WELCOME TO BA: The Ultimate Spanish Crash Course

LANGUAGE SCHOOL REVIEW: Expanish, Buenos Aires

Having spent a month travelling in Europe I arrived in Latin America with the foolish notion that I could get by anywhere with a big smile and slow, carefully pronounced English. Arriving at Buenos Aires airport it quickly became apparent that this approach stood no chance. It was like being a baby again, adrift in a world full of strange but familar-sounding words, with new places to explore and a whole new set of social and cultural rules to learn. There was but one solution; I was going back to school.

Realising the urgency of my situation, having landed in a country where I now had virtually no ability to communicate with people, I sought a course which would immediately equip me to survive here. One good option is the "The Ultimate Spanish Crash Course" offered by Expanish language school, located right in the heart of the city. The concept behind the week-long course is to arm travellers with the basic phrases they will need to get by in Latin America. The structure is extremely flexible; you may choose to take all five of the 2 hour daily sessions, or just select those which most appeal. Sessions are from 4 to 6 pm, giving you time to spend the morning exploring, and each day covers a different topic, beginning with Eat and Drink, then Shopping, Travelling in Latin America, Everyday Fundamentals, and finally Making Friends and Socialising.

I decided to go for two, starting with Travel, since my ability to get lost was improving daily, and this was only exacerbated by the fact I still had no idea how to ask for directions. Signing up is really simple and can be done right up until half an hour before the lesson; the incredibly enthusiastic admissions staff give you a full tour of the building and facilities, explaining in depth the structure of the course and teaching methods. This encounter was actually extremely enjoyable, given my limited contact with English speakers, so I was already pretty content by class time. My class was actually fairly large, with eight of us, which created good opportunities to meet like-minded people from Europe and America, and it soon became apparent as our tutor bounded in and introduced herself that this was going to be fun.

The sessions are short, but packed with information, exercises, and plenty of opportunities to test out what you have learnt. Particularly useful was being made to watch a video of a conversation on the street, featuring Expanish staff members, and repeat what was said in the conversation. For the most part, though, the focus is on learning a few key phrases to help you get around, the likes of "How do I get to ..." and "Go straight ahead". I must point out that the course is basic, and thus it is all about equiping yourself with the bare minimum you will need to survive out here. It´s particularly good for those who are new to the city and language; I felt the afternoon acted as a kind of orientation to the city, with good introductions to the tourist sights in the city and one of the clearest explanations I have heard of Buenos Aires´ bewildering grid pattern and avenue layout. I´d been here a few days by this point, and so had seen the most of the sights mentioned, but I did enjoy our tutor´s personal recommendations, with photos, of places to go to within Argentina.

The whole experience was enjoyable, learning a bit of lingo, meeting fellow travellers, and getting some decent tourist information, and it works out at fairly good value at 80 pesos, or around US$20, per two hour class. The teaching is good, although I did feel the class size made learning more difficult, and our tutor´s tendency to forget the English meaning of a word was ocassionally problematic. Overall, though, her bubbly porteño personality and enthusiasm made it almost worth paying up just to spend an afternoon with a local. And hopefully now I´ll be able to ask for directions to get me back to the school for my next session where I´ll be Making Friends and Socialising.

Chau amigos.

Expanish can be found at Tte. Gral Juan D Peron 700, C1038AAN, Buenos Aires. For more information and bookings call +54 11 5252 3040 or go to the website.

BULGARIA: Veliko Tarnovo

EDINBURGH INTERNATIONAL FESTIVAL 2011: Peking Opera Preview

PREVIEW: The Revenge of Prince Zi Dan at the Festival Theatre, Edinburgh International Festival 2011

Photo: Liu Haifa

What do you get when you cross an Elizabethan playwright with a traditional Chinese opera troupe? This is not a joke, but one of the exciting cultural fusions set to grace this year’s Edinburgh International Festival.  EIF Director John Mills’ vision is to explore the bonds between Europe and Asia, making Shakespeare adaptations a natural choice. The programme features several cultural translations of the Bard’s works, including the Shanghai Peking Opera Troupe’s lavish production which reimagines Hamlet as The Revenge of Prince Zi Dan. It’s a thrilling idea, the transformation of a dark, verbose European tragedy into a characteristically Chinese blend of acrobatics and martial arts, music, singing and graceful ritual dance, flamboyant costumes and vibrant painted faces.

Interestingly Shakespeare has only recently become well recognised in China. Nineteenth century European missionaries made his name known, but Chinese versions of his plays were not available until the early twentieth century. Cultural Revolution clamp-downs followed hot on the heels of the 1967 publication of his complete works, resulting in the book being banned. Fortunately the political climate is more relaxed today - China’s economy and population is booming, and its arts scene is developing and shifting in response, reinvigorating ancient artistry with new influences, often taken from the Western literary canon. Alongside the Bard, the choice of whom is reflected in innumerable copied Tudor buildings, popular playwrights also include Ibsen and Beckett.

Peking Opera is one of some three hundred regional types of opera, and according to Dr Ashley Thorpe, a lecturer in theatre at the University of Reading, it’s the nearest China has to a 'national drama'. Such performances have deep roots in Chinese culture; the founding of the first dramatic school, the Pear Garden, was by Emperor Ming Huang in 740 AD, although the tradition of Peking Opera came together around 250 years ago.

As a sumptuous, sophisticated art form it occupies a similar place to that of classical opera here, although actors are required to dance, sing, fight and perform acrobatics, all within the same performance. This type of opera is highly symbolic, with vivid colours of make-up and costumes denoting emotion and rank, for example yellow represents strength and is also worn by emperor characters, while red indicates courage.

In keeping with tradition, the performance at the Festival is delivered in Mandarin, and the wealth of symbolism, the accompanying music, and gestured movements both clarify the story and give audience imaginations a good workout. To make matters even clearer, English supertitles are also provided.

So what can we expect from this show? Dr Thorpe encourages audiences to anticipate something very different. In contrast with much of traditional Western drama, Peking Opera is about far more than plot. It’s a showcase for actors’ skills, and appreciation of their wide-ranging talents is a crucial part of the experience. And since visits to these shores by high calibre Chinese opera troupes occur just one or twice a decade, The Revenge of Prince Zi Dan is a rare chance for Edinburgh audiences to glimpse this uniquely Chinese art form.

The Revenge of Prince Zi Dan
Shanghai Peking Opera Troupe

Friday 19 and Saturday 20 August, 8pm, Sunday 21 August, 3pm
Festival Theatre, Edinburgh

The Edinburgh International Festival runs from 12 August – 4 September. Browse the programme and book online at www.eif.co.uk

Written for the Edinburgh International Festival.

EDINBURGH FRINGE 2011: The Tempest

THEATRE REVIEW: The Tempest (Squeaky Door Production Company) at theSpace @ Niddry St, Edinburgh Fringe 2011

Glittery dust sparkles in the air of the sweet isle as Ariel and her lusciously eye-lashed spirits cavorts into the audience, pulling us deep into Shakespeare’s world as if bewitched by Prospero himself. Skilful physicality and playful use of Shakespeare’s lines bring humour, originality, and accessibility to the Bard’s final work, engaging and captivating children and adults alike. The acting is first class, with Miranda particularly notable as an unsocialised, cringingly forward young girl, sniffing and jumping on the perplexed visitors to her island, and the hilarious drunken Stefano with his attempts to curl up on the laps of unsuspecting audience members. A vivid, comical riot of a show.

