A riot of colour and fun - Cinderella at Yvonne Arnaud, Guildford

I surprised myself at the Yvonne Arnaud Theatre the other day, by calling out to Buttons. I'm usually a bit, shall we say, 'panto-shy'. The rest of the audience, mainly made up of scouts, guides and primary school children were already in full voice, jumping around in their seats and letting off steam (in the nicest possible way), so I thought I'd better join in. After all, 300 school kids can't be wrong!

Hesketh-Harvey and Gordon - brazen and very funny

I don't want to sound churlish about pantos because they bring a lot of joy to a lot of people, but if they follow the classic panto formula they can get a bit samey. Happily not this one - the script, written by Gerry Tebutt and Victoria Jukes, manages to stay traditional without becoming corny or predictable. There are a few hisses and boos and one or two 'It's behind you' but not so many that you start looking for your popcorn and peeping at your watch. Directed by Tebbutt, the pace is fast and the action engaging. A fabulous and (mostly!) young, endearing cast prance around a gorgeous set by Imagine Theatre and wear fabulously opulent costumes by Attle Costumes Ltd.

Bonnie Langford - sugar sweet as Fairy Snow

It's all good clean fun. Bonnie Langford plays the delightful, sugar-sweet Fairy Snow. Bonnie is an extraordinary lady, yes she's a few years older than when we first saw her on Opportunity Knocks but she is still very cute and the kids loved her. (And believe me, Bonnie's still got it - just wait to see who she lands up with at the end of the show!) The children also loved relative newcomers to the stage - lovely Alice Baker as Cinderella and a rather lovely Will Breckin as Dandini. Tom Senior was utterly charming as the Prince and the experienced Robert Maskell played the baron with a confident bat.

But most of all the children loved Buttons, and rightly so. Jamie Brook is completely natural  and very lovable as the chirpy faced chappie who is smitten with Cinderella and he is funny without ever being patronising. An inspired addition to the plot involves him writing in his diary about his beloved Cinders which is somehow very touching. (Brook is a panto-nut and is keeping an online diary throughout this production - Brummie Button’s Blog)

But who is the fairest of the them all? - sorry, wrong panto - the fairest of them all and quite brazenly stealing the show are the ugly sisters! Kit Hesketh-Harvey with his sharp features and gravelly voice and the rounder, more cuddly Peter Gordon are a magnificent pair - bringing waves of colour and great humour to an already very jolly show. I found myself waiting with excited anticipation for their entrance. Hesketh-Harvey's amazing, slightly sleazy voice and Gordon's 'Les Dawson pout' will live with me for very a long time!

Surprisingly the first half is short on songs for a panto, but a small but perfectly formed band provide some great tunes and appropriate crashes and bangs. A highlight for me was the inspired 'I'm desperate for a wee' song in Act Two which involved the whole cast dancing feverishly to an Irish jig while queuing for the loo. All fantastically timed and very funny - I just hope they can keep that up for 6 weeks. Like all good pantos there is utter mayhem in the second half that had most of the audience on their feet, or under their seats - so here’s a warning, don't wear your best frock and take a hat!

A thoroughly good and uplifting show - I went home with a spring in my step, feeling warmed and thankful that there is still a place for traditional theatre in the hearts of so many.

Cinderella is at the Yvonne Arnaud Theatre until Sunday January 12. Tickets from the box office on 01483 440000 www.yvonne-arnaud.co.uk

Ibsen's Ghosts - deeply moving at the Yvonne Arnaud, Guildford

Ibsen's intriguing and emotionally gruelling 'Ghosts' gets new treatment from Stephen Unwin who directs his own translation in this touring production. Unwin, a self-confessed Ibsen fan, has directed six of Ibsen's plays, five of them for English Touring Theatre who collaborated with The Rose Theatre, Kingston to produce this play.

Mark Quartley and Kelly Hunter in Ghosts

At the centre of the play is a widow, Mrs Alving, played with grace and passion by Kelly Hunter. She lives alone with her maid in a grand, sombre house in Norway where it always rains. 'Prodigal son' Osvald returns from Paris after years away as a struggling artist. Their relationship is close but strained after so many years apart, and the mother's desperation to make up for lost time is quickly apparent. The years estranged from her beloved son affect her more deeply than the death of husband 10 years ago (a man she describes as debauched). From Osvald's first dramatic entrance onto the stage it is clear that he is a troubled & restless soul - Mark Quartly brilliantly captures this with a body liked a coiled spring, lurching from one chair to another, running his hands through his hair, slumping onto the floor with despair and only finding release from his anguish through the effect of drink or the fanciful prospect of love with Regina, the household maid. To her horror, his mother realises he has inherited many of his father's characteristics, and indeed physical 'attriburtes' and she realises she must confront her 'Ghosts'. Her tortured decision between revealing the truth or to conceal it taunts her daily. In  the programme Unwin writes: 'Ultimately Ghosts presents us with a human paradox: you can live unhappily in the rain and gloom of lies and concealment, but once you let in the brilliant light of truth, death and disaster may well follow.' It's no wonder Mrs Alving is nervous about spilling the beans!

