Luna Gale is undeniably an intelligent, thought-provoking and memorable play which is debuting at the Hampstead Theatre this summer after receiving mass acclaim over in the States.
Playwright Rebecca Gilman expertly draws the audience to judge each character almost immediately, but their thoughts are shown to be misconceptions as the play unwinds.
For it starts off with young couple Karlie and Peter sitting in a doctor’s waiting room; he’s fading in and out of consciousness and she’s twitchy, abusive and violent.
Social worker Caroline tells the couple that their baby daughter, Luna Gale will be taken into care while they seek help for their crystal meth addiction.
At that point, we’ve already judged the couple – dirty drug-taking low life’s who have endangered the life of their vulnerable, innocent baby, which has forced the state to intervene.
And we’ve made up our minds about Caroline too – the veteran social worker – who strives to do things by the book.
But as the play unravels, we warm to Karlie and Peter who show their devotion to each other and in cleaning up their acts to get their daughter back.
At first, Karlie’s mum Cindy is portrayed as a good, stable figure and it’s almost inevitable that Luna Gale will be placed with her grandmother in ‘kinship’, despite Karlie’s protest over this (we learn Karlie had a rocky relationship with her mum).
However, Caroline mocks Cindy’s faith in God and the more she hears Cindy speak of the ‘end’, the less inclined she is to let her have Luna.
That is until the straight-talking Caroline asks Karlie if she was abused as a child which is why she acted out as a teenager. She answers ‘no’ and the curtain closes with Caroline asking ‘but what if it did?’.
In an interview about the production, playwright Rebecca Gilman says the play isn’t dark and she doesn’t want it to seem like a miserable night out.
It covers the disturbing subjects of childhood sexual abuse and drug abuse and Gilbert explains she wanted to bring this to the mainstream stage to show that it can and does happen.
But there are comedic and touching moments too – which would be a shame to reveal here – making Luna Gale a fantastic all-rounder. Directed by Michael Attenborough, the cast were flawless, passionate and truly inspiring in their roles.
Luna Gale is showing at Hampstead Theatre until 18 July.
The Avon Guard is Dominic Silvani (vocals and lyrics) and Andy Mitty (music, artwork and photography). Following a close friendship spanning twenty years, this band represents the first time the duo have recorded together.
Dominic was vocalist/lyricist for 90s Midlands band Penelope’s Web who released a single ‘Potboiler’ on Cherry Red Records. Andy was the frontman for Transistor, a Camden based indie glam band.
‘Forget’ is a record that sits somewhere between Nick Cave and Lloyd Cole, it’s an accomplished debut from a band that has taken twenty years to form, but The Avon Guard have certainly proved to be worth the wait.
What struck me most about the All Star Productions cast was how much each actor seemed to enjoy their time on stage, despite the show being set against the backdrop of the ‘Great Depression’.
Face The Music, originally written by Moss Hart with music and lyrics by Irving Berlin, has been resurrected for a twenty-first century audience at the Ye Olde Rose and Crown Theatre in Walthamstow, but it maintains the character, costume and camaraderie of 1930’s America.
The play centres on the ‘make or break’ theatre show to be directed by Hal Reisman, but in an age of austerity, he struggles to find the financial backing to get the show on the road.
Spurred on by love’s young dream, Kit Baker (Joanna Hughes) and Pat Mason (Alessandro Lubrano), the three meet with bent copper Meshbesher and his eccentric wife Myrtle who are only too happy to splash the cash in a bid to avoid having their haul discovered by the government.
In fact the more the play’s a failure – they’re happy to sink 800,000 dollars into the production – the happier the couple are, as it will cover their dodgy money trail.
And so a round of auditions ensues which sees jazz hands, tap dancing and catchy sing-alongs such as ‘On a roof in Manhattan’, ‘My beautiful rhinestone girl’ and ‘If you believe’.
I particularly enjoyed the relationship between plain PC O’Rourke (James Holbrooke) and the sultry streetwalker (Joanne Clifton) as she woos him to avoid being sent to prison and instead is given the opportunity to join the cast.
However, the play is missing one big thing – sex. As they say, ‘sex sells’ and once the ladies start to strip off, the show is a success, even with the most critical of reviewers.
Ultimately, the show’s success is the cause of the Meshbesher’s failure, as they’re dragged to court to answer to the charge, of corruption, extortion and embezzlement.
Leading lady, Joanna Hughes, had a serene yet authoritative presence on the stage and James Holbrooke’s facial expressions capture each emotion portrayed by his character perfectly.
Directed by Brendan Matthews, Face The Music is a fun and enlightening production and a big round of applause should also go to the orchestra tucked away in the corner of the stage area.