 

The Tempest is playing until Aug 13th at theSpace on Niddry St, Edinburgh. For more information visit the Fringe website.

EDINBURGH FRINGE 2011: Shakespeare for Breakfast

THEATRE REVIEW: SHAKESPEARE FOR BREAKFAST: THE COLLEGE YEARS (C Theatre), Edinburgh Fringe 2011

“Simply Macbeth, better than all the rest” sings the schoolboy king, gently strumming a guitar. Not quite the best, but it is pretty good. In its twentieth year at the Fringe, this cult show has cannily reworked the Bard’s tragedy into a short, lively romp with sock-puppets, witty songs, and audience participation. The school setting works well: Macbeth becomes an artistically sensitive musician with a convincingly ambitious cheerleader Lady, while the choice of a stroppy pair of fortune-telling Goths to play the witches is truly inspired. Although after a while the constant iPhone jokes become irritating, this show is a good laugh for older kids and adults, with moments of genuine hilarity. A refreshingly comical take on an old favourite.

Shakespeare for Breakfast runs until Aug 29th (not 16th Aug) at C Theatre, Edinburgh. For more information visit the Fringe website.

Written for ThreeWeeks.

EDINBURGH FRINGE 2011: The Good Doctor

THEATRE REVIEW: THE GOOD DOCTOR (Theatre Alba) at Duddingston Kirk Manse Garden, Edinburgh Fringe 2011

“Man is the only living being with the ability to laugh” the Chekhov proudly proclaimed half way through this presentation of darkly comic vignettes. It’s a statement which encapsulates the writer’s raison d’ecris, the desire to amuse which lies at the heart of his work, and grants his witty short stories their eternal appeal. Theatre Alba’s selection of tales is taken from the adaptations by playwright Neil Simon, touching on a satisfyingly broad range of subjects like prostitution, the ridicule of Russian bureaucrats, and the Moscow acting scene.

Although initially stiff, a little too poised and polished, the Good Doctor himself soon relaxed into a sensitive but solid portrayal of the playwright as the laughs began to flow. At any rate, this was more than made up for by the rest of the cast; highlights included a moving portrayal of a starstruck actress and her soaring reading of the close of “Three Sisters”, the sycophantic sneezer Tchervyakov, and the unforgettable hilarity of the trainee doctor chasing a fearful Orthodox priest with toothache round the marquee, pliers in hand. All in all a cracking Am Dram performance that certainly exercises that uniquely human disposition to laughter.

Runs from 2^nd – 6^th Aug. For tickets and more information visit the Edinburgh Fringe website.

First impressions: Edinburgh

Haggis pie and fish tea in the same street; this could only be Scotland. I was walking along South Clerk St, a busy main road which eventually comes to the Royal Mile and North Bridge via an odd assortment of kebab shops, charity shops, a precariously-stacked used bookshop, cute cafes and health shops, poundstretchers and Tescos. This experience really encapsulates Edinburgh; glorious gothic and neoclassical architecture sullied by its grim blackened stonework, a huge range of art galleries and slic eateries thronging the dirty streets, and overcast skies hanging heavy in its people's hearts. It's clear that Edinburgh needs its Festival, if only to shake it from its winter gloom and remind the city that summer is upon it. I felt, walking the streets, as if this were a city in waiting. The tourists, backpackers and arts peeps had just pulled into town, replete with bulky musical instrument cases, giant rucksacks and braided hair. The locals seemed to hover to one side, curious or annoyed at the influx. They were many, but still the city had a hushed feel, patiently quiet, as if everyone was waiting for "it" to begin. Curious.

I wandered a little more, seeing the touristy sights; the castle, the Calton Cemetery with its strange vacant rooms dedicated to the dead, the Calton Mount with its expansive views. I reflected from this viewpoint. Evening was beginning to fall, the sky growing a darker grey. But out over the sea was a splinter of falling light, a brightness over the water. Like the city below the sky was grim, foreboding, but not without beauty. My brief daliance with the city had shown me ugliness, but also great potential. There is gold here, but to find it will take more exploring.

Strange happenings in a Suffolk field

PERFORMANCE REVIEW: AN EDIBLE COMPASS at the Musuem of East Anglian Life

Photo credit: Pacitti Company 2011, photos by Caroline Guthrie

 On a cloudy Saturday at the end of July a big friendly crowd of East Anglians gathered in a field. We were there to feast and to be filmed, sharing and nibbling goodies created from the On Landguard Point Cookbook, an online collection of recipes contributed by locals. This was a public performance of a unique kind, with participants being simultaneously actors and collaborators in the creation of the film, and observers of the film-makers, with their strange equipment and phrases. As one expects in film-making there was plenty of lingering and confusion, but the atmosphere was pleasantly jolly as camaraderie built among the feasters sharing cookies and chatter with their new friends. By the time the camera passed by on the second take we were all naturals, happy to “perform” as per our instructions, some passing plates of food, others blowing kazoos or merely conversing animatedly.

This lively performance banquet was part of An Edible Compass, a whole weekend of events held at the Museum of East Anglian Life in Stowmarket, Suffolk. The past week has been devoted to making 205 scarecrows, one for each of the countries participating in next year’s Olympic Games, which will be filmed after dark. The weekend culminates on Sunday with The Ring, another opportunity for participants to be caught on film at a crazy-sounding event which takes place on a large circle cut from turf, and features horses, drawing, lots of guitarists and plenty of cake.

All of this footage is just the beginning for On Landguard Point, an exciting project to create a film depicting what “home” means for the residents of the East of England. The next few months will see Pacitti Company creating a whole series of public events, allowing thousands to participate and feature in the final film, set to be realised in spring 2012 as part of the Cultural Olympiad celebrations. These events include Dig and Sow, running from the 27th of August to the 18th of September, which subject the gardens of locals to 205 archaeological excavations led by Carenza Lewis of Time Team fame, as well as the premiere of a new musical work by Michael Nyman, On Landguard Point, at the Spa Pavilion in Felixstowe on the 23rd of September. In the words of Helen Lax, Regional Director of the Arts Council England this is our opportunity to “be the stars of a feature film”, an Olympic-inspired chance to present the country’s artistic and cultural life alongside the sports. It’s a great chance for everyone in the East to get involved, especially given that many of the big public events, like the Dig and Sow, are free.

In all On Landguard Point is a fascinating project, a string of enticingly eccentric events which offer a chance for us to contribute to something special, creating something about where we are from. It is performance, but not as most people know it, and for this reason, along with the chance for your moment of fame, I’d highly recommend going along. If unique and unconventional is your bag, get yourself along to some of these events.

Originally reviewed for "The Public Reviews". On Landguard Point will be creating a range of public events across the East of England until the 25th of September

Twelfth Night in Rendlesham Forest

REVIEW: TWELFTH NIGHT at Rendlesham Forest Centre

Families happily picnicking, blankets strewn beneath the pines, the enticing scent of a barbeque on the fresh evening air, frolicking children and Elizabethans with archaic greetings; it is the atmospheric Rendlesham Forest setting which lends this show its enchantment. Played on a stage in a clearing in the wood, this production of Twelfth Night marks the twelfth consecutive year of Red Rose Chain Shakespeares here.