Ghosts tackles so many themes, including the complex relationship between children and their parents. Ibsen described Ghosts as 'a family story as sad and grey as this rainy day'. In just one room a domestic drama dips and soars as it delves into the darkest corners of the soul and tests all human strength as past secrets are revealed.
Important to the plot and for the revelation of past secrets and lies, Pastor Manders (Patrick Drury) appears initially to be a friend and business advisor to Mrs Alving. He took her into his home when she walked out on her unhappy marriage and then persuaded her to return to her husband, but his hypocrisy and narrow-mindness bring equal measures of shock and incredulous amusement to the on-looker. He believes that gloom and divine retribution are inevitable - "What right do we have to happiness?" he asks Mrs Alving. Also involved in this tale of family relationships are Jakob Engstrand the carpenter, and Regina the maid, who we understand at the outset is Engstrand's daughter. But - as in all good theatre - things are not what they seem and from these five characters an incredible web of domestic tragedy unfolds.
There are themes running through Ghosts that have been endlessly explored since it was written by Ibsen in 1881, and too many to explore in depth in this review. It caused complete outrage at the time with its shocking material - incest, euthanasia, free love, syphillis, prostitution, the hypocrisy of the church. Much of this is still debated today and Ghosts could easily be set in modern times. However, and happily, Unwin chose to recreate the set originally designed by Edvard Munch, a close friend of Ibsen's. How wonderful that he did - the gloom of Munch's set adds essence to the play; the heavy furniture, the drizzling rain, the lack of light.
Guilt and duty dominate the tragic Mrs Alving's life. She blames herself for her son's torment, and eventually and incredibly also the failure of her marriage, even though her husband was a philandering drunk. She persuades herself, and reveals to Osvald, that her husband strayed because she hadn't created a happy enough home for him to return to. This is a view less likely to be taken by women today, although the guilt of motherhood and the desire to protect children from the truth still pervades.
A strong theme is that 'truth will out' and when it does, as in this particular household, the consequences can be catastrophic. The danger of secrets, lurking like a back dog in the furthest corner of the room, have to be set free in time, and although Mrs Alving thinks that by doing so she will be true to herself and will free her son from inner torment, the pain of the truth is hard to bear. The anguish and torment between mother and son is brilliantly played out in the final scene as the pair almost rip each other apart in their terrible tangle of intense love and desire for normality which is overshadowed by what they both now know. Neither Kelly Hunter nor Mark Quarterly hold back in their physical and emotional energy - it is heart-breaking, but uplifting, to see this scene so passionately played.

Ghosts is a play with so many intriguing themes and twists and turns that I had to pay a second visit. I loved it even more the second time and soaked up every word and witnessed in closer detail the great direction from Stephen Unwin and inspired design by Simon Higlett. A classic and wonderful Ibsen script, directed with vigour and performed by a terrific cast.

Ghosts plays at the Yvonne Arnaud Theatre Guildford until Saturday November 9th, then tours nationwide. Tickets from http://www.yvonne-arnaud.co.uk Box office 01483 440000

Impossible Gentlemen at Dorking's Watermill Jazz Club

I couldn't have chosen a better night to re-visit the Watermill Jazz Club in Dorking. With a free night and a strong yearning for some live music, The Watermill sprung to my mind. Being a Thursday, I knew they'd have a gig planned and when Paul Hobbs rang to say The Impossible Gentlemen were playing, I knew I couldn't miss it. Amazingly they had chosen the Watermill to kick off their UK & European Tour - what a scoop for Dorking!

The place was packed and I was lucky enough to sit smack bang in front of the guitarist, the incredible Mike Walker. The band is headed up by Gwilym Simcock, one of the most gifted and energetic pianists around. Gwilym is unbelievably talented at both classical and jazz and moves confidently between both. He has been described as stylistically reminiscent to Keith Jarrett and his passion for his instrument is intoxicating - Gwilym cannot sit still when he plays which is not only endearing but also evidence of how completely connected and intensely involved he is with his piano. He's almost too generous a band leader, introducing lots of solos for the rest of his band, which is great, but I'd have liked to hear more solos from him too.
Mike Walker is also incredibly accomplished on his instrument, playing the guitar with such intense passion that we sometimes feel have lost him to another place entirely. But he is still with us - the tie between him, his instrument and the audience is never lost. Gwilym watches him intently and they move to another rhythm effortlessly. Mike's musical CV is mind-boggling - he has travelled the world and played with some of the finest musicians imaginable. Too many names and places to mention here but worth checking out.
The fabulously wacky Adam Nussbuaum from Connecticut draws sounds out of his drum kit like I have never heard before - dramatic drum rolls, whispers of noise, vibrations, rattles, a beat that got the whole front row jigging in their seats - his skill is incredible, and so is his energy. And finally the newest member of the band, double bassist Steve Rodby who made his debut at Dorking that night. Born in Illinois he began studying classical orchestral bass at the age of 10. At times he wraps himself round his bass like a long lost lover, engulfing himself in the music. This is a man who has played, composed, conducted and won 13 Grammys; watch him play and you'll see why.
There is incredible telepathy between all The Impossible Gentlemen, so whereas one sometimes wonders in jazz if the right hand man has slightly lost what the left is doing, these guys certainly do. They play completely individually, and yet their music fuses together in compositions that sometimes freewheel off into the unknown before they are reined back onto the rails to continue in steady, pulsating harmony. This is all part of the excitement and skilled musicianship that makes them such a brilliant live band. It's impossible to describe here in detail all their combined years of experience and list their musical acolades. Google them, buy their new album 'Aliens', see them live - do whatever you can to get to know them. Truly, you won't regret it.
The Impossible Gentlemen's current tour dates: www.impossiblegentlemen.com
The Watermill Jazz Club celebrates its 20th anniversary next year and this thriving jazz club owes its success to a devoted team who for 2 decades have planned, gajoled, encouraged and run some of the best jazz nights in the area. The club is hosted by Friends Provident in their spacious social club. Future dates include Stan Tracey and Jacqui Dankworth. More info: www.watermilljazz.co.uk

Norman Adams RA - blessed with space at Guildford Cathedral

What better place to display ‘Images of God’ than Guildford Cathedral? The beautiful pale stonework is the perfect backdrop for vibrant paintings by the late Norman Adams RA.

Adams was a leading British painter of the second half of the 20th century, renowned for his religious paintings and in this exhibition they are blessed with generous space and suffused in gentle light. Adams’ larger works are rarely seen so it is a great privilege indeed to have them displayed in Guildford. In the Lewis Elton Gallery a short walk away, The Artist in his Environment shows paintings of his holidays and a few of the smaller religious works.
Norman Adams was a greatly admired painter with a fascinating life story (fully told in the exhibition leaflet). Born near London in 1927, he went to Harrow Art School at 13. After winning a scholarship to the Royal College of Art he gained many commissions which enabled him to buy a cottage in Yorkshire in 1956.  He lived and worked there for the rest of his life with his wife and two boys. His younger, Ben Adams, inherited his father’s work following his death in 2005 and he has been instrumental in helping put this Guildford exhibition together. Ben’s accompanying notes to each painting add real interest to this collection of work.

