Tag Archives: Northampton

Review – The Beauty of Tchaikovsky, Royal Philharmonic Orchestra at the Royal and Derngate, Northampton, 22nd September 2019

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Fantastic as always to welcome the Royal Philharmonic Orchestra back to the Derngate Auditorium for this first of this season’s concerts, with The Beauty of Tchaikovsky, a (dare I say it) slightly limp title for a full-force evening of music. What next, The Loveliness of Liszt? The Marvellousness of Mozart? Come on, RPO Marketing department, make the titles a bit snappier!

Not that the title put anyone off attending this concert because empty seats were few and far between for this programme of four exciting and occasionally challenging Tchaikovsky pieces. Our conductor for the evening was Gianluca Marciano, whom we haven’t seen before, and who is attached to a number of orchestras in exotic and mysterious places like Belarus and Lebanon. Who knew he would be attracted to the glamour of Northampton? Mr Marciano is a smart, theatrical, bouncy chap in a shiny tail suit who really feels the rhythm surging through his bendy knees, as he reaches on tippytoes to get the attention of the furthest-away musicians. They respond very well to him too, as the RPO were on terrific form throughout the evening.

Our first piece was the Polonaise from Eugene Onegin, Op.24, an instantly recognisable, stately extravaganza with all strings ablaze, and a perfect way to start the show. Then it was time for our soloist, soprano Gemma Summerfield, who sang the Letter Scene from the same opera. Ms Summerfield looked fantastic in her stunning blue evening dress and – cliché time – has the voice of an angel. Her elocution is crystal clear (even if you don’t understand the Russian) and she sings with a full, rich warmth, oozing expression and attitude. This was her debut with the RPO but it’s a match made in heaven, so I hope they have a long and happy career together!

Next Mr Marciano took the orchestra through the Romeo and Juliet Fantasy Overture. My first thoughts were if this is an overture, how long is the entire ballet? But I was mistaken. There is no ballet, or opera, for which this is its overture. It is a stand-alone work, a kind of sonata that musically represents the entire Romeo and Juliet story. Although it’s one of Tchaikovsky’s best-known works, I hadn’t heard it before and I found it quite chewy in parts – not the performance, but the piece itself. It’s very in-your-face, highly expressive and the tragedy of the story really comes across in the toughness of the music, which the RPO conveyed superbly well.

After the interval we returned for a performance of the Fifth Symphony in E Minor, Op.64, a masterful sequence of tunes and moods which really brings the strength out of the strings and provides a very haunting horn solo. But the whole orchestra gave it all incredible commitment, and the robustness of the piece and the performance was a wonderful way to end the evening. Look forward to enjoying some more of the concerts throughout the season!

Review – Daliso Chaponda, Blah Blah Blacklist, Royal and Derngate, 20th September 2019

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One of the great finds over the past few years has been the brilliant Malawian comedian Daliso Chaponda. Although he’s been working away and building up his career over many years, he first came to my attention headlining a Screaming Blue Murder night a couple of years ago where he absolutely ripped the place apart. Then last year he brought his first ever touring show, What the African Said, back to the Royal and Derngate. Since then, he was a wow on Britain’s Got Talent, and now he’s touring with the show he took to Edinburgh this year, Blah Blah Blacklist.

From the moment he walks on stage, you take Mr Chaponda to your heart. He’s so immensely likeable, in a cheeky, naughty way, with a wealth of slanted observations that you immediately recognise. He’s so approachable, in fact, that audience members feel totally at ease asking him questions or commenting (positively) on his material during the show, sharing their own experiences back at him; and it never throws him. Actually, he instead weaves the audience’s observations into his own patter, to the extent that he even does call backs on the audience’s contribution! There’s obviously a very quick brain at work here.

