Top of the Potts: Jason Manford Talks to Vicky Edwards

Currently starring as Caractacus Potts in Chitty Chitty Bang Bang, Jason Manford talks to Vicky Edwards about musicals, being a dad and why ibuprofen is his new best friend…

Photo: Alastair Muir

Photo: Alastair Muir

There’s more to Jason Manford than being funny. Warm, articulate and astute, he also happens to have been born into a family of talented singers. Trilling for longer than he’s been cracking gags, the 8 Out of 10 Cats star has notched up some impressive credits, not least playing Pirelli in Sweeney Todd with Michael Ball and Imelda Staunton, and Leo Bloom in The Producers with Phill Jupitus, with whom he also stars in a brand new touring version of the classic musical story Chitty Chitty Bang Bang.

 

 

 

“My family are all folk singers and we have been singing together for a very long time,” Jason explained. “I was always interested in musicals; I was always in productions at school, then at university I directed shows like Bugsy Malone. I wrote a musical, too.”

Offered the role of Caractacus Potts, Jason says that while he didn’t want to over-think the characterisation, he nevertheless gave careful consideration to what he could bring to the role.

“I re-watched the film and what I saw was someone who was not dissimilar to me: a dad who would do anything for his kids. He keeps trying and failing and he’s reached a point in life where he thinks that something just has to go right for him. He really is that heartbroken, lonely, lovely man that Truly Scrumptious sings about.

“The setting is 1919 and my idea of him was that he was in the Navy but that he had to leave when his wife died to look after his kids. I like his journey. He’s optimistic, although he has his darker moments, and he’s a man who doesn’t like confrontation. But then suddenly the kids are taken by the Childcatcher, Grandpa is kidnapped and the car is stolen – everything that he knows and loves about his life is gone. He has to man up,” said Jason, who while mindful of driving himself bonkers by fleshing out a complex character history, knew that he needed to give Caractacus a back-story. (“You need that weight otherwise it’s just a musical about a flying car.”)

Although Jason is perhaps better known as a comedian than he is for his musical theatre talents, in terms of being the source of all things comedic, Chitty gives him a bit of a breather.

“What’s nice for me is that no one is counting on me to be funny. If I’m funny it’s a bonus, and Caractacus does have some funny moments, but you’ve got the spies and the Baron for laughs. I just have to play the heart and soul of the piece to keep it interesting and I love that.”

As for Chitty’s enduring qualities, Jason cites the film rather than the original book as being responsible for inspiring such huge affection across the generations.

“The biggest thing for me isn’t the Ian Fleming story, but the Roald Dahl film adaptation. The original book is actually quite linear; quite similar to his writing for James Bond, and there was no Childcatcher or Truly Scrumptious. But the film is much more magical and for many the Childcatcher was probably the first time you were scared by something on the telly. Nostalgia and magic is what I think does it for people.”

It is a highly physical show for Jason and he confessed that the number Me Ol’ Bamboo, in particular, is a bit of a killer. Part manic Morris dance and part frenzied tap routine, it is certainly breath-taking to watch and, one suspects, leaves even the fittest dancers out of breath.

“I’ve lost a stone and a half – it’s unbelievable!” he said, shaking his head in disbelief. Joking that he has thought about releasing an exercise DVD based on Me Ol’ Bamboo, he added: “It takes a lot of work but it’s so spectacular and to get it right is just brilliant. It’s the one moment of the show when I take the applause and let the audience clap until they stop.”

Does such a frenetic routine result in a few aches and pains? A heartfelt groan said it all.

“My poor knees and lower back! Ibuprofen is getting me through and I have to go for a swim between the matinée and evening shows because if I sit down I seize up,” he sighed.

And when he staggers off the stage and back to his digs he’s got fellow cast member Phill Jupitus [who plays Baron Bomburst and Lord Scrumptious] to look out for him and, it transpires, to rustle up some top-notch grub.

“We’ve been pals a while and we enjoy each other’s company. He’s also a great chef and cooks some brilliant meals. We look after each other. You need that when you’re away from home.”

Talking about being away from home, with a partner, and five children, Jason’s got plenty to miss.

“The thing about this show is that it’s all about family and the kids in the show [three pairs of Jeremy and Jemimas tour with Chitty] are roughly the same height as my two oldest girls. At the end when I’ve rescued them and they run over to me for a big hug there’s that moment every night when my kids flicker into my head.”