Adams was a prolific painter and worked mainly in oils. His paintings are bold and confident and express his feelings on events both contemporary and also historical. His work nearly always has a message. Christian iconography is a theme and he incorporates worldwide issues such as poverty in the third world. His work is political and religious and each painting deserves sufficient time to comprehend the messages beyond a bold, almost luminous, palette .

Adams was elected a full member of the Royal Academy in 1972 and during the 80s he fell in love with Provence and spent many happy summers there. He loved to capture the landscape in water colour and these are relatively delicate and mystical in contrast to his vibrant oils. Adams developed Parkinson’s Disease in the 1990s but, determined not to be defeated, he switched from working in oils on larger works to watercolours, working in smaller sections which he later pieced together. His familiar style is still there, and so is the vibrant energy of a creative and passionate man who used painting as a means to express his views on the world.
This enlightening exhibition was instigated by Michael Woodhouse, from Wonersh, who has worked tirelessly with the Lewis Elton Gallery, Guildford Cathedral and be Adams to celebrate the works of Norman Adams. As we wandered through the cathedral, shafts of sunlight spilled across the paintings. Michael tells me that his vision was to see huge works of art in these great spaces and, following a visit to Ben Adams, the seed was sown. Ben’s contribution has been a huge bonus – in welcoming Michael to view his father’s art collection, helping to sort the practicalities of moving the paintings to Guildford and providing enriching insights into his father’s life and work.
How incredibly lucky for the people of Guildford and further afield that the determination and energy of a very small group of people has resulted in this major exhibition. Entrance is free to both Guidford Cathedral and the Lewis Elton Gallery – allow plenty of time to wander and absorb the magnificence of Norman Adams’ work.
Images of God and The Artist in his Environment runs until Thursday October 24, 2013
More info:
Guildford Cathedral 01483 547860   Website: http://www.guildford-cathedral.org  Check with the Cathedral that services are not scheduled for when you plan to visit.
Lewis Elton Gallery 01483 689167 and www.surrey.ac.uk/arts/visualarts  Gallery open from 10.00 to 17.00 Mon – Fri. Sat & Sun by prior arrangement - call number above.

Great works from down under at the Royal Academy

If your idea of Australian art is just a heady mix of aboriginal paintings and colourful harbour scenes by Ken Done, then you need to get along to the Royal Academy's new exhibition. The long-awaited 'Australia' starts today.

Australia is the most comprehensive and illuminating exhibition of Australian art ever staged in the UK. It spans more than 200 years from 1800 to the present and features 146 artists. Most of the works on show have never been seen in the UK before which is causing an excited stir in the art world. The focus is very much the landscape and if you've been to Australia you'll understand why the dramatic beauty and simmering mystery of the land has inspired artists for centuries, and continues to do so. On a visit to Australia in 1949, art historian Sir Kenneth Clark was struck by Sydney's luminosity saying, "the whole impression is very light, with no forest darkness. Australian artist Sidney Nolan (RA) has always maintained that understanding the landscape was central to his work - his wonderful Ned Kelly painting (1946) features on the front of the exhibition brochure. 

Ned Kelly by Sidney Nolan

Australia is vast - the straight, brown, dusty roads that cross this extraordinary continent carry a mystery of their own, a sense of an endless journeys, filled with anticipation or ennui, depending on the mood of the day and the light in the sky. As we enter this exhibition a vast screen depicts a continuous reel of a guy on a motorbike. The camera follows the rider, artist Shaun Gladwell, as he passes through a 'sacred Aboriginal landscape' north-east of Adelaide”; he seemingly travels forever, to nowhere in particular.

Australia's intrigue also rests on the diversity of its people. And with diversity of people comes richly varying forms of art and creative approaches. In 1788 there were 250 different indigenous tribes in Australia and from their art we get a sense of how unique they were. In Australia Aboriginal art sits alongside the work of the first colonial settlers, and works by 20th century immigrant artists hang by established artists of the present day. Situated so far from the European schools of art, the 19th century Australian artists found their own creative paths and hence a theme of originality and vigour pervades in their work. The late 19th century saw the emergence of the so-called Australian impressionists - Tom Roberts, Frederick McCubbin, Arthur Streeton and others and, although they found the land inhospitable, they painted it and their landscapes provide an invaluable record of their sense of their wonder, almost fear, of this barren land.

Communication was virtually non-existent between Australia and the UK in the early 19th century, and artists' work was the main method of enlightening Europe as to what lay on the other side of the world. John Glover (1767-1849) was an English/Australian artist in the early colonial period of Australian art and has been dubbed the father of Australian landscape painting. He was a prolific artist and sent over 60 paintings back to Bond Street hence providing the first glimpses of this mysterious land.

Of course 200 years of Australian art is a lot of ground to cover, and it isn't possible to describe all the artists and schools of art in this short blog. But this exhibition is about much more than Australian art - it gives us a real understanding of the history of Australia and an insight into the overwhelming influence of the landscape. it also reveals how an exploration of national identity allowed artists great creative freedom resulting in a truly varied and stimulating exhibition.

Australia opens at the Royal Academy, London today (September 21) and continues until Sunday, December 8 2013. Tickets from www.royalacademy.org.uk or phone 0207 300 8027. There are 45 minute exhibition talks, free with exhibition ticket, on Weds and Fridays (25/9 to 29/11)

Rough Justice at the Yvonne Arnaud - much more than just a courtroom drama

I admit it, I have a slight phobia about 'courtroom dramas' - I approach them with the same nervous anticipation as panto's, fearing the worst but hoping to be pleasantly surprised. Hence I approached the Yvonne Arnaud Theatre with a slight drag in my step last night, although the beaming face of Tom Conti on the promo poster for Rough Justice did alleviate my fears a little. Conti is good and everyone loves him so surely any play that bills him as  the star would be of the highest order. "Order, order", oh Lordy, the courtroom cry was already ringing in my ears as I slipped into my seat. And there in front of me was that classic courtroom scene - heavy wood panelling, dark green chairs, desks and sombre robes - I would've run if I could but I couldn't get past the rest of Row E and the play was about to start.