Blah Blah Blacklist is a game of two halves; in the first, he reflects on all those heroes of our shared past who no longer cut the heroic mustard, from Jimmy Savile and Rolf Harris down. In the second, he creates some terrific stories relating to the political experiences of his own father, George Chaponda, who was Minister for Agriculture in the Malawian government. But there’s a whole heap of other comical asides and funny garden paths up which Mr C leads us. I particularly liked his account of the difficulties he faces with the current girlfriend and her wayward son. It all feels effortless; I’m sure it isn’t.

Mr Chaponda is one of those incredibly bright sparks who shines happiness whenever you see him. He doesn’t shy away from a challenge; nor does he ever make you feel uncomfortable. In fact, one of the most appealing aspects to his work is a feeling of respect for his audience. The show is very much a shared experience – and one I can definitely recommend sharing! His tour continues through till March next year and you can get tickets at his website. Spoil yourself!

Review – The Beatles: Hornsey Road with Mark Lewisohn, Royal and Derngate, Northampton, 18th September 2019

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If any fact could be designed to make you feel really old, consider this: on 26th September 2019 it will be fifty years since The Beatles released the Abbey Road album. Fifty years! And here’s me thinking it’s still relatively new. And to celebrate, The Beatles: Hornsey Road with Mark Lewisohn seemed like the perfect event. And so did many other people, if last night’s packed rows on all three levels of the Royal Theatre have anything to go by.

 

Historian, researcher and all-round Beatles aficionado Mark Lewisohn has put together this fascinating insight into Abbey Road (the album, not the zebra crossing, although that features heavily), relating it to the personalities of the individual Fab Four, their lives and wives, their writing output, their inspirations and the machinations that went into creating this landmark work. No stone is unturned in delving deeply into the creative process, which also includes a unique opportunity to hear the songs from the album as you’ve never heard them before – split into the various (eight) parts that were mixed on the studio’s state-of-the-art technical hardware, as well as highlighting the contributions of George Harrison’s all-important Moog Synthesizer.

 

A major delight of this show – which you could consider to be a multimedia lecture – is the constant supply of quirky facts, irresistible photos, and background information; and if I tell you about them, it will spoil a heap of surprises for you. So I won’t. Suffice to say, amongst the entertaining and informative content, you’ll discover that the Daily Mail hasn’t changed its spots, how much George Martin was paid to orchestrate up some of the tracks, to what extent they enjoyed recording Maxwell’s Silver Hammer, what happened to John and Yoko in Scotland, learn the true identities of Mr Mustard and Polythene Pam, why the last note of Her Majesty is missing, the tantalising recently released news about why the group went Cold Turkey on the next album, and how Abbey Road was nearly called Hornsey Road.

 

Mr Lewisohn delivers his extraordinary material with respect, authority and humility, leaving all the fireworks to John, Paul, George and Ringo. If you ever feel that you’ve wasted your life, it’s incredible to think how much they achieved at such a young age; take a second to think that by the time the group split, George, the youngest, was still only 26. The pressure to succeed, the overwhelming adoration, followed by, in the latter days, the media’s desire to knock them down (à la Tall Poppy syndrome) must have been unimaginable for four young men, and it’s no wonder that they occasionally fell foul of the law and got themselves into trouble.

 

You might think that this show is only for Beatles geeks. Not true. Such geeks (of whom I’m possibly one), will get a whole lot of satisfying information which will send them home with a full brain and a contented heart. But, provided you like the Beatles to at least some extent – and that’s surely 99.9% of the population? – you’ll be impressed by the research, the passion, the history and the human insights into what Mr Lewisohn considers (and I agree with him) the finest creative team of the 20th century.

 

This was the first night of the tour, and between now and 4th December Mr Lewisohn will be sharing his discoveries in 23 more venues all over the country – and in Dublin. A memorable and highly rewarding show. You must go!