And it’s home and family that is part of the reason that Jason is taking a well-earned break from Chitty between 4 May and 18 September, when Lee Mead will be playing the part of Caractacus Potts.

“Having young children you can’t be away too much, but as well as the children I’ve also got to write my own tour for 2017 and then I’m writing a sit com and also a musical. It’s lovely to know that I can do all that and then come back to Chitty.

Touring the country, working on several writing projects and keeping his successful comedy career on the boil, not to mention family life – it is certainly an impressive juggling act. How does he find the energy and stamina to sing and dance his heart out at every performance of Chitty? Shrugging, he referred me back to his friend ibuprofen, although just being in such a stupendous show seems to be the real spur. Even if it does mean that his joints creak like an old banger in need of the oil can.

“A lot of effort goes in but it’s a great show so it’s really worth it,” he told me as we said goodbye.

And so it is. Prompting standing ovations wherever they go, the audience reaction is unified: “Chitty Chitty Bang Bang we love you!”

For more information, visit www.chittythemusical.co.uk

Facebook: Chitty Chitty Bang Bang The Musical       

Twitter: @ChittyMusical / #chittymusical

Vicky Edwards

Spandau Baddie: Martin Kemp Meets Vicky Edwards

Martin Kemp tells Vicky Edwards why his musical theatre debut is going with a bang-bang…

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Photo credit: Alastair Muir

From gangster Reggie Kray to evil control freak Steve Owen in EastEnders, Martin Kemp is extremely good at being bad. Currently on tour in Chitty Chitty Bang Bang playing the Childcatcher, arguably one of the most iconic villains of all time, Martin is drawing on his previous roles for inspiration, but admits that there’s unchartered territory to explore when it comes to the character that regularly tops the polls of movie monsters.
“The Childcatcher is an exaggerated version of everything I have ever done before, but it comes from a completely different angle,” explained Martin. “He’s a step away from reality; all the characters are really, especially in the second half when we go to Vulgaria.
“In the first half I play a character called the Junk Man, but in the second half that kind of Alice in Wonderland thing happens and the Junk Man becomes the Childcatcher. Robert Helpmann did an amazing job [in the film], but my physicality is not the same as his; I don’t have his ballet background, so instead I try to bring a bit more horror to the role.”
Judging from the booing that fills the theatre before he has even set foot on the stage, he’s clearly doing that very effectively.
“Kids are scared of the name: Childcatcher. When the Baron says “Call for the Childcatcher!” I can feel the tension in the theatre and then I hear the boos,” he laughed, adding, “But that’s part of the whole experience. If you haven’t laughed, cried and been scared then you haven’t seen a good show. You need to be taken to all those places.”
And with cheers at the curtain call almost taking the roof off the theatre, it seems that it’s a journey that audiences of all ages are delighted to undertake. A co-production between Music & Lyrics Limited and West Yorkshire Playhouse, this brand spanking new reimagining of the much-loved Sherman Brothers musical is winning critical acclaim as well as standing ovations.
“Ten years ago I saw the show in London and the main thing I remembered about it afterwards was the car,” said Martin. “But now it’s very much about the story. It amazes me, but every night I walk out of stage door and people are there saying how much they loved the whole show. From old people who saw the movie on their first date to kids meeting Chitty for the very first time, the demographic is extraordinary. Yes, it’s changed from the book, and then again from the film and again from the original stage musical, but it really works. We’re sending people home with big smiles on their faces.”
As for his fellow cast members, mention them and it is Martin with a big smile on his face. “It’s a great cast,” he enthused. “I’ve worked with Michelle [Collins] before and it’s lovely to work with her again, but they are all brilliant performers.” And so they are. Funny men Jason Manford as Caractacus Potts and Phill Jupitus as Lord Scrumptious and Baron Bomburst are joined by Martin and Michelle, as well as Andy Hockley of Phantom of the Opera fame as Grandpa Potts, and West End leading lady Amy Griffiths as Truly Scrumptious. Add to that a world class company of singers and dancers and you have a show that is dazzling, star-studded and that absolutely lives up to the ‘fantasmagorical’ praise.
But while the story of Chitty might have been knocking around for a good while, musical theatre is a new challenge for Martin.
“One reason I am here is that I have never done a musical before and I thought this might be a nice way to dip my toe in. I love trying new things and I love working with new people.”
That happy-go-lucky, have-a-go attitude wasn’t always there, however. In fact, as a child he confesses that he struggled with crippling shyness.
“I’ve been doing this a while now but at the age of eight I was incredibly shy, so my mum sent me to Anna Scher’s drama workshops,” said Martin, who knows first-hand what an advantage drama classes can be to children.
“What drama clubs give you is a small amount of this magic dust called charisma. I always say that I owe everything to Anna Scher because she formed my personality as a kid.”
Pointing out that whether you become an actor or join a band or you just use that acquired confidence to get through interviews when you’re 16, Martin is certain that drama clubs are a fantastic way of developing both character and life skills.
As for children watching live theatre, absorbing stories close up rather than on a screen, Martin loves the way they get totally involved.
“Adults watch, but kids believe and become part of the world they see unfolding; they just dive in,” he nodded.
“For Chitty we recently did what is called a ‘Relaxed Performance’ for children with disabilities and conditions like Autism. The show was adapted around the audience’s needs and it was a wonderful thing to be part of.”
A member of one of the most popular bands of all time, star of movies, TV and now a musical, Martin certainly can’t complain of always doing the same old same old.
“I have always changed it up a bit and I like never knowing what’s around the corner,” he laughed, although actually this time he does know what is coming next.
“I have just finished a year on tour with Spandau which was wonderful, but it’s this great big machine that needs five artic trucks and a 100-strong crew. When you play huge arenas the size of Wembley you know that to people at the back you’re just a speck of dust in the distance and that you’ll never get to meet those people. So in May I am doing the sort of antidote to not meeting people with a show that’s going to tour called An Audience with Martin Kemp. I’ll be travelling around England chatting about my life and career and taking questions from the audience. Yeah, it’s going to be different and fun,” he grinned.
With such a busy professional life, relaxation, he says, comes in the form of painting.“That’s my down time. Sometimes it shuts me off from the world and I lose myself completely.” Asked what he paints and the smile that stole my sixteen-year-old heart lights up his face again. “I paint rock ‘n’ roll,” he says with a chuckle.
Super-talented, funny, warm and with rock ‘n’ roll artistic flair to boot, however brilliantly nasty he is as the Childcatcher, in real life Martin Kemp is a total sweetie.
Vicky Edwards