Within minutes we gather that TV journalist James Highwood (Tom Conti) is being accused of smothering his 9 month old baby. But hang on a minute - Heywood is admitting the charge - this could be a very short play indeed. Of course, nothing is what it seems and I become quickly caught up in the intrigue of this fast moving psychological thriller which proves to be much more than a courtroom drama.

Conti is brilliant as the father who admits he killed his own son, but he pleads for compassion. On learning that the baby was disabled we, the audience, are challenged to consider if this was a 'mercy killing'. Reactions from members of court, his solicitor and his wife all contribute to the tangle of emotions we experience as we witness Heywood swing from challenging the judge and lawyer to crumbling in an emotional heap as he recalls the incident.

Terence Frisby, who wrote the play, has first hand experience of being brought down by the legal system and this is evident in the sharp dialogue and accurate presentation of the strange ways of the law. The dialogue is sharp, witty and concise - not a word is wasted and there is humour amongst the angst. Heywood's outbursts to the judge are funny, and at times alarmingly brave. 

The smothering of a small baby is a sensitive topic indeed, particularly perhaps as he is disabled and the debate about quality of life is bounced around the courtroom like a ball in nursery. Topics such as euthanasia, abortion, mercy killing etc. all come to the fore and it is easy for us to watch and nod wisely from the safety of our seats. Until the end, when the lights turn on us and it is our turn to judge. You have been warned. Your final decision may haunt you all the way home.

 A very good play with great performances all round - you will reflect back on it again and again.

Rough Justice is at the Yvonne Arnaud Theatre Guildford until Saturday, September 21 www.yvonne-arnaud.co.uk

Sculpture Al Fresco at Great Fosters

Stately homes offer wonderful settings for works of art and Great Fosters near Egham ticks all the boxes with rambling gardens, fountains, arches and other nooks and crannies that present brilliant backdrops for sculptures in particular. Inside the 16th century house, the vast rooms with their wooden panelling and opulent fireplaces present fabulous settings for works of art.

For the duration of this summer, 13 contemporary artists have been asked to respond to the unique and glorious setting and history of the estate which was originally built as the hunting lodge for King Henry Vlll in 1550 AD.

I visit on a sunny press day when the artists are present and the gorgeous brochure, an absolute work of art in itself, tells us that the majority of the 22 works on display were created in the artists’ studio calling upon materials such as bronze, steel, wood, clay and glass.
Rounding a corner and finding myself confronted by a life-size upside-down thatched roof that surely must be the exception. Alex Chinneck’s structure made of water reed, steel and timber is massive at 410 x 378 (diameter) cm. The upended roof is balancing on its weather vane - an impressive piece of engineering and Alex tells a group of us huddled in its shadow that there is a massive concrete block embedded in the soil which supports his ‘sculpture’.

Alex is the youngest of the artists in Sculpture Al Fresco 2013 and although his upturned roof may bemuse many, he talks with enthusiasm about his work and the months of thought and experimentation that led his to his final creation. How much more interesting conceptual art is when artists explain the journey to get there.

Some of the pieces are more straightforward and need no explanation; Rick Kirby’s fabulous steel work including a mystical steel face in the trees and beautiful glassworks by Sally Fawkes and Richard Jackson. 

Figure Head by Rick Kirby

And then there are some works that I don’t quite get, although the artists’ passion as they talk about them is infectious. Jesse Wine’s glazed ceramic mound called “Who’s that blob’ has been created by left over bits of clay in his studio, but who am I to challenge that as art? He says he mainly uses clay to create ‘fragile, imperfect art-objects’. And Brian Griffith’s vases with their tiny embedded clowns would perhaps draw questions from the realists but they are still creations explored and developed over time.

Marcelle Joseph has lovingly curated this invigorating exhibition of work by an eclectic and interesting group of artists who are clearly respected and known internationally. 

I hope that this grand house with its celebrated Arts & Crafts gardens aren’t off-putting for the general public who want to view the art. It should be seen as an added attraction as once inside the grand gates the atmosphere is relaxed and welcoming.
I shall definitely pay it another visit - for one thing I must check that the glorious thatched roof is still balancing on its tiny peg.

The exhibition is open to all and runs until September 26th. Sculpture Al Fresco, at Great Fosters, Egham, Surrey TW20 9UR Open every day from 10am to 6pm. www.greatfosters.co.uk

Jools pulls out the stops at Hampton Court Music Festival

Jools Holland kicked off this year’s Hampton Court Music Festival by walking on stage with a huge grin on his face. A small man with a big grin and a massive musical talent who takes control of the show from the first note on his keyboard. He does, as they say, ‘really deliver’. 

The intimate courtyard of Hampton Court Palace is a brilliant venue for a man like Jules who really enjoys his crowd. Despite a wicked wind that try to stir up trouble, the atmosphere was warm and full of excited anticipation. Jools launched straight into some amazing keyboard jazz and stunned us all evening with his self-effacing talent. He always likes to bring a few mates along and last night his guests were some of the greatest.

I couldn’t hardly believe that Rico Rodriguez was actually there, I loved him back in the day when he was with The Specials and I feel bad that I’ve let Ska slip somewhere along the way. Last night it was re-ignited just seeing the great man singing in his deep bass tones ‘Don’t Roll those Bloodshot Eyes At Me” - not strictly Ska I know but it kindled an old flame inside me.

Roland Gift from Fine Young Cannibals fame also belted out some great favourites that got the crowd on their feet singing along, not quite sure of the words but familiar with the tunes. Equally powerful in voice and presence was Ruby Turner - such a fabulous legend of a lady and the crowd loved her.

Lurking quietly at the back through all the tunes by Jools and other fine musicians was Gilson Lavis - and forgive me if I didn’t initially know his name but I shall certainly never forget it. He was originally the drummer with Squeeze and now plays with Jools Holland's Rhythm & Blues Orchestra. I thought the old Tudor walls at Hampton Court might crumble when he started an incredible drum solo that went on and on, raising the pulse beats of all the middle aged old rockers in the audience and creating a storm of whistles and cheers when it finally came to an end. 

And backing all of this great musicianship was Jools’ regular band, a pulsing brass section and 2 great female vocalists, all performing with great vigour and looking like they’d happily play all night.