Review – Two Trains Running, Royal and Derngate, Northampton, 5th September 2019

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August Wilson’s 1990 play starts the new Made in Northampton season at the Royal and Derngate and is (I believe) its UK premiere. Set in Memphis Lee’s café in Pittsburgh in 1969, the urban environment all around is being demolished to make way for a regeneration programme, destroying the lives of its largely black inhabitants. The local authority want to seize and knock down the café too, but Lee isn’t going to accept less than $25,000 – having paid $5,500 for it originally.

This slice-of-life play contains a variety of themes and plots, weaving in and out of each other, over a few days. Lee worries about his failing business; his one and only chef/waitress, Risa, self-harms by cutting her legs in order (she says) to put off unwanted attention from men; wide boy Wolf uses the café phone as his personal office, taking illegal gambling bets; mentally unstable Hambone can’t get over being cheated over payment for a job; young chancer Sterling steals his way out of financial problems; and old guard Holloway dispenses his wisdom and undertaker West works hard, getting on with their lives as best they can.  Overriding all these is the all-pervasive atmosphere that black lives are inferior to white lives, with the growing Black Power movement and the destruction of black homes and businesses with the urban regeneration.

It’s a curious play. At three hours, it feels too long. All the points that the play makes could be made and still shave at least half-an-hour off. Dramatically, there aren’t many plot progression points. However, the characters are strangely spellbinding, and the play, despite its faults, oddly compelling. Admittedly, not a lot happens on a day to day basis; but isn’t that true of life? Take the title – Two Trains Running – it’s part of a throwaway speech by one of the characters, elevated to its titular significance although it’s just a phrase from everyday life. The play reminded me a little of Eugene O’Neill – a big helping of The Iceman Cometh with a tad of Desire Under the Elms and a sprinkling of All God’s Chillun Got Wings. Everyone has their own concerns, some of which they’re prepared to share, others they’d prefer to keep private. Most of the plot threads are tied up at the end – maybe too neatly. I’m still uncertain as to whether Lee’s good news at the end was genuine or pretence. But maybe that’s a strength in itself.

Frankie Bradshaw has done a fantastic job in recreating the café in the midst of a building site. The furniture, the bar, the phone, the windows all exude an air of 1960s disappointment. The jukebox is perfect for the era, although I remain unconvinced by the more modern-looking coffee jug. Amy Mae’s lighting design is also superb, creating eerie, dreamlike effects juxtaposed with the harsh neon lights of real life. And Nancy Medina’s direction respects the text and allows the characters to develop without ever imposing an external slant.

There are some stunning central performances. I found Andrew French mesmerising as Memphis Lee, bringing out all the character’s hopes and dreams, strengths and weaknesses, truths and self-delusions. Michael Salami is also superb as Sterling, the kind of waster who nevertheless has a charisma that you find hard not to like, flipping easily from childish enthusiasm to incensed fury. And with a deceptively challenging role, Anita-Joy Uwajeh impresses with her constant reactions and attention to the events in the café – portraying that difficult balance between keeping the customer satisfied but existing one step aloof from the rest of them. Beautifully done.

Ray Emmet Brown gives an enjoyable performance as the flashy Wolf, full of confidence and brashness, humour and cynicism. Also – great shoes! Derek Ezenagu tackles the problem role of the vulnerable Hambone – who only says a couple of sentences, repeated time and time again – with great commitment and sincerity, creating an uncomfortable, but very realistic watch. And Geoff Aymer brings authority and dignity to the role of West, the undertaker/businessman who’s never short for work and provides the clearest insight into what the world outside the café doors looks like. For me, Leon Herbert didn’t convey Holloway’s self-assurance with what I felt was a faltering, uncertain performance – hopefully he will grow into the role as the run progresses.

After its run at the Royal and Derngate, the production tours to Southampton, Oxford, Doncaster, Ipswich, Guildford and Derby, finishing at the end of October. A four-star production that provides three-star entertainment. Great characters with some great lines supported by a magnificent set; but, in the final analysis, also somewhat rambling and woolly. Like life, really.