The reason for the endurance of these productions is clear; Red Rose’s Twelfth Night is captivating, an introduction to Shakespeare, light-hearted entertainment for children, a vibrant adaptation for the more seasoned theatre-goer. All things to all men. But it’s not just intellectually stimulating. There is a real sense of magic in the air, the stage-enclosing branches and trunks of verdant pines, the creeping dusk falling on the players and peeping stars above, surreal glimpses of top-hatted Malvolio striding in the forest beyond as the offstage players flit between the trees.

Malvolio is undoubtedly the star of this show; ridiculously “cross-gartered” in a yellow and black striped one-piece, his dignity sacrificed for the love of his mistress, Olivia. Indeed its hard to drag one’s gaze from the gawky Edward Bean’s perfectly executed physical comedy. Against this the romance of the tale, and the rest of the cast, take a back seat. It’s a sensible decision on the part of director Joanna Carrick, to focus on the laughs from a family-dominated audience, but I could not help but feel that a bit of love had been lost.

This is really the only criticism I can find. Twelfth Night is an extremely enjoyable performance. The set is delightful; two beach huts, Orsino’s purple and Olivia’s red, with bunting laced between them, and a wooden rowing boat to one side. There’s exquisite animal puppetry of cawing seagulls and the three-manned dog, some punchy songs and comic audience interaction. Twelfth Night is a cracking show in a beautiful location. Take the kids, the grannies and the picnic for a night of magic and laughter.

"Twelfth Night" is playing at Rendlesham Forest Centre until August 28th. For tickets and more information see http://www.redrosechain.com/page/12th-night-home

The Golden Bird by George Mackay Brown

BOOK REVIEW: The Golden Bird by George Mackay Brown


Poetic simplicity characterises Brown’s style in these tales of the Orkney islands and their hardy, pragmatic inhabitants. A masterful storyteller, Brown chronicles a people confronted with the gradual encroach of modernity, feuds which transcend generations, and the trials and tribulations of family honour. This is a subtle, beautifully-drawn portrait of the islands, rugged land and “wrinkled sea”; nature becomes as much a character as the down-to-earth islanders. The Golden Bird is at heart about the relationship of a people to its land. They live and they die, respectful yet uncowed by the power of the unchanging rocks and sea. The human stories weave together, love vying with loss, but behind them Brown conjures the constant lull of the sea, the call of skuas. He has created a touching memory-book of the islands, charmingly beautiful, yet tinged with the sadness of cultural loss, of a people changed. A soulful, intimate read.

Edinburgh, City of Festivals

Just a few weeks from now I'll be chugging out of Kings Cross on my way to the biggest arts extravaganza in the world. The summer months see Edinburgh transformed into a City of Festivals, a sort of cultural marathon, a veritable endurance contest for the thousands of tourists, students, reviewers and journalists. Competition is fierce; accommodation, affordable transport, decent tickets and elbow room are in limited supply. Of course all of this does little to dissuade the flocks of culture vultures.

For me "the Festival" has always been something of a mystery, a confusing, messy, explosion of art, plays, music, dance, street entertainment and book readings.  Probably important, then, that I get to the bottom of this before I actually pitch up in the city. What exactly is it all about? What is the essence of the Edinburgh Festivals? It turns out Edinburgh actually hosts ten summer festivals running right through from the children's theatre festival, Imaginate, beginning in May and ending with the International Story-telling Festival in October. There's the International Film Festival in June and the Jazz and Blues in July, while August is crammed with the  Art Festival, the Tattoo, the Fringe, the International Festival and the Book Festival. Five in one month!

So where did all this cultural excess begin?  Well the first Festival was held in 1947, hot on the heels of the close of the Second World War. There were hopes it would envigorate Scotland's cultural scene and provide somewhere for culture to blossom after the dull and heavy years of war. In those days there were just two, the International Festival and the Fringe. The Fringe actually came about as a result of eight theatre companies who turned up uninvited to the main festival, intending to take advantage of the big crowds the main event would draw, and to offer them an alternative range of performances. The spirit of openness and variety of performances that we see today has clear roots in these early days. An important part of "the Festival" is the productions put on by the smaller, less-established theatre companies and those created by so-called amateur groups. Encouraging new theatre makers through the Edinburgh Festival Fringe is essential, and its obvious that this is a result of the bold initiative of those original eight "Fringe" companies. Many writers and productions started out at the Fringe; 1966 saw the first full length performance of Stoppard's Rosencrantz and Guildenstern Are Dead, while comedians Rory Bremner and Steve Coogan were both "discovered" performing in Edinburgh.

So what will 2011 hold for festival-goers? There's the usual hype, of course, with various publications putting out listings of "must-see" events. It's not hard to see why you would simply choose from one of these. The sheer number of events to trawl through is staggering. The Fringe alone boasts over two thousand shows. In the end what you choose will inevitably be something of a lucky dip, whether it be Shakespeare, ancient Greek plays, modern dance or classical music. But in the end that in itself is part of the experience. It should be unpredictable, sometimes wonderful, sometimes less impressive. The Festivals are a reflection of human nature, that abstract quality that we can never quite pin down. Art is about what it is to be human; it can be brilliant, but it can also be dull. I'm not going to make suggestions about what you should see, I'm finding it hard enough to decide myself. My advice is just use your instinct. Pick things you like the sound of. It might be the next big thing, or it might not. But it will still be an experience you won't easily forget.

Off to see the Wizard!

REVIEW: THE WIZ at West Yorkshire Playhouse, Leeds

The Wiz started life as a 1975 Broadway show, based on Lyman Frank Baum’s book The Wonderful Wizard of Oz. Producer Ken Harper transferred the tale from rural Kansas to the city, creating a “super soul musical” which would speak to the African American community, reflecting on slavery and the contemporary battle for civil rights. The show did well on Broadway and in 1978 was adapted to film, starring Diana Ross as Dorothy.

An iconic American tale cleverly adapted to relate to black culture and memory, The Wiz is now the subject of a collaboration between Birmingham Repertory Theatre and Leeds’ West Yorkshire Playhouse. Director Josette Bushell-Mingo’s creation sees Oz transported to modern-day Leeds, a fact that is referred to with irritating frequency. The Emerald City becomes a nightclub, and Dorothy a local schoolgirl. It’s an attempt to bring up-to-date a show that had such meaning and power for its 1970s audience, speaking directly to the painful African American experience. We can still clearly see the slavery references; Evilene the evil witch portrays white slave owners, while the quest to find the Wiz reflects African American search for identity and equality following emancipation. This seems to sit uneasily with Josette Bushell-Mingo’s intended appeal to an English audience of various cultural backgrounds. I could not help but feel that there is some weakness in this ambiguity, this multicultural approach. The original musical was clearly about hugely significant issues, civil rights and slavery, and these very issues affected everyone, regardless of background. Transferring this definitively American show to modern England has watered-down the original meaning, and introduced an element of confusion; is it a show about African American experience, or about British modern life and our search for identity?

There are good reasons for catching The Wiz, though. The show marks the professional debut of Treyc Cohen, former X Factor contestant. Cohen gave a decent performance, demonstrating an impressive voice despite being cast alongside wonderfully powerful male singers Clive Rowe, playing the Lion, Wayne Robinson, as the Scarecrow, and Horace Oliver, as the Tin Man. Particularly enjoyable were Robinson’s I Was Born on the Day Before Yesterday, Oliver’s hilarious Slide Some Oil to Me, and the mournful If I Could Feel.