 

Mind the Journey, Rose Colored Glasses | Music News

Mind the Journey %22Rose Colored Glasses%22Band/Artist: Mind The Journey
Location: Boston, MA
Styles: Psychedelic Rock, Alternative, Synth Pop, Neo-Psychedelia
Similar to/RIYL: Tame Impala, Ariel Pink, Flaming Lips, Neon Indian, LSD
Soundsystem
CD: Color In The Gray Machine

Members/Instruments: Creator of albums and records: Spencer Sabo.
Plays live shows with an assortment of musicians (usually 2-3).

Production: Produced by Spencer Sabo in his makeshift basement studio. Mastered by Tom Waltz.

Tracklisting:

1. Falling Asleep
2. Desserts
3. Interdimensional Romance
4. Dancing On The Sun
5. Oneironaut (Interlude)
6. Rose Colored Glasses
7. Dream Demon
8. Atmintis (Pass The Haze)
9. Egophoria
10. Boats
11. Noise Gate
12. Delta Wave

 

Websites:
http://www.mindthejourney.com/
Twitter: https://twitter.com/mindthejourney
Facebook: https://www.facebook.com/MindTheJourney/

 

 

 

Adam Stafford, Taser Revelations | Music Profile

Adam Stafford Taser Revelations Adam Stafford returns with his first album in nearly three years following the widely acclaimed Imaginary Walls Collapse in 2013. 

Format: 12″ vinyl (with download), CD and digital
Lead Tracks: Atheist Money, Phantom Billions
Label/cat number: Song, by Toad Records SbTR-A-049

Taser Revelations was recorded at The Happiness Hotel, Song by Toad’s newly aquired warehouse recording space. Utilising the warehouse’s natural room reverb to great effect, the album features producer and multi-instrumentalist Robbie Lesiuk performing a variety of instruments including steel drums, organ and piano. Greggor Douglas plays the Roland Juno/omnichord and ex-Maple Leaves Anna Miles provides harmony vocals.