Soo Yoga, Sol Centre, Northampton – A New Wellbeing Centre for the Town

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About a year ago, gentle reader, Mrs Chrisparkle and I dipped our tentative toes into the world of yoga, when we had an hour’s session during the Edinburgh Fringe with part time yoga teacher and full-time funny lady Abigoliah Schamaun. We enjoyed it and promised ourselves that we would take it up on our return. Then we went home and forgot all about it.

Then in January this year, I answered a local advert for a ten-week yoga course here in Northampton. The timing and the price were right, and, as a big bonus, the sessions would be led by none other than Strictly Come Dancing alumna Kristina Rihanoff. We took the plunge. It was in a cold little dance studio in a town centre back street. And, although we were absolutely awful at it, we still enjoyed it.

Fast forward to June, and the opening of the new Soo Yoga suite on the first floor of the Sol Centre in Northampton. Kristina, and partner and local rugby hero Ben Cohen, have realised their dream of creating a first-class, swish, state-of-the-art wellbeing centre – and Mrs C and I are completely hooked. First things first; it’s not a gym. If it was, I’m sure I wouldn’t like it. If you know either of us IRL (as the young people of today say) you’ll know that we’re adamantly NOT gym bunnies. When it comes to pumping iron, I have all the skills of King Henry VIII’s marriage guidance counsellor.

So, not a gym but a wellbeing and family fitness centre. As a result, it’s a welcoming place, where you are met with friendly smiles and personal greetings on arrival. This is not the kind of place where someone is going to laugh at your puny abs and condemn you to a hundred press-ups on the spot like at school. I can’t speak for the ladies’ changing room, obviously, but the guys’ room isn’t full of muscly men dripping testosterone, making you feel inadequate in every aspect. We’re much more likely to be saying to each other “God I’m unfit, that was knackering!” – creating a nicely informal self-help group.

The activity spaces are smart, new, clean and bright. The highlight room is the Hot Yoga studio, which is heated to 38° Celsius and with 50% humidity, to recreate the atmosphere in India where yoga originated. We go for a weekly session there on Monday nights, led by Kristina, but they have many other classes all through the week, for all abilities in many different yoga styles. We’ve also taken up the spin classes on Friday lunchtimes, in a terrific cycling room with about fifteen exercise bikes in it. Once you’ve warmed up a little, you pedal your heart out to a cracking, motivational musical soundtrack and expert guidance from the inspirational Megan Hosken. No point hiding it; the first time I tried it, it killed me. The second time – I loved it! We also do a 25-minute exercise session with Megan on Wednesday mornings – Soo Fit HIIT – which is fifteen minutes of interval training followed by ten minutes of resistance training. Listen to me, all technical. What have I become?!

There’s a meditation suite too, where we go for two classes on a Wednesday – Soo Zen and Chakra Yoga – hosted by Chinmayi Dore, who’s incredibly enthusiastic in giving people some “me time” where they can relax, renew and reinvigorate themselves. After my first session, I was so relaxed I could – literally – barely walk. It was an amazing feeling. The other regular class we attend is Kristina Rihanoff’s Strictly Dancing in the dance studio, where you can learn the basic steps of salsa, jive, cha-cha-cha, lindy hop and so on, which actually turns out to be a good exercise workout too. We’re thoroughly useless but it’s enormous fun. The new Anton and Erin we are not.

But there are so many other classes on offer that we haven’t tried yet; Pilates, TRX, Box-fit, Barre… you name it, they got it. I am tempted to try Ben Cohen’s Soo Strong Beginners’ Class because I really ought to convert some fat to muscle… ok, a lot of fat to muscle… and I can’t think of a safer opportunity to get introduced to that kind of activity by a true expert without intimidation. You may have guessed that me and exercise had a very poor relationship when I was young; when I left school at 17 I was only too happy to end that relationship, and it’s taken over 40 years for us to get on good terms again! If you’re like me, then I really recommend Soo Yoga for providing a welcoming, non-judgmental route to regaining fitness.

