"A Virtual Vanya" based on "Uncle Vanya" by Anton Chekhov.

Lace Market "Virtual" Theatre.

I will start off by saying that I am not the biggest fan of Chekhov's plays, and while not looking to being converted, I was looking forward to seeing something different and something that I had not seen before.

Translated and adapted by Cynthia Marsh from Chekhov’s "Uncle Vanya", Cynthia also directed the play.

The relevance to today’s current experience is an interesting point. The constrictions, the remoteness of Russian rural life set in 1895 affected mental health, finances, ambitions and relationships. And this play is all about relationships, which I found the most interesting aspect, maybe because the relationships twisted and turned and affected every one of the characters.

Vanya and his niece Sonya manage the family estate to support Sonya’s father, a professor named Serebryakov, and his younger second wife, Elena in the capital. Vanya’s sole friend Astrov, a doctor, struggling against rural poverty and peasant ill-health.

The professor retires. He and his wife come ‘home’. We find out which characters have feelings for each other and many home truths are revealed throughout.

The family, holed up together, have their emotions stretched, and when the Professor gathers them all together for a family meeting about the future, the fragility of them all come to the surface with an explosive result.

I've never really seen Chekhov as a writer of comic scenes but I found quite a bit of this play to be quite funny. The part where Sonya tests the waters for the Doctor's affections is almost like a schoolgirl , asking for a friend. And then when Elena acts as a go between for Sonya, under the premise of showing interest in the good doctor's maps is a lovely pair of mirthful scenes.

The cast are wonderful and kept my interest throughout.

Chris Sims

- the doctor, Daniel Bryant - a wonderful Vanya,

Anne Mccarroll

- Sonya, Charlotte Thomas - Elena, Dot Barlow - Marina, the family Nanny - who reminded me so much of a young Thora Hird, and David Dunford as the Professor.

Being made for a virtual piece of theatre, the technical presentation was absolutely brilliant and Matt Alcock did an amazing job.

Production Manager was Phillip Hogarth.

Cynthia Marsh directed, translated and adapted the piece, and I think that along with the great cast, this excellent technical team may just have converted me to Chekhov as I really enjoyed this dysfunctional family that Chekhov created.

I will admit that the different backdrops within the Zoom presentation did make it difficult to imagine that all the members were supposed to be in the same room, but there's nothing you can do about that. This also makes continuity a tad difficult as well, again, there is not a lot that can be done about that either.

It's just great that we can get to see live theatre again, and I can only imagine that with this being presented live, it gave Cynthia, as Director, probably just a few more headaches than if it were set on stage in the theatre itself. I can honestly say, the headaches were well worth it, Cynthia.

I have been told that the translation has stripped down a lot of the play and if that is the case, I am all for it, as I grew to really enjoy this production the more the play progressed. So much so that I gave a virtual standing ovation at its' closure.

"A Virtual Vanya" is available to see until Sunday 28 March by visiting the Lace Market website to book your ticket. Any Chekhov sceptics or non fans, please take a look at this as I believe that you, like me, may just be converted. Chekhov fans will not be disappointed!

 "Dream" created by The Royal Shakespeare Company.

Online Presentation.

I saw the online, virtual, live performance of "Dream" this evening, a Valentine present from my wife. Very different and I was treated to being part of the immersive audience and became a "firefly" for the evening.

The setting is in a virtual Midsummer forest as we follow Puck within his/her dream to rebuild the forest before dawn breaks. Puck is also aided by Cobweb, Mustardseed, Peaseblossom and Moth through the virtual storm.

Cleverly envisaged with the most modern technology and performed by dancers, aerialists and actors to create the magic, with a hidden group of technical wizards. Think Avatar meets Shakespeare and that is the kind of feel you get here.

"Dream" uses real-time motion-capture technology to take you into the magical world of a midsummer forest – online but entirely live, with performers reacting and interacting with the online audience and a rousing soundtrack

Created by the Royal Shakespeare Company in collaboration with Marshmallow Laser Feast (MLF), Philharmonia Orchestra and Manchester International Festival (MIF), it’s the culmination of a major project exploring how the audiences of tomorrow will experience live performance. And can I say, if this was performed on stage, as we saw it online, it will blow any theatre goer away.

It may not be to everyone's liking, the traditional, staunch Shakespeare fan may not be a fan of this production, but I've seen so many different takes on "A Midsummer Night's Dream", this, although being very different to what I had expected, was different in a good way. It moves theatre to another level of technical ability.

Online theatre may not replace soaking up the atmosphere of being physically in a theatre, but it's keeping the blood flowing through the veins of theatre and feeding theatre hungry fans' need for theatre.

"Dream" runs from Friday 12 to Saturday 20 March. Tickets are strictly limited – book yours now through dream.online. Tickets are free or you can choose to pay £10 to interact as a firefly. Money to a good cause I am sure you will agree.

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 "Punk Grandpa" by Laura Scruggs

Under the Headstocks read through.

The second transatlantic read through performed by Under The Headstocks, and this time we are introduced to the play "Punk Grandpa" written by a new writer to me, Laura Scruggs from Chicago.

The play is all about the wonderful relationship between 5 and 3/4 year old Laura Force and her Grandpa Bob.

In this story "punk" does not mean that Bob is covered in safety pins, in fact the only safety pins mentioned are the ones that Bob uses to keep his socks together in the wash. What a brilliant idea!

No! "punk" in this sense means that Grandpa Bob is fearless, fun, fiery and flirty. Loved by the kids in the neighbourhood as well as the ladies in the bank who he calls his "girlfriends", unbeknown to Granma Carol, or so he tells Laura.

We are introduced to family members and friends but this story is all about the lifelong friendship between Laura and her punk Grandpa.

From one weekend spent at Grandpa Bob's and Grandma Carol's, we flash forward in time to Laura's wedding and beyond when we discover that Bob has passed on due to Alzheimer's Disease, but he is never forgotten.

His love of jazz music, dancing and the film "The Wizard Of Oz" is passed on to his "Li'l Punk" Laura and she keeps his magical sense of humour alive throughout.

All through the reading I was visualising this play on stage and the music, especially in one later scene when, in what would be a dream sequence I imagine on stage where she gets to dance with her Grandpa again after he has passed.

I loved the inappropriateness of Grandpa as he describes his pride of his son who has his own business in the city as a pimp and his daughter works for him as well.

The writing is so good that it does not take much imagination to picture this on stage, or in your mind either. Writing is an art and Laura is a wonderful artist, painting pictures in your head.

Beautifully read by Sammi (Laura) and Kian Staley(Grandpa) and the supporting cast of Malcolm (narrator), and the ensemble of Sandi Edwards-Walsh, Toni, Amy,

Jack Liversidge

and

Vic Wilkinson

.

Musical accompaniment was also provided by Laura Scruggs as well as making an appearance as a fairy!

Thank you to

Alan Dawson

, Artistic Director of Under The Headstocks for putting this together on Zoom and inviting me along to experience the magic.

Punkforgettable in every way.

 “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!