Face The Music is on at Ye Olde Rose and Crown Theatre, Walthamstow until 3 July, tickets available from the box office on 020 8520 8674. Ps, you may want to arrive early to sample the pizza from the make shift hut just outside the pub…
A Damsel In Distress Chichester Festival Theatre Until 27 June Box office: 01243 781312 www.cft.org.uk
Gad zukes! What a delightful piece of froth! Perfect for summer, especially given the Festival Theatre’s glorious setting (what could be jollier than a pre-theatre G&T in the park?), the 1930s novel by PG Wodehouse initially adapted as a play, and later as a film for which Gershwin composed songs, enjoys new life as a stage musical by Jeremy Sams and Robert Hudson.
A topping blend of music, song and ripping fun, the story is about as daft as they come. Maud, a headstrong 1920s English rose, is locked in the tower of a stately home and guarded by her dragon of an aunt who is determined to prevent her niece marrying a penniless poet. But it’s an American theatre director who is smitten with the girl. If he can’t sleigh the dragon then he’s set on shoving her out of the way so that he can at least declare his heart. Spamalot meets Downton Abbey. But with more tap dancing.
Marshalling the whole charming caboodle, Rob Ashford directs and choreographs. The score may not be the most memorable in the world, but a cast of ace singers and dancers give it all they’ve got, adding plenty of visual fizz as they belt and hoof with as much infectious enthusiasm as dazzling skill. Clutching mops, rakes, and even oversized quivering jellies, routines are high octane and high camp.
It’s a terrific team effort but Isla Blair as fire-breathing Lady Caroline is a splendid battle-axe. Richard Fleeshman as George and Summer Strallen as the feisty ‘damsel’ of the title are in superb voice, while Nicholas Farrell as the aging lord of the manor who rediscovers his va va vroom when he meets showgirl Billie (a warm and effortlessly sexy Sally Ann Triplett) is gloriously funny. Delighted to have found a siren who not only has a cleavage like the Rhonda Valley but who also shares his passion for pigs and roses, the pair provide some of the production’s most uproarious moments.
Further comedic expertise is demonstrated by Desmond Barrit as butler Keggs, and also David Roberts. Managing to switch roles between Perkins the theatre director and Pierre the highly strung chef, as the latter Roberts inspires yet more laughter. Richard Dempsey meanwhile is adorable as dim toff Reggie.
Designed by Christopher Oram, the set, as Reggie would say, is bally clever. Revolving rose gardens and castle turrets cunningly morph into the stage at the Savoy and the kitchen of a stately home.
Chekov it ain’t. Brilliantly executed blissful nonsense it most definitely is. Don’t be a frightful clot – book tickets today!
This famous mom photographer shares her secrets with Frost Magazine and SmugMug.
Last year, Elena Shumilova took photos of her sons as they played by the Russian countryside. She uploaded the photos online, they started getting shared, and shared again… until they became a viral sensation, with over 60 million views.
These photos hit something magical all across the Internet — a sense of nostalgia for a childhood past. She even started getting letters from people in their nineties, saying the photos moved them to tears.
As parents, we instinctively want to take photos of our kids. We’re trying to preserve this brief slice of time before they grow up. But when we take our kids to professional photo studios, the results can end up looking stilted and unnatural.
We want to remember our kids as they actually are — not with the forced smile a stranger coaxed out of them at the studio, but with the real smiles and giggles they share with us every day.
How can we capture natural photos of our kids, the kind Elena seemingly has a magic touch for?
Elena has mostly been quiet since her photos have gone viral, undistracted by all the media attention. Instead, she focuses on raising her kids and continues to photograph them every day.
Given how quiet Elena has been, we are excited to share a behind-the-scenes look at her in action.
5 Tips to Get Better Photographs of Your Kids
1. How to get your kids to look natural, not “posed.”
So you catch your kids in the perfect moment — they’re outside playing and laughing, the lighting is just right, and you see this perfect picture you want to capture. You rush to get out your camera, but then…
They see the camera. They stiffen up. They start posing. The moment is lost.
What do you do?
When photographing children, the single most important thing is to photograph them often — every day.
You can’t just do it sporadically, or they’ll freeze up as soon as the camera comes out. Consistency is key. That way they’ll be comfortable around the camera.
It’s these everyday scenes that you want to capture — the ones you’ll remember best when they grow up.
To get the most genuine photos, I try to catch them in the moment — when they’re playing with each other and have completely forgotten about the camera.
Here they’re playing “airplanes,” a game we also play together at lunchtime when they’re feeling picky about their food.