There are often a variety of offers on; next week, for example, from 6th – 8th September, they are holding a Free Taster Weekend where you can try lots of classes for free to see how you get on with them. There’s really nothing to lose. In any case, you can buy an introductory month’s pass for £39 which gives you unlimited access to all the classes, and if you like it, you can progress to an annual membership; or continue to attend classes on a pay-as-you-go basis. We’ve bought an annual membership as a couple. It’s £1835 for the pair of us, which may seem a little steep at first but think; we attend on average five classes a week – sometimes more – and when you divide that over the year it’s the equivalent of about £3.50 per person per class. That’s a steal. And the more classes you do, the better value it becomes!

I haven’t even mentioned the café, or the crèche, or the physio/massages, or a wealth of other options they can offer. They have a whole range of kids’ classes too, and I think are introducing some junior drama lessons as well. They have a very useful app for your phone, but the website tells you everything you need to know. It’s certainly changed the way Mrs C and I keep fit, because it’s fun, fascinating, and friendly, and you can’t beat that! Give them a try – contact them using the app or the website or just drop in at the Sol Centre. You won’t regret it!

Review – The Last of the Pelican Daughters, Wardrobe Ensemble, Royal and Derngate, Northampton, 25th July 2019

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Last of the Mohicans? No, last of the Pelicans. What’s that? I hear you ask. Pelicans – apparently – were thought to feed their young on their own blood. Who knew? Well, Shakespeare, at least, who had Lear describe his offspring as Pelican Daughters; and it’s true, a couple of those daughters were right cows, if not pelicans.

The Wardrobe Ensemble have been working together since 2010 although I only came across them with their superb Education, Education, Education, which has enjoyed a couple of runs at the Royal and Derngate (at least) as well as a big success at Edinburgh. Now, as a preview to this year’s Edinburgh Fringe run, they’ve devised The Last of the Pelican Daughters, the first performance of which took place last night before a very happy Northampton audience.

Joy, Storm, Sage and Maia, the four Pelican sisters, meet at their late mother’s house. Their mother must have been an absolute brick, because flashback memory scenes of her wise words permeate the minds of her children (and, as a result, the show), and she was clearly one in a million. She always knew the right thing to say, bringing them up to be independent, bold and true to themselves. Well, perhaps not Storm, who ended up being the one who had to look after her whilst she was ill, and now breeds resentment. And perhaps not Luke, the difficult baby brother, who went off to live with his dad following an unspecified break-up, and is now estranged from the rest of them. Although Joy appears to be successful, with plenty of money and a hipster boyfriend, she’s not happy. Whilst Sage is out and proud, she has difficulties holding down a relationship, and her sculptures, which she creates for a living, aren’t much good. That leaves Maia, who bums around the world; unpredictable, carefree but irresponsible. On reflection, perhaps Old Mother Pelican wasn’t a good mother after all.

After every death, there’s the issue of how to share out the estate. Five children? A fifth each? Seems fair. But Storm has other ideas, and there was an audible gasp of horror from the audience when she reveals her solution. Will the family reunion end in laughter or in tears? Will the siblings reconcile their differences? Will Joy’s and Maia’s boyfriends stay with them after the weekend? All this and more will be revealed if you see the show!

First things first; it’s a very funny, beautifully acted, well told story, which brings together several easily recognisable, intergenerational family issues with inventive humour and, at times, tons of emotion. The simple but effective design features a blank stage, but with oppressively pink walls that claustrophobically bear down on the acting space within, but which also keep a few design secrets (that I shan’t tell you about, except to say they work very well). For props, just some chairs, a table and, glory of glories, a 1980s hi-fi. On the back wall, chapter titles are projected throughout the play, which increases the sense of storytelling and a relentless hurtling towards a conclusion. The show starts with a projection of the famous first four lines of Philip Larkin’s This Be The Verse, which, from the amount of laughter it generated from the audience, must have been new to a lot of people.