Part of Josette Bushell-Mingo’s vision was to enable young local people to be involved in The Wiz through a community ensemble cast. The cast is made up of sixteen people with a passion for singing, dancing or acting who come from the Leeds area. This is one of the show’s great strengths, not only showcasing young local talent, but also adding real vitality to the performance, with the “beautiful people” of the Emerald City nightclub and the exuberant Munchkins, garbed in wonderful gypsy hotchpotch fashion.

As performances go The Wiz is actually rather tacky and naff, but strangely still enjoyable. There’s a giant glitter-ball which is used probably too enthusiastically in the final scene, and some of the songs border on being cringe-worthy. The set is bulky and overcomplicated, but at the same time delightfully appealing, with its glowing yellow brick wall and delicate running water effect projected onto the wall. Set and Costume Designer, Rosa Maggiora, has truly excelled in her clothing creations; the striking sparkle of the Good Witch of the South, the wonderful flowing mane of the Lion and Addaperle’s colourful folk-inspired garb. In all, The Wiz is a strange combination of glitzy and aesthetically pleasing, absurd and hilarious, all polished off by some great singing and music. Of course it’s not meant to be sophisticated, and this show does what it should, providing exuberant escapist fairy-tale entertainment. If you don’t dig too deep, there’s much to enjoy here.

The Wiz is playing at West Yorkshire Playhouse in Leeds until the 16^th July. For more information and for booking visit the website.

Reviewed for "A Younger Theatre".

Transform season

REVIEW: Transform Season at West Yorkshire Playhouse, Leeds

Transform season is introduced as a two week conversation about theatre. It’s all about change; changing what it means to be an audience member, exploring how performance can, and should, change us, and changing how the West Yorkshire Playhouse actually works as a space. 

 

Lemn Sissay, Photo by Ruphin Coudyzer

These probably sound like lofty ideals which might be difficult to relate to actual performances, but they’re immediately addressed by the format of the season. The programme is dynamic and diverse, changing from day to day, and hour to hour. Unique guides are printed for each day, giving a brief outline of the events going on. The busiest day fell on Saturday 11^th June, a kind of day out at the theatre, with a non-stop whirl of opportunities taking those with the stamina right through from the daytime café-bar activities to the 9:15pm “Headline Act”, Lemn Sissay’s Something Dark.

One of the best things about Transform is that it’s an open invitation for the public, whoever you are and whatever your background, to come along and get stuck in. On entering the building there’s a large chalkboard posing the question “What would you change about the WYP?”, a challenge the people have risen to admirably, with answers ranging from “More physical theatre”, to comments about start times and ticket prices. This encapsulates the vision Curators Alan Lane and Kully Thiarai had for Transform season, as the start of an exciting public conversation about WYP and theatre more generally. There’s also the Twitter fountain, bringing participants in from all over the world wide web to join the discussions, and Pilot Theatre’s online live-streaming of events and interviews.

Story Map: What I Heard About the World, photo by thirdangel.

 This focus on involvement and questioning is followed through in the free events held in the café-bar. In the centre of the space is a strange office-like area containing a photocopier, lots of newspapers and several piles of paper. This is The Book of Politics, described by creator Topher Campbell as the “photo-copying of people’s thoughts”. Passers-by create a page displaying their thoughts, in words, pictures or collage, on any issue concerning them. These will then be bound and sent to the “powers that be”, namely Number 10 and various government bodies. At the far end of the room there’s another odd piece of theatre going on, Story Map: What I Heard About the World, which consists of a large canvas littered with post-it notes representing countries. It’s an all-day drop-in performance which creates a map of the world from memory. Each country is accompanied by a story of a fake, replica or substitute, with contributions invited from the audience. Story Map is great fun to watch, and definitely worth revisiting throughout the day as the piece grows.

The evening saw a move to more traditional studio-bound pieces, beginning with The Tin Ring, an adaptation of Holocaust survivor Zdenka Fantlova’s book. This work in progress was simply but powerfully performed by Jane Arnfield. Traumatic and raw, this piece was a real challenge, presenting a tiny taste of the unbelievable horrors and suffering of this historical event. The evening also featured Simon Manyonda’s mesmerising performance in The Mamba, a piece telling the story of a Nairobi gangster. His life is radically altered by the hope and new respectability his football club inspires in him. Both of these pieces were all about the transformative power of stories. Perfectly in line with the ethos of Transform, I came away from The Tin Ring feeling quite different, certainly rather queasy, but convinced of the importance of remembering and preventing these kind of atrocities, while The Mamba’s hopeful ending seems to uplift, but also to question the notion of change, with its allusions to Obama’s dubious promises in The Mamba’s inspirational speech to his football club.

Theatre is dynamic, in all its forms. For a performance to be engaging it helps if something or someone changes, and it is generally accepted that theatre ought to move its audiences. In a sense Transform season has merely picked up on this obvious, although undeniably fundamental, theme. But it’s also extended the idea, asking and inviting us to ask questions, to really look at change and what that might mean for theatre, for audiences and participants. Transform is very much what you make of it; how much you chose to do, and how much you chose to give, is up to you. It’s a challenge, and a rare opportunity. Try it, get involved in changing theatre, and give WYP the chance to change you.

Transform season runs until Saturday 18^th June at the West Yorkshire Playhouse in Leeds. A full brochure can be found on the WYP website.

Reviewed for "A Younger Theatre".



Transform season preview

PREVIEW: TRANSFORM SEASON at West Yorkshire Playhouse, Leeds

Photo: Bourgeois and Maurice by Tom Jef

One of the few constants in this world is that it always seems to be changing. That’s certainly the case at Leeds’ West Yorkshire Playhouse this June where the Transform season will mark a complete departure from the ‘normal’ workings of the theatre. According to Associate Producer Amy Letman, Transform’s Curators Alan Lane and Kully Thiarai are creating “the first line in a conversation”, inspired by the changing nature of the theatre experience and the shifting boundaries of what it means to be a spectator. Everyone’s invited to join the discussion.

The big idea is to bring together new audiences and a wonderfully diverse and eclectic selection of artists to challenge how we relate to performance. The programme looks enticing, boasting pieces as different as The Soldier’s Song, an intimate screen karaoke encounter; 21 Writers, showcasing three-minute shorts from new writers who have taken the Playhouse’s free five-week course; and Open House, a piece that will be developed over a week in a collaboration between theatre-goers and a team of theatre-makers headed by Chris Goode. Letman promises there’ll be a real mix of pieces, from both established hands such as Goode and younger, less experienced theatre-makers.

It’s not only the nature of performance that will find itself all shook up. Installation artist Shanaz Gulzar is colonising the front of house space in Steamline 21, an intriguing mix of Steampunk (described in the programme as science-fiction inspired by Victorian technology) and Art Deco. She’s creating a setting in WYP’s café and bar for the grand finale, Smoke and Mirrors, a modern cabaret evening which will bring Transform to an exuberant close on the 18^th of June. Including magic from Tim Sutton, performances from burlesque dancers The Wau Wau Sisters, Flick Ferdinando’s dark comedy Horse and surprise acts to be announced on the night, this “sexy, splendid and ever so slightly scandalous” finale sounds like a suitably unusual end to a season of change. Fancy dress is actively encouraged.