2. The types of clothes that work the best.
I follow a pretty simple rule: clothes shouldn’t be distracting. They shouldn’t take attention away from what’s happening in the photo.
For such a simple rule, it’s harder to follow than you might think. Kids’ clothes today are designed to grab your attention—with bright colours, cartoon characters, and writing all over them. In photographs, all this takes attention away from your kids.
When I started pursuing photography seriously, I actually replaced all their outfits. This took quite a while to do, but now I know that anything I pull from their closet won’t interfere with the photo.
3. How to best capture kids of different ages.
Newborns A lot of parents have asked me about this photo — how did you get your one-month-old to look so calm? Infants are notoriously difficult to photograph because they’re often crying or fidgeting.
Here you’ll have an advantage as a parent. I’m his mom. I’m around him 24 hours a day, and I know when he cries and when he doesn’t. Let your parenting instinct help you choose the right moment.
The Golden Age: Ages 2–4 Something I noticed while photographing many children, including my own, is that there seems to be a universal age when kids are the most photogenic.
That seems to happen between ages two and four.
Kids around this age behave very naturally. They don’t care that someone is looking at them, they don’t care what others think, and they don’t care that a camera is pointed at them.
They aren’t yet self- aware. And so, they’re free.
Ages 5 and Older It gets a bit more difficult when they’re older. As early as age five, they start to become more self-conscious when the camera comes out. They start to pose.
The key here is to be very patient. Let them play while you disappear into the background. My best photos always happen at the end of a photo shoot, when my kids have forgotten all about the camera.
4. How to get good photos of your kids with pets.
Just like people, every animal is different. Some pets like to be photographed, and others don’t.
Because every pet is different, there isn’t a magic formula for this. I spend hours observing our farm animals, figuring out how they move and what angles work best for them — just like I would for people.
I’ve also tried bribing pets with food, but it doesn’t work. It’s almost impossible to get a good picture when they’re chewing or licking their paws. So I’ve learned the hard way not to feed our pets during photo shoots.
With animals, you have to rely on a bit of luck — and constant patience.
5. Don’t give up.
This is the most famous photo I’ve taken. It’s been viewed over 10 million times — but I almost didn’t bring my camera that day.
Before I took this photo, my confidence was at a pretty low point. I had tried for a photo of my son and dog 14 other times — not 14 other photos, but 14 full photo shoots, all failures.
I was convinced that my hands were too clumsy, or my dog was not the right dog for it, or my kid was not the right kid for it. I was just feeling desperate that day and didn’t even want to bring my camera.
But something told me to bring it. And on that fifteenth day, it all just came together.
This dog of ours is now famous — but he’s not all that photogenic from most angles. He’s actually a pretty difficult dog to work with. From the previous 14 photo shoots, I’d learned what angles and body compositions work for him and my son.
It‘s easy to get discouraged. It’s easy to think, “Oh, why bother, it won’t work anyway.” And it may not for the first 14 times. Those 14 photo shoots weren’t failures though, because I learned from them. And they’re what made the fifteenth one possible.
Don’t give up.
Rather than creating high-pressure elaborate setups, observe your kids in everyday simple situations. Do it every day. Bring your camera along.
And then — when the right moment comes along — you’ll be ready.
Milton Star follow their hugely successful double A side record ‘Salvation’ and ‘Sorryville’ with the release of their new single ‘Things Fall Apart’. The track is another example of duo Alan Wyllie and Graeme Currie’s unerring ability to create wonderfully atmospheric stories about love, loss and regret framed in beautifully structured melodies and carried by an expansive tremolo wall of sound and a dark soul.
For those familiar with simultaneously released debut, ‘Things Fall Apart’ finds them in similar territory with a tale of the darker side of the human condition, referencing the destructive capacity of depression and all it entails. “I think we all have that capacity to fall foul of our inner demons at times.” says Alan “and the pace of modern life and the inherent shallowness of relationships lived through social media & technology can detach us a little from the real world and the problems many suffer from, itching just below the surface.”
From the first Duane Eddy inspired twang underpinned by wandering strings and rhythmic arpeggio piano we are in cinematic noire territory and the accompanying video speaks volumes, the roll of the dice, the miniature Mariachis, the Mexicano tarot cards, the sinister skull-painted faces, the burlesque dancers – this is a beautifully tragic song rich in imagery.
Alan and Graeme have been collaborating in different guises dating back to the early days of post punk but these days the duo write and record their unique blend of indie and dark country in a converted church where Alan lives in Fife, which, as Alan explains, is pivotal in the writing process. “The things that feed the ideas and make the sound are the environment and acoustics here in the church and the setting of the surrounding countryside. Out in those fields you could be anywhere at any point in time, and that’s where the stories start to form.”