The characters are very well drawn; I particularly liked Jesse Meadows’ Storm, a fantastic portrayal of someone who feels like they’ve been taken advantage of and is now trying to redress the balance, and Ben Vardy’s thoroughly convincing Dodo, a flakey Californian type who has to “check-in” with you before talking to you, and who gets things off his chest because it’s good for his Zen, no matter how much harm it does others. Kerry Lovell’s Joy turns nicely from the self-assured oldest daughter into a deranged and desperate wannabe mother in a well-judged performance that’s half hilarious, half tragic; and Emily Greenslade gives a cleverly moving and funny performance in the triple roles of Lara, Granny’s carer, and the voice of Granny herself – amusingly and inventively done – and the solicitor.

Although it’s a good performance by Helena Middleton, I did think that they could have made more of her character, Sage, who starts out self-assertively and man-hating, but that thread never really goes anywhere. However, her scene where she takes some time out in her mother’s bedroom was very moving; Mrs Chrisparkle was particularly impressed, and maybe even slightly watery-eyed. James Newton is superbly awkward as the aggressive Luke, Tom England is great as the well-meaning and hearty Derren, and Sara Lessore very convincing as the free spirit Maia.

The story has a cracker of a plot twist at the end; I didn’t see it coming, but it’s absolutely true to life. I can see this being a must-see in Edinburgh this summer – they’re playing at the Pleasance Courtyard (Pleasance Beyond) at 16:40 every day of the Festival except Sunday 17th August. Highly recommended!

P. S. One tiny quibble: I must confess, I’m not entirely sure the play properly reflects the title (or vice versa). It’s a great title, no question. But why The Last of the Pelican Daughters? For one thing, there’s a son too – doesn’t he count? For another, there’s a baby on the way – and if it’s a girl, she’ll be the next PD, so who is The Last? Doesn’t really matter, but it slightly irks a personal desire for structural tidiness.

Review – The Pope, Royal and Derngate, Northampton, 13th June 2019

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When is a precedent not a precedent? When it happened in 1295. No, it’s not a riddle, it’s the crux of Pope Benedict XVI’s predicament when he wanted to abdicate – to resign from the papacy – in 2013 and leave the way for his successor Pope Francis, who had come second in the decision making process to create the new Pope back in 2005.

We all know that person at work who has been promoted way beyond their ability to do the job, but because they were in the right place at the right time, said the right things and had the right smile, they got the gig. That was Josef Ratzinger, when he was elected Pope at the age of 78, when all he really wanted to do was to retire softly into the background, read his books and maybe do a little writing. Lucky too, for Cardinal Bergoglio, runner-up in the process, who also was content with his work with the poor of Buenos Aires.Now he, at the age of 77, has written to the Pope to tender his resignation as Bishop, so that he can spend his twilight days watching football and singing to Abba. But the Pope has not responded to his letters, but has asked him to visit him in the Vatican. The Cardinal assumes it’s to accept his resignation in person, but the Pope has other ideas…

This is a beautifully written play, full of wit and insight, superbly character-driven; a window into the lives of two religious leaders whom we would assume would spend their time in contemplation and duty, rather than catching up on TV soaps and looking forward to the World Cup. The Pope’s agonising self-doubt about his own worth, and his successor’s own murky involvement with his country’s corrupt government are brought starkly into the light by Anthony McCarten’s moving, crisp, heartfelt text; and Jonathan Fensom’s design is formal and uncluttered, reflecting the rich grandeur of the Office but also the self-denial of its Officers.