Transform is going to be big on interactive theatre. The idea is that you buy a wristband and this gets you a whole day out at the theatre -  a WYP “experience day”. Opportunities range from adding your thoughts to The Book of Politics, which will then be sent to ‘the powers that be’; to a one-on-one live music performance in the world’s smallest venue, Folk in a Box; and Story Map: What I Heard About thE World which invites theatre-goers to help “map the entire world, alphabetically, in a day”. On the 11^th of June participation goes global with A Midsummer Night’s Stream. The events at WYP will be shared live through Pilot Theatre’s online streaming channel, allowing anyone, wherever they are, to get involved and interact.

Handbag, photo by Sheila Burnett

There are plenty of opportunities to get involved in performance, too. Geraldine Pilgrim, Artistic Director of Corridor, is seeking “anybody that likes to dance – or just move” for Handbag, which will set the people of Leeds jiving around their bags. And Peepolykus is creating a different science-inspired piece each day for The Ionian Enchantment, performed, directed and written by anyone who is game enough to have a go. Interested individuals just have to send in a CV and are invited to attend a free workshop led by Stephen Canny, BBC Four’s Comedy Executive.

There’s a real youthful vibe to Transform. There is a sense that something is really happening here, something new and different for the Playhouse, something which feels genuinely exciting. Plus it seems Transform is just the beginning for innovation at West Yorkshire Playhouse. Set to launch in October, Leeds Furnace will see the Playhouse working with up-coming and mid-career theatre creators to launch new pieces, perhaps marking the continuation of the conversation Transform has started.

It’s certainly a necessary conversation. The arts are changing; what it means to be an audience is shifting. Going to the theatre is no longer just about taking your seat and passively observing, nor should it be. Transform promises to investigate what it is we actually want from a performance, how we can change the very nature of theatre. It’s a noble and worthy proposal, focusing on issues that really matter, and it will be interesting to see just what the ensuing discussions reveal.

Written for "A Younger Theatre".

Hobson's Choice

REVIEW: HOBSON'S CHOICE at the Crucible, Sheffield

Harold Brighouse is getting increasingly popular these days; last year saw Manchester Royal Exchange Theatre’s production of Zack and Northern Broadsides’ tour of The Game. And it’s not hard to see why. Hobson’s Choice has a peculiarly northern charm with its gruff accents, Mancunian setting and echoes of a bygone era of hard work, pragmatism and “decency”.  But there’s also the eternal appeal of touching domesticity, the triumph and perils of capitalism, and the continual battles of the sexes, all knitted together by gently comic moments. Finally, there’s something of the fairytale about Brighouse’s Hobson’s Choice, a kind of Cinderella meets the Suffragettes.

Hobson’s Choice marks the directorial debut of Christopher Luscombe at Sheffield’s Crucible Theatre. It’s a capable performance, solid and reliably amusing. Luscombe gives us a classic telling of Brighouse’s play, and on the whole he handles Brighouse’s humour well, refraining from forcing the laughs. The Crucible’s thrust stage is well-suited to the performance, being fairly large in capacity (seating 980), yet retaining an intimate relationship between audience and stage thanks to the three-sided layout.

Janet Bird’s designs fit well with Luscombe’s vision, a traditional production, down-to-earth and simple. The first act features a simple shop interior and window-display of various boots, with an imposing flight of wooden bannistered stairs rising above the stage. The second act sees a shift to domesticity, a simple table and shabby chairs for the Mossops’ home, followed by Hobson’s grander living room, complete with hearth and Persian rugs. Bird’s costume designs are also commendable. The bold transformation of the sisters’ circumstances from neglected daughters to well-off wives is cleverly mirrored by their change of dress; drab black working dresses replaced by bustling brightly-coloured silks and headpieces.

The whole cast give commendably strong performances. Of particular note is Zoe Waites, perfectly cast as the dominant eldest sister Maggie. Waites deliciously conveys the matronly, bossy-boots woman determined to steamroller Will Mossop, bootmaker in her father’s shop, into accepting her proposal of marriage and business partnership. Philip McGinley makes a fine Will, convincingly timid and awkward in the face of Maggie’s orders. There are several precious moments; Will’s wedding night anguish at the thought of being alone with Maggie, which is resolved in perhaps the finest moment of the production, when he is led to the bedroom to the strains of a lullaby by a candle-bearing Maggie, her hair streaming loose about her shoulders. Here Luscombe creates a perfectly-balanced scene, touching and intimate, reinforcing and yet softening Maggie’s dominance. We also get a great moment when Hobson chews very slowly, almost choking on his daughter’s wedding cake,  dragging out the minutes as the audience is made to wait for his eating to finish.

There are also good performances from the remaining sisters, Alice (played by Cassie Atkinson) and Vickey (Sally Hodgkiss). Barrie Rutter in the title role does a decent job as the gruffly drunk misogynist and miserly father, but I couldn’t help but feel there was something missing from his performance. While amusing, I found his portrayal of Hobson did not entirely convince, although

On the whole, Luscombe’s Hobson’s Choice is a decent production, blessed with some excellent comic moments and the particularly touching lullaby scene. Unfortunately, though, the momentum seems to trial off towards the end of the first act, losing direction and our full attention. The play as a whole is solid and enjoyable, but it lacks sparkle, and must stay firmly inside the category of acceptably amusing comedies, not brilliant yet quite funny.

Runs until Saturday 25^th June.

Reviewed for "The Public Reviews".

NICKED!

PLAY REVIEW: NICKED at the High Tide Festival, The Cut, Halesworth

Getting home from the theatre and sticking the news on I was thrown for several seconds by the familiarity of Nick Clegg’s dulcet tones. Then I realised I’d just spent the evening with him in Nick Clegg the musical, also known as Nicked. This hilarious new show takes a satirical look at the Coalition Government, creating a bold, up-to-the-minute snapshot of Britain’s political landscape. In fact it’s so current that the first weekend of the High Tide Festival saw only the first Act performed, with the second being reliant on the outcome of the AV referendum of May 5^th.

Nicked, based on a book and lyrics by Richard Marsh, tells the story of the Coalition, from a difficult conception of back-room deals and back-stabbing, to its fragility today, though a chaotic whirl of singing and dancing politicians. But it is also the story of one man; Jason Langley gives a fantastic performance as Nick Clegg, foolhardy and easily-led, yet somehow demanding real sympathy from us. Sam Hodges makes a slickly believable Cameron, while the rest of the cast take multiple roles, switching with the help of partisan ties and party-specific lighting. A personified Britannia, Amy Booth-Steel wears a punk-feathered helmet in a symbol of disillusioned national spirit worn down by politicians’ lies and fiscal misery.

The urban beats provided by Rogue Nouveau (Natalie Shepherd) give Nicked a fast-paced, exciting energy. Music and dance power the show, fuelling Marsh’s hilariously incongruous scenes. A glittery-collared David Cameron raps to the Tory right wingers over Osbourne’s beat-boxing. The passionate duet between Cameron and Clegg reminds of a bull-fight or a courtship dance of advance and retreat, step and side-step as each vies to impress his political opponent, and to claim the advantage. This is “politics you can dance too”, and it works wonderfully as satire, a good balance of wit and cruelty, brought to life with the energy of the urban score and slick dance moves.

