Review – Screaming Blue Murder, Underground at the Royal and Derngate, Northampton, 7th June 2025

It’s been two years since we last saw a Screaming Blue Murder in its natural home – Underground at the Derngate – as that blessed RAAC issue meant the theatre had to close and then slowly reopen bit by bit; the Underground being the last to emerge into the post-apocalyptic daylight. Since then, Screaming Blue has been in the Royal (where it worked pretty well), Lola’s Bar (which was small but not bad) and the deathly hallows of Filmhouse Screen 2 which just kills live comedy stone dead. However, last night’s show was the second to be held in the newly refreshed Underground (and they’ve done a good job of that) and with a very full audience! I can officially confirm that Northampton’s Screaming Blue Murder is back back back and it’s great news.

Of course, it wouldn’t be Screaming Blue without the cheeky delivery and shiny head of our genial host, Dan Evans, finding out all about the more prominent audience members. There was the Trade Union official from the GMB, which sadly has few boilermakers amongst its membership anymore, taciturn David from Glasgow, Alex the Ping Pong king who supplies both Bangkok and the Olympics – all aspects of its usage covered – and the party who met through the Simon de Senlis school. What a knight. Great work from Dan, and I trust he had a sound sleep at the Dunstable Travelodge.

First up, and in a change from the advertised programme, was the manic unpredictability of Paul Pirie, someone who’s graced the Screaming Blue stage many times before. In a comparison that’s both complimentary and alarming, he does remind me of the late Robin Williams, not only in appearance, but also in his tendency to go off on weird tangents peppered with sound effects. He also has Williams’ ability to be both ecstatically funny and perilously teetering on the edge of a mental crisis. He didn’t limit himself to the stage either, at one point wandering all around the audience. His material does occasionally veer close to where angels fear to tread, but for the most part it worked well!

Our next act was the excellent Wendy Wason, who delivers recognisable Mum material straight from the heart, with some hilarious domestic observations resulting from having three kids. There were painful memories of home schooling during the pandemic, and reflections on how sobriety wasn’t big in those days; I loved the idea that rosé is a “driving wine”. She also has some excellent material about her rather caring son finding out about periods. Always terrifically entertaining.

Our headliner was Matt Green, who always comes across as someone inherently polite, charming and thoughtful but with a naughty sting to his tail. He regaled us with stories of family life, including the dangers of subscribing to TikTok; but he was particularly good with his assessment of Trump as a toddler, and how brilliantly Keir Starmer played him in that terrifying Oval Office scenario. After the high energy of the two previous acts, Mr Green has a much more measured and conversational approach, but it fits well with his material and appearance, and he ended the evening on a high for everyone.

That was the last Screaming Blue of the Spring season – hopefully now it’s back in the Underground it will go from strength to strength when it returns in the autumn!

Review – Viggo Venn: British Comedian, Royal and Derngate, Northampton, 4th June 2025

Delayed by a few months due to his broken foot – and with all that malarkey scampering around the theatre no wonder he broke it – Viggo Venn finally hits the stage running at the Royal and Derngate with his touring show British Comedian – a beautifully apt title as he’s neither British nor – if truth be told – a comedian. Unlike most of the other Viggistas in the audience, I didn’t see his Britain’s Got Talent appearances, but I have happy memories of being assaulted by him on a couple of Edinburgh Fringe stages over the past ten years and was excited to discover what perilously anarchical fun he had in store for us.

In many respects this was a theatre experience unlike others. First and foremost, the audience all seemed to be in on all the gags throughout the entire show – I felt like I was one of a handful of people who hadn’t read the script. Audience members of all ages constantly called out from the stalls (yes, no, shut up, go away, do it, don’t do it, and of course One More Time, etc). And it wasn’t like panto or stand-up, where there’s always a certain embarrassment at being picked on; here, if Viggo approached you, you leapt up and down and joined in as if you were being saved by Billy Graham. Very amusing indeed – but also fairly peculiar!