Anton Lesser is simply magnificent as the old, unhappy Pope; filled with uncertainty, deprived of the lifestyle he would have chosen, his occasionally faltering speech revealing the depth of his problems and his humanity. Germanic to the core, reserved in outlook, the height of his self-indulgence is delighting in a Suppe mit Knödel.He is matched by Nicholas Woodeson as Bergoglio, with his fiery Latin temperament, a tendency towards impatience and impetuosity, a man who would get his hands dirty in practical work as opposed to the Pope’s more cerebral approach. Together they give us an acting masterclass of immaculate timing and expression, the like of which you very rarely see.

Excellent support is given by Lynsey Beauchamp as Sister Brigitta, Benedict’s lone confidante and friend, and Faith Alabi as Sister Sophia, Bergoglio’s assistant at the Convent in Buenos Aires. But it’s the gripping tension between the two Popes that takes your breath away; the power struggle, the influencing, the confessions, the opposing positions and finally the meeting of minds.Probably the best modern play that I’ve ever seen at the Royal Theatre, definitely with two of the best performances of the decade. It would be a Cardinal Sin if this doesn’t have a life hereafter.

Review – Chris McCausland, Speaky Blinder, Underground at the Derngate, 8th June 2019

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We saw Chris McCausland at one of our earliest Screaming Blue Murder shows, back in 2010, and really enjoyed his material and style. It’s been a long time in the waiting, but when I saw he was returning to Northampton with his Speaky Blinder show, that had been a great success last summer in Edinburgh, buying a ticket was a bit of a no-brainer.

But first we had a (too brief) warm-up session with support act Jon Long, who was completely new to us but what a find! A very engaging chap with a warm, inclusive (but never threatening) style, a gentle but deadly delivery, and armed with his guitar to strum a few comedy songs that compliment his spoken material. It wasn’t long before we were all singing about dildos together, that’s how relaxed he got us! Very entertaining material, and a very comfortable and friendly vibe to his act. Will happily see him again.

After the interval, Chris McCausland took to the stage. If you don’t know, he’s been totally blind for many years, and when we saw him several years ago I thought it was fascinating how his disability played a relatively small part in his material. Today that has changed somewhat, and although the gig included plenty of jolly, flippant remarks and jokes about his domestic arrangements with his wife and his daughter, you get a much greater sense that he wants to give us some serious and thought-provoking observations about how his disability affects his daily life.

But that doesn’t mean it’s a sad or downbeat show. Quite the reverse; although he never overlooks an opportunity to increase awareness of the issues relating to blindness, he presents it all through the medium of comedy, and it’s one of those shows where you rarely stop laughing. He’s very open about all aspects of his life, including how he loves his wife almost as much as he loves Mohammed Salah, and his warm and engaging personality totally wraps us up into his world so we’re completely on his side all the way through.

An intelligent, reflective but also very funny hour of comedy. Messrs McCausland and Long are currently touring the country and I’d really recommend you see them!

Review – The Planets: An HD Odyssey, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 7th June 2019

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This is the first time that I’ve seen precisely the same concert twice. Three years ago, the Royal Philharmonic brought their Planets/Odyssey show to the Royal and Derngate and I didn’t realise at the time that it’s obviously constructed as an off-the-peg package. Watching it a second time, not only was the film accompaniment to the performance of the Planets identical, but also the other short classical works in the first half of the concert were exactly the same, played in exactly the same order, and, I think, with exactly the same expression. Even the audience’s reaction was the same, including the embarrassed chuckles at the words “Saturn – the bringer of old age”.

Therefore, gentle reader, there’s not a lot of point my re-writing my comments of three years ago because they still apply, so can I point you towards my review of their performance on 26th June 2016, and please just ignore my bitter post-referendum ramblings at the time (unless you still feel the same way that I do about that subject – that’s up to you).

We did, however, have a different conductor for this performance: Nick Davies, a dapper little chap, resplendent in his shiny black suit, revelling in his work, and generously giving the members of the orchestra all the attention and respect that they deserve. Funny how Mr Davies and John Torode of Masterchef fame are never seen in the same room together…. I think we should be told. We’d enjoyed watching Mr Davies conduct the orchestra here twice before, for two of the regular Last Night of the Derngate Proms concerts. He must be more at ease with the jolly/gala kind of nights than the seriously cerebral classical concerts.