Nicked has some great one-liners from Clegg’s “I colour inside David’s lines” to Ed Milliband’s assessment of the Labour leadership contest, “Our hearts are slightly differently on the Left”. Cameron jeers at the winner “You’re going home in a Tory ambulance”. Nicked mocks the Coalition, but also has a more serious side. Cameron’s “one man, one vote; you don’t get two because you’re racist”, and Clegg’s desperate attempts to get Proportional Representation, followed by the poor compromise that is Alternative Vote, feed into the final scene in which we are exhorted to stand up for what we believe in. As the lights dim Clegg pleads with us to protest, not simply to observe, to sit and calmly watch, but to get involved.

The performance was a little unpolished, understandable at such an early stage, but nevertheless full of promise. My only concern is that such a current show will date quickly once the issue of AV fades in the fickle public memory. It is hard to see how the issues it raises would be as relevant, as moving, several months or a year from now. I fear that elements of Nicked may have a short shelf-life, but then we always enjoy laughing at our leaders, whether they be dead or alive, politically speaking.

Nicked premiered at the High Tide Festival in Halesworth.

Reviewed for "A Younger Theatre".

A first for poet laureate

PLAY REVIEW: INCOMING at the High Tide Festival, The Cut, Halesworth

 A highlight of this year’s High Tide Festival, held in the pretty Suffolk town of Halesworth, is the eagerly-awaited first play by former Poet Laureate, Andrew Motion. The result of an exciting collaboration between High Tide and the Poetry Trust, Incoming is loosely based on the powerful poem Home Front by Motion about Sally Thorneloe who was widowed in 2009 by the war in Afghanistan. Motion’s work has swung towards themes of war and loss in recent years with Regime change, a 2003 poem protesting against the Invasion of Iraq, and his work on the last of the First World War veterans, Harry Patch. Incoming reflects well Motion’s commitment to modern issues, providing a well-tempered, thought-provoking criticism of British involvement in foreign conflicts.

Incoming is the story of a ghost, Danny, a soldier killed in Helmand, who returns to his wife and son. The acting is exquisite; sensitive, yet realistically emotional enough to add authenticity to Motion’s uncomfortable home truths. Timon Greaves particularly shines for such a young actor, providing a powerful and convincing portrayal of Danny’s idolizing son, Jack, while Christian Bradley and Penny Layden give strong performances as Danny and Steph.

Incoming is a cleverly written play, a subtle protest against the horrors and wastes of unnecessary conflicts which takes a “pro-soldier” approach. In this Motion has neatly captured the contradictions of the Afghan war, and by extension the problem that faces the people of any country at war; how to oppose conflict without opposing those who are fighting and dying in it, without neglecting our basic humanity and regard for others. Incoming pushes us to remember the plight of soldiers at the same time as questioning our involvement in Afghanistan, or indeed any war. Danny embodies these complexities; in death he is disillusioned, running from the “glorious sadness” of the hero-worshippers, while in life, convinced of the need for British intervention. Motion brilliantly draws out the human side of war, yet does not allow us to forget the full picture. He criticises war but makes it clear that the people of Afghanistan cannot just be left to “manage their own shit”.

Motion’s play demonstrates a very natural transition from poetry to playwriting, reflecting the similarities between the two arts. In both Incoming and Motion’s poetry we see the careful creation of a world from words, each line fitting into place, each crucial, repeating, echoing, and foreshadowing to create new meanings and refer back to old ones. The play’s lines have their own kind of poetic rhythm, building their own momentum as the play progresses and driving forward the narrative and our understanding. The lightness of poetry is also something that is common to both forms. Theatre also weaves its magic through hints and suggestion, leaving much of the work to our imaginations. Motion plants his seeds in our minds and allows them to develop as the play unfolds. The second conversation between Danny and Steph is set against a backdrop of falling rain, which both muffles the powerful emotions of the pair, and echoes the rain of the funeral and the aridity of Helmand, subtly knitting together the diverging experiences of the couple.

A cracking debut play, Incoming has clearly demonstrated Motion’s ability to transfer from poet to playwright. This transition felt very natural; at the heart of both forms is a feel for humanity, and Motion seems to capture us as a species so well that he can glide easily between the two. He weaves together the dynamic truths of war, presenting us with a complex, multi-coloured view of modern warfare. We simultaneously understand the proud widow, the hero-worshipping son, and the defeated, disillusioned soldier, and in allowing this, Motion elucidates the delusions and contradictions of war. Motion’s Incoming is not so much a protest against the dodgy politics of the Afghan war, but more a moving and finely-drawn reminder of the humanity that lies behind every conflict, the toll on the often-forgotten victims, the soldiers, their wives and children.

After previewing at the High Tide Festival, Incoming will be presented at the Latitude Festival, 15^th – 17^th July, and then at the Aldeburgh Poetry Festival, 4^th – 6^th November.

Reviewed for "A Younger Theatre".

Metamorphoses, Greek-style

PLAY REVIEW: METAMORPHOSES at York Theatre Royal

After Pants on Fire’s all-singing, all dancing Ovid’s Metamorphoses in March, it crossed my mind a classic retelling would seem a little staid. The initial indications of Hugh Lupton and Daniel Morden’s performance did suggest this; two actors seated by a table of assorted bells and bowls with only the power of their voices and eerie musical noises to drive the show. I need not have worried, though, for as the tales began the skilful oratory of the pair soon lulled and captivated, pulling us deeply and convincingly into the world of the gods.

The tales covered well-trodden ground for the most part, Orpheus, Demeter and Persephone, Echo and Narcissus, and King Midas, of course. There was something authentic about this familiarity, though, as if we were closer to the ancient Greeks with their close knowledge, learnt at the mother’s knee, of their myths and hero tales. It felt as if the audience were in some way part of the performance, involved in the stories themselves through our previous encounters, building them in our minds as the plots progressed.

Commissioned by the Hay Festival, this is a masterful retelling of Greek myths, simple yet effective. Perhaps one fault that could be identified was the use of the bowls and bells to create strange noises to indicate the beginning and ending of tales, and to add tension at relevant moments. While it leant an air of New Ageism and mystery, I found the hums and ringing a little off-putting, distracting from the wonder of the tales. And what tales they are to be told. In sum Morden and Lupton showed off the power of oral story-telling to its best effect, providing a glimpse of the tradition shared by so many long lost cultures, including our own.

Chekhov's Shorts

PLAY REVIEW: CHEKHOV'S SHORTS at York Theatre Royal

Few things in this world match, or indeed even come close, to my love of Chekhov. What started out as a teenage crushed has blossomed and grown into an obsession with nineteenth century literature, notably that of Russia and France. My interest began in the world of Chekov’s masterfully witty short stories, and so you can imagine my excitement on hearing that the European Arts Company were presenting of five of his early dramatic pieces; “The Dimwit”, “The Bear”, “Swan Song” and “The Proposal”. These are somewhere between his short stories, with their fresh, light humour, and the darkly comic full length plays for which he is best known. Fascinating, then, for what they reveal of the progression of the writer. We can see Chekhov developing, changing his mind and views on how to make the best use of theatre, in these transition pieces.