Hampton Court surpassed all my expectations as a music venue - once they’d closed those massive old oak doors, the courtyard became an intimate space with great music bouncing off the walls and rising up to those incredible chimneys where swallows dipped and soared as night fell. I hope Jools was pleased with his crowd - he was certainly still grinning at the end.

Hampton Court Music Festival runs until Monday June 24th. Tickets for sale via the website: http://www.hamptoncourtpalacefestival.com

** Tickets still available for Lisa Stansfield (tonight), Russell Watson (Sunday 16th) and Imelda May (Weds June 19th)

In Praise of Wood - Kit Falla's work at Lewis Elton Gallery

At the Lewis Elton's Gallery's latest exhibition I am drawn to a glass cabinet in the far corner of the room. Walking past wonderful wood-cuts by Kit Falla, safe in the knowledge I will return to them, I want to see the actual woodblock of one of my favourite Falla prints - The Tree (see pic). There is it, tucked away on the bottom shelf surrounded by the tools of the great artist herself. Traces of ink still remain and this excites me just as typography galleys and etching plates always have. They are the proof of the work, the physical beginning of all the prints we see before us. 

Kit Falla's work has all the elements of a great craftswomen. In her designs of trees, leaves, fields we see where many of today's printmakers may have got their inspiration from. 

The Tree is a wonderful moving feast of colour, you can almost feel the wind in the branches. In The Dance we see 3 geese rising from the water in one screeching movement. And The Light Beyond has such a wonderful sense of simple perspective and colour.

Kit has a fascinating life story - she was born in Guernsey in 1924 and on leaving school she joined the WRNS and worked as a 'small cog' in the Bletchley decoding system. She returned to Guernsey after the war and became the first 'calf sketcher' on the Island, literally sketching calves. Once married she moved to Surrey and as her children grew up she continued with her art studies. A spell in Toulouse with her husband's job nurtured her fascination with colour and light and she loved drawing the ancient French farms. her love of the countryside developed into an interest in wood and she attended courses in Sudbury and eventually worked at the Henry Moore Sculpture Studio in London. She says:

"I was led into wood cuts by discovering “frottage”, that is rubbing over figured wood with graphite or carbon on paper.  This soon led to cutting into the wood and printing with ink.  I always cut straight into the block of wood, sometimes with a landscape or figure in mind. When printed, the grain of the wood and the reversed version of what has so far been printed will provide some exciting surprises and work continues with further cutting and printing – almost in a question and answer kind of way."

You can feel the affinity Kit has with wood when you get close to her work. There is something very wise about these woodcuts, and also something tender. She explains: "In a practical and philosophical way my work is a learning process; a learning about life, about myself, and a searching for the secrets hidden within the wood itself.”

In Praise of Wood, a retrospcetive of work by Kit Falla MBE FFPS, is at the Lewis Elton Gallery, Guildford until Saturday June 29. Tel: 01483 689167. Visit www.surrey.ac.uk/arts/visuals for opening hours.

The Woman in Black - just a pigment of my imagination?

It’s a strange thought that people choose to go to the theatre to be frightened out of their wits. The Women in Black, playing this week at Guildford’s Yvonne Arnaud, is famous for making the audience scream out loud and that would appear to be a strong selling point.

Antony Eden as 'the actor'

Based on a novel by Susan Hill, The Woman in Black has been adapted for stage by Stephen Mallatrat, who comments that ‘ghost stories aren’t that many in play form’, the main problem being that it’s hard to do them really well. The modern audience is now so used to stunning special effects in films that a shivering hologram or someone passing behind a gauze curtain in a white sheet simply isn’t good enough. Hence to build suspense today, less is definitely more. An occasional suggestion of the horror that lies behind a closed door or in the attic of some gothic mansion works very well indeed as people’s imaginations, unlike special effects, is the same as it ever was - powerful and potentially terrifying.

And so it is down to the actors to create the suspense. In this production just 2 actors carry that responsibility: Julian Forsyth and Anthony Eden play an elderly man with a terrifying past and a young actor keen to tell the tale. Both are faultless in their roles. Eden is energetic, enthusiastic and delightfully naive as ‘the actor’ who encourages an older man called Mr Kipps to act out the story that has terrified him for most of his life. Forsyth is brilliant as Kipps, growing into the role as the play develops and switching roles with the experience of an actor who enjoys a challenge. Sharp direction by Robin Hereford keeps the pace alive and the two actors convincingly create this two act tale with a couple of chairs and a wicker basket, an imaginary dog of whom we grow very fond, and of course some evocative sound effects.

Ah yes, the sound. How would a ghost story on stage survive without it? Played at high volume the thunder of horses hooves, the screeching and screaming of a woman possessed, the wind in the trees, even the slow ticking of a clock is enough to strike fear into any man’s, and certainly woman’s, heart. Even the Monday night often-quite-sensible Yvonne Arnaud crowd screamed out loud.

There were, I confess, a couple of moments when I felt like laughing particularly when we finally see the face of the poor old Woman in Black who has spent a lonely life in her spooky gothic mansion on the marshes. Mysteriously she is not mentioned in the cast list, and does not take a bow at the end. Was she even there, or did I imagine it?

The Woman in Black is celebrating its 25th anniversary with a UK tour and plays at the Yvonne Arnaud Theatre, Guildford until Saturday, June 8th. www.yvonne-arnaud.co.uk Tel: 01483 440000

Tribal Indians at the Lewis Elton Gallery, Guildford

It is unusual for me to stay hooked to one particular work in an exhibition but at Mirror Mirror, currently showing at the Lewis Elton Gallery, I can’t quite tear myself away from the voices of an Indian tribe coming from one of Salli Tomlinson’s famous ‘sound pictures’. This richly coloured painting on wood, with its delicious layers of cracked varnish and colours yellowed by time, looks initially like a picture of 3 tribal Indians. But when I open the wooden door cut into the picture I hear tribal chanting, murmurings - the sounds of a place and a people far away from this gallery in Surrey.