Two extra observations in addition to my three-year-old review; this time round, I enjoyed all the film sequences much more. Yes, they can get a little repetitive, but you have to admire the artistry and the technological knowhow that got those images to that screen; pretty mind-blowing if you think about it. However, the screen itself is, frankly, a nuisance in the first half. Its constantly scrolling through messages with details of the RPO’s social media pages and an advert that you can buy the CD in the interval is unnecessarily distracting from the performance. Mrs Chrisparkle thought they should have somehow lessened its impact. A conversation in the Gents toilet I overheard in the interval was more blunt: “I wish they’d get rid of that ****ing screen!”

I’m sure this concert will continue to tour and turn up every few years in all the usual places. And there’s no reason not to go again, as it’s a very enjoyable treat for both ears and eyes.

Review – Screaming Blue Murder, Underground at the Derngate, Northampton, 31st May 2019

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Time for yet another Screaming Blue Murder – and the screaming comes from the intense heat of the Underground studio, bad enough in winter but positively radioactive in summer! Nevertheless, that didn’t stun our senses as once again we enjoyed three fabulous acts, two magnificent intervals under the genial guidance of our loving MC, Dan Evans.

This week Dan had to endure (I mean enjoy) the company of some marketing ladies from Avon – I don’t think his idea of anus lipstick is going to catch on – a few young likely lads in the front row with their deadpan father, and the Melton Mowbray branch of the Leicestershire Wives Society. From little acorns great oaks of mirth grew. I don’t envy his job but Dan was on top form as always.

Two new acts (and one old favourite) for us this week, the first of which was our opener, Mark Simmons. And what a find he is! A quiet, subtle-laddish style but brimming with confidence and with 100% winning material, none of which I’d heard before. The majority of his humour comes from a mixture of pun and wordplay, and he delivered it with such dry originality that Mrs Chrisparkle and I were in hysterics the whole way through. I loved his mini-stories about premature ejaculation at an orgy, and what happened when he brought two girls home; there’s also his one joke that involves the C word, which works brilliantly because the punchline is so mild in comparison with its lead-up; and his discovery that cats in France have their own social media site. A little surreal, but with great connection to the audience, we thought he was terrific and would love to see him again.

Next up, and also new to us, was Alasdair Beckett-King; if you ever wondered what Simba looked like once he’d grown up, look no more. Resplendent with his flowing locks and curls, Mr B-K gives us an insight into the life of a full-on Ginger, with some very funny – and refreshingly clean – material. Switching up the erudite level a notch or two, he has a sequence where he discusses Blake’s Proverbs of Hell, but don’t be put off, his own selection of Proverbs are fresher than anything 18th century. Smart, witty, intelligent humour and he went down really well with the audience.

Our headline act, and one we have seen many times before, was the endlessly surprising Mary Bourke, whose ability to create new material every time you see her is astounding. She has a wonderfully faux-strict style, like a headmistress who won’t accept any nonsense from you lot but inside has a heart of gold. I loved her take on how you scare people in Crouch End at Hallowe’en, and was delighted to realise she has the same attitude to Peppa Pig as us; indeed, she gives that hideous little hog the same middle name that we do. Unbeatable as always.

And that, sadly, is the end of the Screaming Blue Murders for this season; I think each and every one has been a sell-out which is fantastic news and a testament to just what cracking value and quality it is. Reconvene in September? Really annoyed that I have to miss the first autumn show on 13th September because it’s going to be immense. Book it now whilst tickets are still available!

P. S. I did get a name-check from the stage during the course of the evening, but I’m sure it was meant out of pure affection…. That’s what I’m going to tell myself anyway!