Leah Wrigglesworth, Megan Holder, Caitlin Young, Esme Smith-Cockayne, Sky Douglas, Hattie Campion, Kate Russell and Myla all gave everything, especially in some of the group performances.

I was really impressed with Chloe's rendition of "Burn" from the musical "Hamilton", and while the subject matter of the song may have been not quite right for a younger person to sing, I thought Chloe delivered the song with real emotion.

George Young performed one of my all time favourite pieces from "Jekyll & Hyde" with "This Is The Moment", showing he has the potential to be a wonderful musical theatre performer in the future.

Jonah Williams' version of the classic "White Christmas" shows a crooner in the making.

There were some nice choices for the readings as well including Lucia Lockley's reading of "All The World's A Stage" and Iris, Cleo and Rebecca's "Twas The Night Before Christmas" and the comedy piece called "I Want To Be Joseph" from Zach Silcock. Jack Symington's "Making A Difference" gives a hint at a budding classical actor in the making.

A couple of ballet pieces to vocal performances by Isobel and Charlotte and Hattie and Kate were so relaxing to hear and see.

I also loved the group pieces and especially "I'm A Believer" where the one boy dancer in this group really matched the girls with his moves.

A mention must go to

Stephen Greatorex

for the video editing. He made sure that, even though these pieces were filmed separately, they were all slotted together perfectly.

With less than a week to go before the big day, this show really satisfied my musical theatre yearnings as well as got me in the mood for the run up to Christmas.

Thanks also to

Jessica Royce

the Youth Group and Production co-ordinator for getting this all together, along with

Mike Pearson

and creating a Christmas Cracker of a show.

Let's hope next year we'll be able to see this Youth Group live on stage and not on Zoom!

 "Accelerate" by Bill Hayes.

Nottingham New Theatre Online Season.

This is the final film in the NNT Online Season and so very different to the others in the season.

Mason and Sadie are two friends who are about to travel to Birmingham for what I imagine is some kind of rave, if the music is indicative of their destination.

We travel, like a fly on the wall, with them from their digs to the train station and to the rave, where they split up after an argument, fuelled on Mason's part by something a little stronger, and exciting than Ibuprofen. This means that we follow only Sadie back home, leaving to our imagination what happened to her friend Mason.

The visuals are colourful but for me bear not a lot of resemblance to the story, apart from the animation of the train, but really interesting to watch.

It is the script, which is naturally comical and flows naturally as well, and the stereo splitting of the soundtrack, effects and script that is really enhanced by the use of headphones. If you can imagine a Pink Floyd album aurally, with scenes from "Trainspotting" - but only in your mind, then this is the effect this film could have on you, well maybe not but that is what came to my mind.

The banter - or is that "bants" - between Mason and Sadie creates the comedy, and you just know that this pair really have a strong relationship, because there are parts of the film script that you just know Sadie must have a strong friendship bond to put up with some of the comments, and rantings from Mason.

The cast are Mason - Jake Levy, Sadie - Daisy Miles and Piig - Pete Rouse with multi roles being played by Rachel Coussins and Demi Idowu.

There's a large crew behind this production.....

Director - Jack Titley

Producer - Caitie Pardoe

Assistant Director - Helena Hunt

Assistant Producer - Jesse Rough

Shadow Producer - Erin Verlaque

Writer & Creative Assistant - Bill Hayes

Script Editors - Rosie Thackeray & Callum James

Visual Editor - Max Nichols

Sound Editor & Designer - Cae Capurro

Assistant Editor - Skylar Turnbull Hurd

Caption Writer - Tara Anegada

Publicity Manager - Ace Edwards

There's also thanks to be given to Dualvoidanima for their artistic contributions to this film and also to Brad Wilson for his musical contributions.

A very different but very interesting film to close the season, which I can honestly say I have really enjoyed, highlighting the incredible talent within Nottingham New Theatre.

Here's to 2021.

 "What Could Be Worse Than Jumping?" by

Olly O'regan

Nottingham New Theatre Online.

This is the penultimate piece of work in the NNT's online season and possibly, for me, one of the hardest to watch, although one of the most fascinating to listen to.

A combination of characters inspired by Fyodor Dostoevsky’s 'Demons' and David Foster Wallace’s 'Infinite Jest', the three characters discuss depression and addiction.

Katherine Gompert (Ace Edwards) relates what depression and addiction is to her and what she feels will rid her body of the depression. Katherine is a modern take of the male character, of whom I will come to shortly. She is open with her body language and has a very relaxed aura, as is her language. Her outlook has a more simplistic way of getting rid of her inner ills, offering up sedation and ECT as a remedy to what she feels.

Nikolai Stavrogin (

Charlie Catmur

) comes across as the opposite. His body language is closed and forever seems to be troubled, his hands clenched and wrung with a nervous and often frightened look. He is less animated than Katherine.

The Doctor / Tikhon

Danial Ahmer

flips between the two and while he deals with both forms of script - the Doctor's being easier flowing while Tikhon the Monk's is not written with a natural flow, so if you are used to Shakespeare or Dickens rhythms of script, you will find this of a similar pace. And the differences also make this piece of work such an interesting one.

The characters flip-flop and both offer points of discussion concerning depression and what may be the remedy.

The piece is beautifully filmed in black and white, which adds to the bleakness and the original music complements the cinematography and overall feel.

My only negative, and it's only a little one, is that the sound at times needs enhancing so we can hear the beauty of the script.

Written and directed by Olly O Regan who also co-directs with

Beth White

. Beth also produced the piece.

Barney Hartwill

,

Ellie Harding

and

Jesse Rough

were the Video Editors.

Caption-Writer is Cecillia Alexander, Creative Assistant is Holly West and Publicity Assistant is Abie Whitehead.

What Could Be Worse Than Jumping? can be viewed online from 7.30 tonight via the Nottingham New Theatre site