Salli explains it is the actual voices of a Native American tribe and I am further amazed to hear that this elegant lady with her flowing grey hair journeyed alone to Taos, USA to show the finished picture to the Pueblo native American people.

“They were fairly hostile at first” she says, “and it was a bit nerve-wracking. But when I opened the sound picture door and they heard their own voices and other familiar sounds the tribal elder broke into a broad smile and that gave permission for them all to join in. It was a very spiritual moment.”

Salli first introduced sound pictures into the art world in the 1980s and in this exhibition we are privileged to see, and hear, two of her originals.

The second, ‘Alice’ is a potted history of her family in a huge wooden frame, with tiny cartoons, line drawings and bold, almost comic book portraits of relatives. She says she has always been fascinated with Alice in Wonderland then suddenly calls a young man over.

“Look here,” she says, opening one of the wooden doors, “there’s your dear ma”. He peers into the tiny door and Salli explains all the other relatives. It is a bewitching piece of work, so personal and yet so accessible for us all to see. The busy, chaotic soundtrack is a touching audio mix of family life.

Salli’s son Marcus shares this exhibition and his work is deliberately more minimal. His slow-focus photographs and a film projected on a wall are all he feels he needs to show. He admits he is secretive about his work. A glimpse at his website shows he achieved note in the 1990s for his fashion photography with the likes of French designer Lacroix and the influential British magazines i-D and The Face. He continues to experiment with photography and film and is clearly delighted to exhibit with his mother for the first time.

“We didn’t realise until we worked together how many common themes we have,” he says at the private view. “We come from a long line of artists and we thought it would be interesting for two of us to exhibit together.”

The show also focuses on Salli’s huge magical 2D sculptures and Marcus’s film of a moving sculpture, represented by a Gareth Pugh fashion garment. The Tomlinsons come from a long heritage of artists and painters and it is hard to represent their artistic journeys in such a relatively small space, but Mirror Mirror is an intriguing exhibition that definitely makes you want to find out more.

Mirror Mirror is at the Lewis Elton Gallery, University of Surrey until Thursday June 6. Tel: 01483 689167 www.surrey.ac.uk/arts/visualarts  

Artists' websites: www.sallitomlinson.com  http://marcustomlinson.com

Antiques Roadshow comes to Polesden Lacey, with 4,500 fans in tow

What a difference the sun makes! It certainly did for the 4,500 people who turned up at Polesden Lacey last week for the BBC’s Antiques Roadshow. Queuing for over 3 hours doesn’t seem quite so bad when it’s warm and you can enjoy an ice cream.

Fiona Bruce was there, charming the crowds and taking time to talk in depth with some of the lovely people who came bearing family heirlooms and other treasures.

I had a chat with her before she started filming and she was in a state of happy excitement:

“This is the first of the new series which will be shown in the autumn. We all came down here yesterday and it was like the start of a new term, wonderful to see everyone and we had a very lively supper together. Really, the Antiques Roadshow is like one big family and it is so great to get together again.” 

Polesden Lacey is of course a great location for the show. The grand stately home, now owned by the National Trust, was the home of Mrs Greville a gregarious Edwardian hostess who loved entertaining friends at her glorious home, including King George VI and the Queen Mother. The anticipation that items related to the royal pair might emerge were in the air.

Fiona and the AR gang enjoyed a tour around the house before the open day for the public, and they, like most visitors were astounded by the collections on view.

“This is just an amazing house,” she said, “the silverware and ceramics are wonderful and you can just picture it as a lovely house for living and entertaining. Mrs Greville was obviously a fascinating lady and a lot of fun - I wish I’d known her!”

I asked Fiona if she has ever had her own treasures valued by the team.

“Sadly I don’t have anything of great value,” she said. ‘But I did ask them to check over my engagement ring” as she showed her delicate hand with ring in situ. “John Benjamin was fascinating, he traced the stone back to the mine in New Zealand where it came from.”

I asked her if the filming is all live, considering some people’s reactions are subdued in front of the camera, and she was slightly horrified,

“Of course it is,” she replied. “otherwise we’d be asking people to act and that’s out of the question.”

So there it is, confirmed by the lady herself, Antiques Roadshow is very much live and still attracting around 6 million viewers each programme.

So what turned up at Poesden Lacey? Some great treasures were revealed including a photo album and brooch owned by a lady whose mother had been a maid to Mrs Greville, the hostess of Polesden Lacey. Also a piece of icing from an anniversary cake.

The atmosphere is one of great excitement at these live events and it is amazing how the experts keep their enthusiasm in top gear throughout the day. At Polesden Lacey the last people clutching bags of precious items were seen at 8pm at night - I hope it was worth the wait and that an amazing, rare artefact was revealed in the last flickers of daylight.

On 5^th September the Antiques Roadshow will be at the Royal Ballet Lower School in Richmond Park. Visit www.bbc.co.uk for details.

Surrey Open Studios - a few teasers

There are some great Open Studios taster sessions around the county at the moment, offering a flavour of the exciting range of creative work on view at participating studios and galleries in June.

The Lewis Elton Gallery, a wonderful gallery tucked away within the University of Surrey campus, is showing works by various artists until May 16th. Peter Rogers has co-ordinated this exhibition and has selected a richly varied collection of work from 34 exhibitors.

I particularly loved paintings by Andrew Curtis, an artist who draws inspiration from his travels, creating vibrant and striking works of art in watercolour, oil, acrylic and mixed media. Wonderfully vivid collages containing bits and pieces gathered on his wanderings in North Africa and the Middle East, including secular Arabic text together with bits of Koran, really bring the countries to life.

Also at the Lewis Elton Gallery, Iona Mackenzie Laycock exhibits some of her richly earthy 3D ‘paintings’ depicting landscapes from Surrey, Sutherland and beyond.

Mary Wondrausch includes a 3D collage and richly glazed ceramics and currently has one of her works at the V & A.

Beautiful, smooth wooden vases and bowls by John Sherwood, screenprints by Annee Robson, deliciously rich green glass vases by Jake Mee - the variety of work is exciting and of the highest quality.