Viggo Venn is a master clown; of that there is no question. This is a totally anarchic, high energy performance of outrageous inventiveness and brilliant interaction with the audience. And Mr Venn cuts a truly engaging persona, with a most mischievous and expressive face topped off with hair that looks like he’s pushed his finger in the electric socket. A true Scandinavian, he only uses language when it is absolutely necessary; most of his comedy comes simply from his physical presence. Running around the stage whirling off Hi-Vis jackets to the tune of Daft Punk’s One More Time like there’s no tomorrow, tumbling off into the audience and insisting people at the front catch him next time (his pratfalls are extraordinary); constantly getting poor front row Paul to help him back onto the stage, which didn’t do Paul’s personal dignity any good. There really is no limit to what he might do.

During the course of the show – a little under an hour and a half without a break – Viggo becomes part of a wedding ceremony for two members of the audience, he helps save a drowning audience member on stage, he imitates audience members’ cars and his finale act is to blow up an enormous balloon and then get inside it. Nor is he alone; he is irregularly joined by a Vampire who revels in all things spooky (Steffen Hånes on deliciously stupid form) including becoming the least convincing bat in the history of stage puppetry (don’t look at me, look at the bat), because, well, why not?

For me the most enjoyable sequence was his homage to Eminem’s My Name Is… where members of the crowd speak their name into a microphone and Viggo gives a running commentary on that person’s character and behaviour. Doesn’t sound like much, but it works incredibly well.

If you don’t get this kind of humour, you simply don’t get it – and that’s that. I saw a few stony faced people in the audience, and I get where they’re coming from. The nature of the show means it’s very – and I mean very – repetitive, and my personal view is that I probably admire his act more than I enjoy it. But the vast majority of the audience were ecstatic, and my guess is that, from the length of the queue at the end to buy a Hi-Vis jacket and have him sign it, he’s doing exactly what his fan base want (and hopefully making a fortune from the merch.) There are just a few more dates in this delayed part of his UK tour, but I very much doubt Viggo Venn is going away any time soon!

4-starsFour They’re Jolly Good Fellows!

Review – Royal Philharmonic Orchestra play Tchaikovsky’s Sixth Symphony, Royal and Derngate, Northampton, 31st May 2025

A packed house as always welcomed the Royal Philharmonic Orchestra to one of their regular second homes, Northampton’s Royal and Derngate, on Saturday night for a programme of three much-loved, passionate pieces of classical music. It’s always a delight and a privilege to see them there.

Our conductor for the evening was Antonello Manacorda, the epitome of Italian elegance and authority, but with an affinity for the Germanic. His conducting style is very enthusiastic, bouncing off his shiny patent leather toes to stretch far forward to reach those musicians at the back of the stage, constantly cajoling the whole orchestra to give of their best – and it works wonders.

The evening started with a superb musical amuse bouche – the six minutes of Mozart’s Magic Flute Overture, K.620. It’s a relatively tiny piece of music but it’s crammed with so much energy and vitality, full of wonderful tunes – as well as its famously Masonic symbolism – that really pack a punch. A terrific start.

We then welcomed our soloist for the evening, Johan Dalene, for Mendelssohn’s Violin Concerto in E minor, Op. 64. It should be a crime that someone so young can be so talented, and 24 year old Mr Dalene beamed onto the stage looking truly delighted to be there. The Violin Concerto hits the ground running with its instantly captivating main theme, and Mr Dalene tackled the whole concerto from memory, making something so technically brilliant look so easy. The clarity and purity of his playing is most impressive; even though the piece is often played at a fast and furious pace, he ensures you catch and savour every individual note. And when Mr Dalene plays, the audience sits up and takes notice – he demands our profound silence and attention.

The programme notes tell us he plays the 1725 Duke of Cambridge Stradivarius, an instrument of glorious warmth and tone, which itself has had a fascinating history over the years. The support from the orchestra was outstanding, as you would expect; you could clearly see a true understanding between the soloist and conductor that enhanced the piece even more. That subtly bold moment where the first movement links to the rest of the piece with the plaintive bassoon was performed immaculately! An amazing performance.

After the interval, we returned for Tchaikovsky’s Symphony No 6 in B minor, Op. 74, the Pathétique. Another powerful performance of a curiously structured symphony that features so many gripping melodies and exciting sequences, fooling the audience into thinking it has ended with the vivacious climax to the third movement, only then to wrap up with a very sombre adagio. Martin Riddell led the orchestra through all its passionate playing, with tremendous performances from the brass and percussion in addition to all the other instruments. A riveting night of music, performed expertly and exquisitely; and the Royal Philharmonic will be back with three more concerts over the next year.