Continuing Stafford’s trajectory into electrified alternative pop, Taser Revelations begins with some of the most melodically catchy songs he has ever written, before taking a swerve down a dark alley midway through the album, venturing into industrial syncopation, samurai-guitar attacks and some unsettling, vivid imagery.

Praise for ‘Imaginary Walls Collapse’
Nominated for a Scottish Album of the Year Award in May 2014
Albums of The Year in Goldflakepaint
Featured in Frightened Rabbit’s Albums of The Year in Drowned in Sound
#1 Album of The Year in Jockrock
#1 Album of The Year in Glasgow Podcart
#1 Album of The Year in Manic Pop Thrills and #1 in MPT’s Poll of Polls
#3 Album of The Year from Last Year’s Girl
#3 Album of The Year from Scottish Fiction
#4 Scottish Albums of The Year in The Herald on Sunday
#4 Albums of The Year in When You Motor Away
#5 Album of The Year in Is This Music?
#33 Albums of The Year in The Skinny
Vic Galloway’s Albums of The Year
Albums of The Year in Sonic Reverie
#20 Albums of The Year in The Tidal Wave of Indifference

Tracklisting:
All songs PRS registered, written by Adam Stafford.

Side A
1. Let a Little Love Inside
2. Phantom Billions
3. Atheist Money
4. Black Lung Applications

5. Unknown Swimmers
Side B
1. Railway Trespassers
2. Taser Revelations
3. Bracelet Dream of the Shadow
4. The Penumbr

British Singer-songwriter Lily Lambert Releases Merry Christmas, With Love

lilylambertchristmas

Want to get your jingle on? Then check out part-Irish, part-Welsh British singer-songwriter Lily Lambert whose has released a new cover album, Merry Christmas, With Love. Lambert premiered her cover of the classic Christmas song “Carol Of The Bells” on Stubby’s who noted the track stays “pretty faithful to its roots, but is dressed in rural garlands rather than big city tinsel.”

Elf the Musical – Review

Elf the Musical
The Dominion Theatre, until 2 January
Box office: 0845 200 7982
www.elfthemusical.co.uk

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Photo credit: Alastair Muir

Even strolling beneath the over-sized illuminated baubles of Oxford Street, on a mild November evening it still felt far too soon to embrace Christmas. Fast-forward three hours and I was positively exuding seasonal cheer – this is a show that would transform even Scrooge from selfish to elfish.

Based on the 2003 film starring Will Ferrell, the plot is fairy tale daft. A baby crawls into Santa’s sack one Christmas Eve and is raised by Elves in the North Pole. Being a fairy tale nobody mentions the fact that Buddy can place the star on top of the Christmas tree without the aid of a cherry picker, but eventually Santa ‘fesses up: Buddy is actually human and has a father in New York. As it turns out, a father who isn’t too keen on welcoming an oversized elf to the family.

At the risk of spoiling the story for those who haven’t seen the movie, suffice to say that chaos, comedy, romance and high drama follow, each element taking the narrative towards Happily Ever After as smoothly as champion skier heading down a nursery slope.

Ben Forster as Buddy is a joy. Bouncing around like a particularly nimble and enthusiastic Labrador, he has a terrific rapport with the audience and manages to be both charming and sweetly innocent. He also sings like a dream (Forster was the winner of the TV search for Jesus Christ Superstar), and makes an exceptionally good fist of songs that, while entertaining in the moment, aren’t especially memorable.

Kimberley Walsh as Jovie, the object of Buddy’s affections, is also in fabulous voice, while Joe McGann as Buddy’s dad Walter convinces as the tetchy publisher of children’s books who has been putting work ahead of family for too long.

Offering up plenty of warm and fuzzy feelings from the off, excellent teamwork sees a supporting cast singing, dancing and acting their Christmas socks off, while the design team’s clever set (‘wow’ factors come thick and fast) deserves a curtain call of its own.

Directed and choreographed by Morgan Young, if panto isn’t your cup of eggnog then there are plenty of seasonal sensations to be had here, without all the ‘behind you’ capers. And if you don’t leave the theatre wanting to spread tidings of comfort and joy, frankly you’re a lost cause.

The Avon Guard Forget | Music News

avon, music, newsonestown
12 June 2015

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.

A Damsel In Distress, Chichester Festival Theatre – review

Photo credit Johan Persson

Photo credit Johan Perssonzpfile000

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!