                                                            Glass vase by Jake Mee

Sambaru by Andrew Curtis

Taster sessions:

West Surrey, until May 16th, 10am to 5pm at Lewis Elton Gallery, University of Surrey
East Surrey, May 7 to May 23, 10am to 5pm at East Surrey College, Redhill.
Selected Surrey, May 25 to July 7, various times, at Bourneside Gallery, Dorking.

Check the SAOS website for full details: www.surreyopenstudios.org.uk

The Sculpture Garden at Birtley House, Bramley

Last Friday was the perfect evening for a wander around the beautiful grounds at Birtley House, currently hosting The Sculpture Garden, an annual event that has grown to be an important date in the summer art diary.

The range of work at the exhibition is exciting and varied. Wherever I turned another surprise greeted me - birds of prey, a nut-brown twisted column of wood, a spring hare, a walnut or a simple cocoon pod.

A beautifully serene piece carved in serpentine stone by Zimbabwean artist Ronnie Dongo caught my eye as it rested peacefully in the sun. I couldn't resist stroking the cool smooth stone, and the curator told me that their regular groups of partially sighted people always stroke and feel the sculptures, perhaps gaining a sense of the piece that the sighted may miss.

On a slight incline a majestic welded steel peacock by Amy Goodman peers towards the lake. Sculptures by Peter Little include wonderful wafting water lilies crafted in steel, copper and sedum. And there are also smaller to admire - glass and stone pieces by Adam Aaronson and birds, beasties and insects by various artists. 

The inspiration and development has been steered by local artist Juliet Scott who works mainly in clay, producing elegant works of art based on her observations of every day life. Her original pieces are cast in bronze, aluminium, copper, iron and other resins.

Every style, shape and size of sculpture is covered in this wonderful exhibition. Indeed, there is so much to see that another visit is marked in my diary.

The Sculpture Garden is raising funds for the Community Foundation for Surrey who support local community and voluntary projects, improving the lives of those in need in Surrey. 

The Sculpture Garden is open daily from 10am to 5pm until Sunday June 2nd. Birtley House is in Bramley, just south of Guildford. Visit the website on www.birtleyhouse.co.uk or call 01483 892055 for more details.

Joe Egg at the Rose, Kingston

Many years ago I interviewed Ralf Little when he was appearing in Billy Liar. He was totally charming with a cheeky sense of humour and exuded infectious enthusiasm.
Here he is again then, cheeky and charming but displaying a mature confidence at the Rose Theatre Kingston in the touring production of A Day in the Death of Joe Egg. Ralf is so relaxed and so amicable you feel you could just jump up and join him on stage. Admittedly he plays a character that instantly engages with the audience, and they can’t get enough of him. He kicks off this lively production by running through the audience and leaping on stage. Dressed as an affable teacher complete with cord jacket and leather patch elbows, he spends five minutes shouting at us to stop talking, put our hands on our heads - and amazingly everyone does it.  What great power and presence the man has!

Ralf plays Brian, or Bri, husband to Sheila and father to their disabled 10 year old daughter, Joe. The first act reveals the relationship between the couple and their relationship with Joe. Bri swings between comedic charmer to a falling man who needs constant reassurance and support. Sheila, played tenderly and with warm humour by Rebecca Johnson, is an energetic, devoted mother trying hard to keep the family together and to give her daughter as normal a life as possible.

Jessica Bastick-Vines plays Joe, no doubt a difficult role but played so convincingly that there was certainly a very quite, thoughtful pause in the merriment of the audience when she is first brought on stage in her wheelchair.

Touching on a sensitive subject, this play, written by Peter Nichols and first performed in Glasgow in 1967 is surprisingly riotous and full of great gags and humour. Nichols’ script is fast-paced, poignant and pithy. The quick-fire dialogue between the characters is spot on, and the second act is hysterical in places. Neighbours Freddie (Owen Oakeshott) and Pamela (Sally Tatum) are a brilliant double act as the couple of who can’t quite get their to grips with the presence of a disabled child and Pam in particular is cringingly tactless with her small-mindedness attitudes. But Tatum brings great humour to the role and her mannerisms are so painfully funny, so much so that somehow this dissipates any discomfort we may feel.

But trumping all cards for delivering a truly great character is Oakeshott. I sat spellbound as he twisted and crouched and wrang his hands with sympathy and awkward well meaning. He is unfailingly constant in accent, manner and delivery. With Marjorie Yates also brilliant as Bri’s mother, this is a truly stunning cast.

Joe Egg is directed by Stephen Unwin, who himself has a disabled son called Joey. The programme for this production includes an enlightening and moving article written by Unwin for The Guardian in September 2012. In it he describes the challenges and joys of raising a boy with profound learning difficulties. He says how his Joey has opened his eyes. I think and hope that this moving play, with its flashes of black humour interspersed with quiet tenderness, will do the same for those of us lucky enough to see it.

A day in the life of Joe Egg plays at the Rose Theatre Kingston until May 18th, 2013 

Box office: 08444821556  www.rosetheatrekingston.org

Guildford choir Coromarta herald start of spring

Despite the flutters of snow and a strenuous uphill trek, I decided that a bit of hill-top music on a bleak Saturday afternoon might be good for the legs, and surely good for the soul. Weeks of bitterly cold weather were beginning to wear me down a bit. 
The doors of St Martha's Church, just outside Guildford, were closed but I could hear the buzz of voices from inside and the director of the concert was jumping from foot to foot at the entrance, beckoning people inside. 
"A new singing group, a wonderful programme and it's all free. Dogs welcome!" exclaimed Peter White, wringing his hands to keep warm.