The European Arts Company’s performance certainly did not disappoint. Although mid-way through a lengthy tour, the trio of actors were on top form, not noticeably tired or complacent, but able to bring a convincing freshness to the roles. Richard Lantham shone as the ageing actor Svetlovidov in “Swan Song”, with its darkly comic Chekhovian take exploration of how the old view death, and amused as the hard-done-by servant Luka in “The Bear”. Vivienne Rowdon and John O’Connor provided excellent romantic fodder in “The Bear”, “The Dimwit”, and “The Proposal”. This repetition was fascinating, giving us the same actors coupled in different situations, a kind of distorted mirror-effect, reflections echoing through the three as the performance progressed and subtly suggesting comparisons between the three situations. It almost seemed as if we were watching the same couple playing out alternative scenarios, other lives they could have led. In this respect the show was cleverly structured, with a clear emphasis on the issues of marital tension and challenging of gender stereotypes linking the individual plays, and giving the indication of a continuous whole, broken only by “Swan Song”, a brief interlude in the boy meets girl repetition. I did think this play was a little overdone in terms of acting, with the comedy of lines being thrust upon the audience. Admittedly it was a farce, but I think more naturalistic acting might have paid its dividends.

Overall, though, the acting was well received, and rewarded. The atmosphere in the studio was fantastic, bubbling up into raucous laughter by the final pieces. It was clear that all present left with the impression of an evening well spent. The European Arts Company bill this show as giving an introduction to the world of Chekhov. I’d say they’ve done a pretty good job. This is the real Chekhov, the Chekhov of light humour broken only by a scattering of darker shadows, not the deeply tragic playwright which performances of “The Seagull” and “The Cherry Orchard” would have us believe. Chekhov consciously wrote comedy, even in those dark, longer pieces, and this humorous edge is a fundamental part of his legacy. So in some ways “Chekhov’s Shorts” redresses the balance, putting the comedy back into Chekhov’s reputation for a new generation.

Birmingham Royal Ballet

DANCE REVIEW: BIRMINGHAM ROYAL BALLET at York Theatre Royal.



Birmingham Royal Ballet is currently touring in the south and north of the country, splitting itself in two, to bring the nation "Bite-sized Ballet". Widely diverse, the performance included the Clog Dance from "La Fille Mal gardée", the Grand pas de deux from "Sleeping Beauty" and Act II of "Coppelia", as well as Balanchine's "Slaughter on Tenth Avenue" and Macmillan's pas de deux from his "Concerto".

Despite not being a huge fan of popular humourous performance, I found the Clog Dance amusing with its mimickry and entertaining costumes. Visions of dainty ballerinas clumping about in wooden shoes made a refreshing contrast from the more staid action of "Coppelia" which came before it. The set and toy soldier costumes of this opening piece did please the eye, but I soon became irritated by the overdramatic gestures, girlish silliness of the early dancing, and the overuse of the stiff puppet movements.

What really took my breath away was the captivating pas de deux from Kenneth Macmillan's "Concerto". Costumed in orange, with the setting sun backdrop, the pair excelled in their performance of this technically difficult piece. So many clever lifts and supports allowed the dancers to really engage with each other, producing a kind of mirroring effect at some points, and a kind of organic melding of ballerina and partner at others. I was particularly impressed with the final iconic image, that of the ballerina carefully balanced across her partner's knee, a moment which seemed to conclude and express the message of the piece so well, that of dependence and relationship.

The main focus of the show was on the final piece, a performance of George Balanchine's "Slaughter on Tenth Avenue", a clever story, adapted from a musical, in which an assassin sits in the audience determined to kill the dancer when he stops dancing and commits suicide in the show. This piece was well-executed, with the dance of the policemen standing out as particularly incongruous and striking. Where else do you get dancing policemen? Very amusing.

The remaining pieces from "Sleeping Beauty" were also well-executed with the exception of a few wobbles, but sadly their partnering with such a diverse and interesting range of pieces made them seem a little staid. Though it was nice to see some more traditional pieces performed, pieces which I personally find more enjoyable than the less serious dances, their beauty was rather lost in the mosaic of clashing styles and juxtaposition of popular amusement and classical performance. It all came across as rather disjointed, with no clear flow between the pieces.

Given the rarity of ballet performances in this area, though, Birmingham Royal Ballet only deserve praise for their tour. Clearly this show was intended to showcase a broad selection of what they do, and so this must temper any criticism of the lack of continuity. Anyone who brings dance to a wider audience is doing good work, and if this work also allows me to see wonderful pieces like Macmillan's pas de deux from his "Concerto", then I can hardly complain.

A beautiful week for Utrecht

TRAVEL REVIEW: UTRECHT


It is not every day that you get to fall in love. Happily Utrecht is one of those beautiful European cities whose charms are difficult to resist. It is suitably distant from the dubious seediness of Amsterdam to be romantic, despite its location less than half an hour by train from the capital. Marred only by its guttural name, a little harsh for English ears, this delightful city shines particularly in spring when blossom falls lazily into the winding canals and tulips bloom from every garden.
Rather stereotypically, the most noticeable feature of any Dutch city is its bicycles. Strolling down the city streets you see the bikes locked to any and every available fixed post or railing, every bridge festooned with wheels. The Dutch passion for cycling is rampant, and Utrecht train station has implemented numerous storage options, including a huge underground bike park cavern where, in one of the more bizarre episodes of my trip, I discussed the philosophy of Plato and Aristotle with the friendly assistant.

The people, of course, are one of the most charming assets Utrecht possesses. Somewhere between sprawling Amsterdam and compact Oxford in size, the city was aptly described by the bike park assistant as a “big village”. Utrecht’s residents do have a kind of village mentality, a friendly curiosity towards visitors, marred only slightly by the characteristic Dutch directness which may unsettle the sensitive English. People are happy to help the lost and confused, and all speak English so well and so willingly, it is easy to find yourself feeling at home.

The other notable form of transport in Utrecht is more ornamental. Utrecht is a city, like many in the Netherlands, of water. Two canals, the Oudegracht and the Nieuwegracht, run through the city centre, and the old town is enclosed by the Singel, a waterway running like a belt round the outside. I had a particularly bizarre moment when basking by the Oudegracht, beside a charming open-air café, I was suddenly transported to Venice with a gondolier emerging from beneath an old bridge into perfect sunlight. The canals are well populated by all manner of waterborne transport, from narrow boats to canoes for hire. Uniquely Utrecht has pathways which run along the wharves, actually level with the water and the wharf storage areas where boats would have been unloaded, and goods taken straight up into the houses above. These charming little caves in the canal-side have been turned into various open air cafes, restaurants and shops, while the unused parts are filled with deckchairs and picnickers in the sunshine.

A key feature of Dutch culture is this focus on commerce. The Dutch love to sell and buy, and Utrecht has a huge number of shops and cafes, far out of proportion, from an English point of view, for its population size. But strangely, this capitalistic characteristic does not detract from Utrecht’s appeal. The capitalism of the Netherlands is a kind of benevolent one. The Dutch love to buy beautiful things, particularly for their homes, much more than the English. The city is populated with so many lovely shops selling gorgeous clothes, pottery, shoes, and so on, and for shopping this city cannot be faulted. The flower market is a good illustration of the peculiar Dutch attitude to business. The square behind Janskerk fills with flower and plant sellers on Saturday mornings, and the shoppers are quick to follow. There is an air of joy in the air, everyone convinced they have bought the best, most beautiful bunch. Buying is a way of getting beautiful things, with making money an added, but crucial benefit.