Graeme adds “Although we have a lot of shared musical influences like the Velvet Underground, Bowie and Roxy Music, I veer towards the more experimental side of things like Captain Beefheart whereas Alan likes a lot of early 50s vintage rock and country. Once you factor into that mix the cinematic soundtrack influences like Angelo Badalamenti and Ennio Morricone, that’s when the Milton Star sound comes together.”
Inspired by the stunning decade of live Doctor Who recitals – including the 50th Anniversary BBC Proms in 2013 – the Doctor Who Symphonic Spectacular arrives in the UK for the very first time, celebrating the music of the world’s longest-running television series. A regular event for families in Australia, Doctor Who Symphonic Spectacular makes its début here, now touring across Doctor Who’s homeland, doing so in style and (here in London, at least) to a packed celebrity audience, including the Twelfth Doctor himself – Peter Capaldi.
Vision Nine, working in association with BBC Worldwide have set about to present the very best musical experience that Doctor Who can offer, celebrating the series’ rich musical past. Focusing on the acclaimed work of Murray Gold – who has scored every episode of the series since its revival in 2005 – and with the BBC National Orchestra of Wales and the BBC National Chorus of Wales, lead by Ben Foster, the Doctor Who Symphonic Spectacular delivers on every level with assured confidence and a dazzling sparkle, all at the sweep of a Sonic Baton.
There is a clear and concise technical execution of the show in terms of staging, lighting and sound – written and directed by Paul Bullock – which adds to the slickness of Ben Foster’s elegant rapport with the BBC National Orchestra of Wales and the BBC National Chorus of Wales – a rapport no doubt built up due to Foster long history of working with both groups, orchestrating and conducting Murray Gold’s music since David Tennant’s début episode back in 2005. Not one note, not one beat, not one cue is missed to make this look like an effortlessly smooth event – no easy feat when you find yourself coming under siege from the most terrible things the universe has ever bred.
Because, yes, beware! There are monsters! A Doctor Who concert would not be complete with a large, seemingly numerous collection Doctor’s most dangerous foes sweeping us up into events, threatening to disintegrate, assimilate or exterminate. Even though the fear factor for the audience was high, there were plenty of children in the families to comfort their terrified parents, no doubt assured by the presence of the Doctor himself. Or should that be Doctors? Because Peter Capaldi was not the only Timelord present – events were wittily and charming lead by the ever-charming Peter Davison (who played the Fifth Doctor) who bantered with the performers with great ease, forming a lovely verbal and visual comedic double-act with Ben Foster for the audience between sets, which climaxes with… sorry, sweetie. Spoilers. Also present for fans are the ever-versatile Nick Briggs (Big Finish Maestro, voice of the Daleks, Cybermen, the Judoon, and many more), and regular Doctor Who monster performers Paul Kasey and Jon Davey.
These touches are really the icing on the Doctor Who Symphonic Spectacular cake – the real star is the music and those who perform it. With over ten years worth of material to choose from, this is two hours representing the very best Doctor Who has to offer. It isn’t until you step into the arena with the BBC National Orchestra of Wales and the BBC National Chorus of Wales you can begin to feel the real power of Murray Gold’s scores and Ben Foster’s orchestration – unlike on television, you really can hear and feel the music on an immediate and effecting level. Added by silent (no pun intended) visuals, the emotional essence of each piece is able to immediately effect the packed audiences present. Particularly effective was the beautiful voice of Elin Manahan Thomas, who excelled with her vocal work on the Tenth Doctor’s swansong Vale Decem, and most movingly, Abigail’s Song (from Matt Smith’s first Christmas Special, A Christmas Carol).
Doctor Who Symphonic Spectacular remains true to its roots and remembers that Doctor Who is a family show for children of all ages, and carries that through every second of the performance, and ends with the audience on their feet, applauding to the roof tops and calling for the TARDIS to be used to start the show over again, all as the Doctor Who reaches its crescendo. This half-term, whether you have to beg, borrow or steal a ticket, take a journey with Vision Nine, Murray Gold, Ben Foster, Peter Davison, the BBC National Orchestra of Wales and the BBC National Chorus of Wales to have the ultimate musical adventure in space and time guaranteed to thrill everyone. Stylish, effecting and exciting, this might be the best treat for any Doctor Who fan in your family.
Michael Flatley talks to Vicky Edwards about his farewell tour, dancing in paint and the bliss of brunch
To call a Michael Flatley production a dance show is to undersell it on an epic scale. With more explosive thrills than a bottle of Moet uncorked on a roller coaster, The Lord of the Dance can never stand accused of failing to give value for money.