Inside a large crowd had gathered to listen to a performance by the newly formed choir Coromarta who were performing a concert as part of the Guildford International Music Festival.
Directed by Peter White, a Guildford musician, composer and Director of Music at the Royal Grammar School, the choir performed a range of works under the title of Music of the British Landscape.
They opened with John Ireland's relatively unfamiliar work The Hills, and it was immediately apparent that this was an extraordinarily accomplished choir with an excellent balance, just four to a part, but all the singers in their twenties with strong and pure voices. This beautiful song and the sound of their voices was indeed proving good for the soul.
The programme continued with works by Elgar, Holst, Grainger and Vaughan Williams. Holst's I Love My Love featured a lovely baritone solo from John Foakes whilst Cyrus Dromgoole Cavazzi's haunting tenor solo in Grainger's masterful arrangement of Brigg Fair was particularly memorable.
Then we heard Peter White's own folk song arrangements which, as he commented himself, somewhat optimistically heralded the coming of spring. His hypnotic version of My Bonnie Lies Over the Ocean was particularly effective, whilst the energetic and very fast arrangement of The Tailor and the Mouse, demonstrated the complete security of the choir.
The concert ended with The Five Flower Songs by Benjamin Britten whose centenary is celebrated this year. Complex harmonies and changes in tempo were confidently tackled by this excellent new group who plan more performances this year, both in Guildford and further afield.

It was well worth the walk, and although my dog whimpered a bit at the high notes, she loved it too.

For more information about Coromarta contact Peter White via the Royal Grammar School. 01483 880600 or email guildown@gmail.com

Abigail's Party, top show from talented cast

The original 1977 Abigail’s Party, starring Alison Steadman as Beverley, is so firmly rooted in our minds that it takes a brave company to re-launch it and an even braver lady to try and step into her shoes. In the current touring Theatre Royal Bath and Chocolate Factory production, Hannah Waterman throws her very heart and platform shoes into the role.

She portrays wonderfully the outrageous suburban housewife who is brash, luscious, gregarious and ‘up for it’, but who also has a vicious tongue that is particularly wicked after a few G & T’s.

The current production went down a storm on its first night at the Yvonne Arnaud Theatre, Guildford. Of course the audience were very much the ‘right age’ to relate to the 70’s decor, the pineapple and cheese on sticks, the novelty of olives, and music from Demis Roussos and James Galway.

Beverley’s husband Laurence was played captured by Martin Marquez. As he lovingly selected various LP’s to entertain his guests, you could see the eyes of the audience moisten with happy memories. How wonderful it was to have shelves stacked with LPs, carefully arranged in alphabetical order, the careful process of selection and the scapegoat of reading the LP cover when you couldn’t think of anything to say. There’s something about I-Tunes and Spotify that lacks that tactile satisfaction. 

But back to the play....

The cast are all all good. Beverly’s neighbour Angela is beautifully played by Katie Lightfoot, who chatters non-stop, fidgets and tries so uber-hard to please. She irritates the hell out of her smooth husband Tony, or Tone as Beverly likes to call him. Samuel James, as Tony, has very few lines but manages to draw guffaws of laughter from the crowd just by saying a long “Yeahh” or sprawling across the chair as he makes seductive advances to Beverly.

And finally, the rather nice neighbour Sue, whose daughter “Abigail’ is having a party, is brilliantly played by Emily Raymond. Very ‘proper’ in relation to her more brash neighbours, keen to remain poised and polite, she is somehow floored by downing far too many G & T’s pressed upon her by the generous but wicked Beverly.

Mike Leigh’s plays are all about the dialogue and the cast and this cast deliver their lines fast and furiously, with all the colour and characterisation that he would have expected. There’s not much of a plot, but it doesn’t seem to matter, the sheer entertainment of watching these characters move from tense beginnings, through humour and anxiety to the final climax is sharply drawn.

Hastily thrown together by Mike Leigh when another play at Hampstead Theatre was cancelled back in the 70’s, Abigail’s Party was an instant success and it is still thoroughly entertaining today. Great dialogue simply doesn’t age.

Abigail’s Party is at the Yvonne Arnaud Theatre until Saturday, March 30th. Box office 01483 440000www.yvonne-arnaud.co.uk

Musicians of highest calibre perform premiere of Carnival 2 in Guildford

Excitement and anticipation was in the air at Holy Trinity Church, Guilford last week as The Royal Grammar School Chorus and Orchestra performed some classic works and also the premier of a Carnival 2, composed by the RGS Director of Music, Peter White.

Duncan Hampshire and Michael Lan

An astonishingly accomplished performance of Vivaldi’s Concerto for Two Cellos in G Minor set a high standard for the evening’s programme. Cellists Duncan Hampshire and Michael Lan played three contrasting movements with incredible confidence, accompanied by a tight orchestra who tackled the demanding score perfectly, resulting in an truly uplifting performance.

The strings then gave a beautiful and well judged performance of the Sarabande from the Simple Symphony. Directed by Dale Chambers, the orchestra played with effortless precision and explored fully the emotional depths of the music.

Lest the audience should feel lulled into serenity, a rumbustious performance of Constant Lambert’s Rio Grande filled the church as a full choir of parents, staff and boys sang this complex composition. Strings, brass and percussion evoked the Brazilian Carnival with tightly fused energy whilst RGS pianist Eric Foster, performed the virtuosos piano solo part, full of syncopated rhythms and passages of frightening technical complexity, with astonishing panache and bravura. 

With the arrival of a second grand piano, eight RGS boys then played Richard Rodney Bennett’s charming Four Piece Suite. They all played perfectly and with great composure, clearly enjoying the popular idioms that infuse the entire work. 

Then finally, the long-awaited premier of Carnival 2, written by Peter White last summer which began with a brisk fanfare to herald the Dawn Chorus. Taking Saint-Saens’ original Carnival of the Animals as its model, Peter White has introduced great humour to a work that introduces us to twelve new creatures. The sense of fun is reinforced by lyrics that bind the different sections together, read with great wit by RGS boy Ben Phillip.

Each section beautifully evoked the various animals. ‘Whales’ filled the church with surging violins, cellos and basses accompanying cascading arpeggios, Pigs grunted, Soldier Ants marched with military precision and Flies buzzed. Lonesome George was a simple double bass solo. In contrast, Lounge Lizards introduced a somewhat cheeky, jazzy tune whilst the bleakly beautiful  Bittern was exceptionally moving. 

Amazing that one school can produce so many fine musicians and particularly pianists, fifteen in all took solo roles. It was hard not to burst into applause after each section, but wait we did, and the thunderous applause after the finale was evidence of the huge appreciation of an amazing evening of RGS music. 

N.B. There are FREE concerts on the first Tuesday of the month at 1.15pm by the RGS musicians in Holy Trinity Church Guildford.