Utrecht is very well stocked with commercial facilities in comparison with many British cities. Charming cafes and restaurants are everywhere; some of the most notable are the lovely open air cafés on the Oudegracht, the delightful railway-side café a little further from the centre, and my particular favourite, Zizo’s, a worthy enterprise which employs disabled people as well as doing the best hot chocolate I have tasted in a country well known for “chocomelk”. The café also boasts a gift shop selling art by people with disabilities as well as handmade pottery and gifts. Definitely worth a visit.

Culturally Utrecht made me smile. I have been labelled a culture vulture before, and I can certainly say I would never run out of activities in this city. Museums range from the random Contemporary Aboriginal Art (the only one in Europe?) to the Religious Art Museum (probably of niche interest, although I found the Macedonian Icon exhibition fascinating) and the obscure mechanical musical instrument Museum Speeklok. This is also the home of Dick Bruna and the international children’s celebrity that is Miffy, so the city has its own museum for this too, and a statue of the creature by the canal.

Utrecht is very much seen as a cultural capital for the Netherlands, and boasts many fine theatres, cinemas, and music venues, as well as a packed arts festival program. I attended a wonderful concert in a converted church, some sublime Schumann, Mendelsohn and Brahms, and was told the city welcomes many internationally acclaimed musicians and that there is something to go to, concerts, plays, artsy events, every night. One which stood out for me is “Utrecht Dances”, one of the monthly Cultural Sunday special days of free workshops, music, theatre and dance in the city. All this cultural richness is soon to be enhanced with the exciting plans for 2013, the 300th anniversary of the Peace Treaty of Utrecht. This year will see many celebrations, including art and culture at fortresses, castles and the deserted air base of Soesterberg, as well as kicking off preparations for Utrecht’s bid to become 2018 Cultural Capital.

Architecturally Utrecht delights the eye, and for those with an artistic bent there is so much to appreciate. Climbing the 460-odd steps of the Dom Tower, constructed in 1382, is essential, laying out the beautiful houses and winding canals at your feet. And what a city it is to survey from the air! So many wonderful old houses line the canals, with modernity fringing the city in the form of distant high rises. The process of city planning has done very well to keep the historical beauty of Utrecht. Every street in the centre, the old town, is packed with lovely old houses, many of which now contain cafes, cinemas, theatres and shops of all flavours, in a well-balanced blend of the modern and the historic.

However, the wonderful architecture of the city is not confined to the old. Utrecht is well known for several modern buildings. This includes the famed Rietveld Schroder house, highlighting the “De Stijl” movement with its focus on red, blue, yellow, black and white colours and exploration of the relation between interior and exterior (such as the disappearing corner window), as well as the architecture at the Uithof university campus. I particularly liked a new building, completed in 2008, called Smarties which is student accommodation, a usage which fits well with the brightly coloured mosaic façade.

The university backs onto a most beautiful nature reserve. I went to explore the university on a hot afternoon, by bike, of course, and after appreciating the impressive buildings I was pleasantly surprised to see a huge expanse of green, rolling fields, cows and woods spreading out from the boundaries of the campus. This is Fort Rhijnnauwen nature reserve, a huge expanse of woods and waterways surrounding a 19th century fort. A little out of town but a lovely place to cycle, walk, drink tea in the various cafes, or just lie between the reeds on the peaceful banks, and incredibly popular with the outdoor-loving Dutch. The Vecht river north of the city, which runs between Utrecht and Amsterdam, is also meant to be beautiful, lined with magnificent country estates, although sadly this will have to wait for my return visit.

Something which I have touched on, but will finish on as a stereotypical, but fundamental Dutch characteristic, is the national love of the outdoors. The Dutch are fanatic cyclers, and their flat country is perfectly suited to all the national cycle networks which criss-cross it, but they also love simply being outside. They treat their open spaces like “beach parks” more than we do in this country. The fantastic weather of my visit saw the banks of the Singel and all the parks covered with sunbathers and picnickers, students pretending to be working, and many decidedly not working. This is the real charm of Utrecht. It is a beautiful city, historically, culturally, even commerciality, with so many opportunities to purchase lovely things, and its people make it a really lovely place to visit. If you visit one place in the Netherlands, I’d strongly advise you to make it this often overlooked city.

Yerma

PLAY REVIEW: YERMA at West Yorkshire Playhouse

Lorca described Yerma (1934) as "a tragic poem". Reflecting on issues of childlessness, the repression of women, and the nature of marriage, this new adaption by Irish writer Ursula Rani Sama sees his powerful play transplanted to Ireland. This is a setting which makes a lot of sense given the similarities between the two nations; a rigid Catholicism, a judgemental society with strict expectations of women, and a superstitious rural tradition of rituals and fertility rites.

Fascinating though these national parallels are, I did not find myself fully convinced by the Irish setting. The accents were of varying quality but acceptable. What jarred more for me was the nagging knowledge that Lorca is making comments on the restrictive society of his native Spain. Of course there are obvious affinities between the two countries, but I often found myself perplexed, not quite sure, for example, how to replace my imagination's expectations of arid, Spanish landscapes with a green, rain-soaked Ireland. Having recently seen Brian Friel’s Dancing at Lughnasa, with all its Irish pecularities, could go some way towards explaining my confusion, but the transition certainly diluted Lorca's characteristic emotional intensity.

This aside, Sama’s adaption does succeed in bringing out much of the lyricism and poetry of Lorca, an element that is difficult to transfer from the original. Particularly interesting was the enriching use of movement, compelling us to watch Yerma’s desparation wildly cavorting across the stage. Kate Stanley Brennan excelled as the lead, bringing a real intensity to the stage. The gaggle of women were also enjoyably convincing with their silly gossip, singing and washing foolery, and it was clear the school kids in the audience warmed to their saucy language. Director Roisin Brinn’s portrayal of the two sisters was starkly memorable, although somewhat spoilt by the laughter of the students. Sinisterly concealed entirely in long black capes and black beaked hats, they brought a clear contrast to the light, airy feel of the summery dresses of the rest of the cast, and the warm, bright lighting.

The set was particularly inspired; a simple tiered wooden decking which unexpectedly slid to reveal three pools of water for the washing scene. A huge tilting moon hung above the stage, reflecting the light from the pools, and lending an absurd, but magical quality to the performance. In domestic scenes Yerma’s house consisted of no more than a glowing line marking the boundaries on the ground, a powerful statement on the lack of privacy, the transparency imposed by rural Spanish culture. Equally powerful was the metaphorical image conjured in the second half of two chairs, one draped with Yerma’s scarf and the other with Juan’s jacket, separated by the lonely stretch of a huge table in an eloquent physical description of the growing distance between the couple.

Yerma is a fine adaption of Lorca’s original, conveying much of the original poetical intensity. I found the use of movement and visual imagery particularly enriching, although the Irish setting did not entirely convince. Roisin Brinn and Ursula Rani Sama have succeeded in creating a powerful revival of a timeless piece; childlessness is as relevant to us with our IVF and surrogate wombs as it was to our grandmothers with their old wives tales and superstitions. Lorca's play has a timeless quality, something which allows revivals like Sama's to speak to us with such power as the original did to the audience of their day.