His latest show, Dangerous Games, is no exception. Complete with a new score by Gerard Fahy, audiences can expect everything from breath-taking special effects and ground-breaking technology to robots, world champion acrobats, unicorns and of course some of the most exceptional dancers on the planet. A dance show? Nah, this is a theatrical extravaganza. With bells on.
“And it’s a family show, too,” says Michael, his soft and melodic Irish-American tones somehow at odds with someone who holds the world record for slamming his foot onto a stage to make the most taps (an incredible 35) in a second.
And for Michael it is the audience’s response that is especially gratifying.
“People of all ages feel uplifted and happy after they have seen it and to transport people and fill them with joy is our whole goal,” says Michael, who began his career with Irish folk band The Chieftains in 1994. Going on to change the face of Irish Dance forever by incorporating upper body movement into his awe-inspiring creation Riverdance, in 1996 he topped the seemingly un-toppable with Lord of the Dance.
But with Lord of the Dance: Dangerous Games marking Michael’s farewell performances (his body simply can’t withstand the intense challenges that his shows demand any longer) is there, I enquire, a sense of loss?
“I am sure I will miss dancing,” he concedes, “but I’ve always been the creator and the choreographer and my dream going forwards is to bring new talent through and give them the chance to shine like the stars they are.”
Having returned to London, to the Dominion Theatre, in March, having sold out at the Palladium last year, Dangerous Games is touring some of the country’s biggest venues, concluding at the Wembley Arena on 4 July before embarking on a world tour. Michael, who is appearing on only a handful of the UK dates, is urging people to come and see the new ‘Lords,’ reassuring fans that they will not be disappointed and that his involvement in the creative aspects of the Lord of the Dance brand remains absolute.
Of his team of dancers, many of whom have been with him since his Riverdance days, Michael is fulsome in his praise. Highlighting the particular talents of James Keegan, Matt Smith, Morgan Comer, and Zoltan Papp “it’s a show I can be proud of,” he says, clearly relishing his role as mentor and teacher.
“It’s incredibly satisfying and rewarding,” he agrees, a note of excitement creeping into the gentle lilt. “It’s wonderful to see dancers fulfilling their potential and reaching for the stars.”
But while his protégés are reaching for the stars someone has to come up with the ideas and choreography. Where does Michael draw inspiration from?
“I think if you really want to create something special then you have to go deep inside of yourself. But you have to work for it; it won’t be given to you.”
His work ethic has roots and Michael needs no prompting to identify them. “He was my hero,” he says quietly, referring to his much-loved father who died only recently.
“He was such a hardworking and driven man. He wouldn’t let negativity into his head. As young men my brothers and I worked with him on construction sites and digging ditches and from him we learned self-discipline and the importance of doing things properly. He taught us to be the one who set the pace rather than the one who followed it.”
But even though he is giving up performing, Michael isn’t hanging up his dance shoes entirely.
“I became fascinated by the great painters who went before us. Once they painted a work it was there forever. With my art I had to paint it, live, every night. And it had to be perfect every night. I dreamed that there was a way that I could turn that whole 3D experience into a 2D image that would last forever.”
It was a problem that needed considerable pondering, but in 2005 he sussed it. Having longed to dance at Madison Square Gardens, where all his boxing heroes had fought, Michael proceeded to sell out at the 18,000-seat venue – unheard of for a dance show. Afterwards he received a framed cut-out of the vinyl flooring that had been covering the trap door on the stage, complete with scuff marks from his taps. A memento of his realised dream, the surprise gift gave Michael the answer to his dilemma.
“I’m a great fan of abstract expressionism and so I went into a studio, put vinyl on the floor and a little paint on my shoes and danced. Then I started throwing paint because I refuse to be just held to the one thing.”
Enjoying considerable success with what he self-deprecatingly calls ‘my last efforts,’ in June he will see his first exhibition unveiled.
“It’s my new passion and I just love it,” he says, with gleeful enthusiasm.
But not even painting comes close to his real passion. Married to his former leading lady Niamh O’Brien, with whom he has an eight-year-old son, for the man who has made millions family time is the most priceless thing in his world.
“For me real happiness is Sunday brunch in London with my beautiful wife and son. I leave the phone at home and we walk in the park, laughing and talking, and it’s just perfect.”
He will always be the Lord of the Dance to his legions of fans, but there’s a whole lot more to Michael Flatley. As warm, funny and charming as he is talented, driven and smart, the Lord is also an absolute gentleman.
Vicky Edwards
For further details of the UK Tour visit www.lordofthedance.com
