Coming Up: Flesh & Blood Women at the Grand Opera House

In what is believed to be the first-ever all-female, home-produced theatre production in the history of Northern Irish theatre, Flesh & Blood Women is about to set the Grand Opera House alight in early May, running from Wednesday 7th – Saturday 24th May.

Green Shoot promise an exhilarating night at the theatre with the production consisting of three hard hitting short plays written by Dawn Purvis, Brenda Murphy and Jo Egan.

Writing for the theatre for the first time, in her play Picking Up Worms, former Progressive Unionist Party leader Dawn Purvis tells a story from the 1970s about a child’s reflection of events on a street in Belfast during the Ulster Worker’s Strike in 1974.

Ballymurphy playwright and writer of the award-winning A Night With George, Brenda Murphy, tells the extraordinary true story of her mother having 11 children, six to a married man who lived around the corner with his own family.  In Two Sore Legs the former Republican prisoner uses her trademark Belfast humour to tell this very personal story, told from her mother’s perspective.

After last year's success as the writer/ director of Crimea Square, voted winner of the Audience Awards at the Ulster Bank Belfast Festival at Queen's, Jo Egan’s play Sweeties will tell the stunning story of two sisters with conflicting memories about a life-changing incident from their childhood. Sweeties is based on Jo’s original oral research with Belfast women.

Flesh & Blood Women is unique in that it is the first production in the history of Northern Irish theatre where everyone involved is a woman. From writers to designers, from producer to director and stage management to marketers – believe it or not – it’s never happened before. In total, nineteen women will be involved at all levels of production.

The company are especially thrilled to have acquired the services of Coronation Street actress and director, Noreen Kershaw. Noreen won a BAFTA for directing the controversial Coronation Street storyline about the rape of Carla Connor. She has also directed episodes of Shameless and Emmerdale.

The all female cast includes Kerri Quinn, Maria Connolly, Rosie McClelland and Kat Regan.

For more information and to book tickets please click here.

@classygenes

Coming Up: How Many Miles to Babylon? at the Lyric Belfast

The First World War Centenary is commemorated in dramatic fashion at the Lyric Theatre with a stirring adaptation of Jennifer Johnston’s novel How Many Miles to Babylon? this Spring.

Rehearsals are well underway with an impressive line-up of Irish and English actors bringing the Londonderry author’s “brilliant masterpiece” to the stage for the first time in Northern Ireland.

Anthony Delaney (Alec) and Ryan McParland (Jerry) in rehearsals

How Many Miles to Babylon? tells the heart-rending story of two young Irish boys from very different backgrounds who end up fighting in Flanders. Alec and Jerry are divided by class but united in friendship. One is the only child of Anglo-Irish landowners; the other is from a large family of Irish workers. Brought together by a shared love of horses, the pair enjoy an idyllic childhood on the same estate in County Wicklow.

As war breaks out at the end of 1914, both enlist in the army - and find themselves standing together, yet divided once more by rank. In the fields of Flanders, they must not only endure the horrors of the battlefield, but also face an ordeal that will test their friendship and their loyalty to breaking point.  The dramatic tale has been adapted by Irish actor and current Artistic Director of the PICT theatre in Pittsburgh, Alan Stanford.

How Many Miles to  Babylon full cast

Philip Wilson directs an impressive cast with Good Vibrations star Ryan McParland taking on the role of the charismatic Jerry and Anthony Delaney (Liola, The Kingdom) as Alec. Lyric audiences may also remember Ryan from Tim Loane’s The Civilisation Game in 2012 as well as the BBC series, 6 Degrees set in Belfast.

Catherine Cusack, part of the Irish acting dynasty of Cusacks, plays the cold mother, Alicia Moore opposite Michael James Ford (Becoming Jane; Michael Collins) as her husband. The rest of the cast are Richard Teverson (Brideshead Revisited; Downton Abbey) as Major Glendinning, Jeremy Lloyd (The Iron Lady) as Bennett and Charlie De Bromhead (How to Lose Friends and Alienate People).

Director Philip Wilson

“I came across Jennifer Johnston’s novel some years back, when I was researching another First World War story, and her delicate yet heartbreaking account of how young Irish men faced the unimaginable in the trenches has stayed with me ever since,” said the director, Philip Wilson.

“So I leapt at the chance to stage Alan Stanford’s poignant and richly evocative adaptation of this classic novel. Alec and Jerry’s friendship – which transcends education, class and religion – is a wonderfully compelling one, and the journey they go on together is truly remarkable.”

How Many Miles to Babylon? runs on the Danske Bank Stage, Lyric Theatre from Wed 30 April to Sat 24 May (Previews Sun 27 April 2.30pm; Tues 29 April 1pm & 7.45pm)

For more information and booking, please click here.

Image credits: Brian Morrison

Coming Up: Brassneck's Man In The Moon at the Belfast Waterfront

Man in the Moon brings captivating local theatre to Belfast Waterfront’s Studio from Wednesday 19 to Saturday 29 March.  (No performance on Sunday 23 March).

“A brave and stirring piece of theatre… marvellously engaging.”

(Irish Theatre Magazine)

Written by acclaimed playwright Pearse Elliott and starring Ciaran Nolan - one of Ireland’s most gifted young actors - this one man show is brought to you by Belfast's Brassneck Theatre Company, the producers of smash-hit shows The Sweety Bottle and A Night With George.

“Funny, fast-paced and unexpectedly poignant.”  

(Culture NI)

Powerful, poignant and funny, this darkly comedic roller-coaster is the tender story of one man’s resolve to overcome the worst that life has to throw at him.  Sean Doran has recently been fired from his dead-end job. To make matters worse, his girlfriend has left him, taking their child, and the bank has just repossessed his house.

And so, we find Sean alone by the Half Moon Lake, a natural lagoon in the middle of Lenadoon Housing Estate in West Belfast, which although beautiful is known as a place of tragedy.

“Belly laughs, scene after scene.”  

(Irish News)

Over the course of one moonlit evening he takes us on a soul-searching journey through life, love and death, via his past, present and future.  He takes us on a ghost hunt of some of the funny people he has known and hilarious situations he has experienced in his life, whilst trying to fashion sense of his recent run of bad luck.

“Brassneck have pushed their creative boundaries with this play, which although comedic in many senses, deals with deeply serious and relevant subject matters.”

Writer, Pearse Elliott

“I have drawn parallels with the classic movie, ‘It’s a Wonderful Life’. Sean is our George Bailey and throughout Man In The Moon he talks and tries to make sense of his life and all the bad events that have come his way.  Reflecting on the people he has lost to suicide, Sean looks for a way to deal with everything and troop on. This is a story of survival, choices and how we can make a difference in this world.”

Director Tony Devlin

Man in the Moon is recommended for ages 15+ and contains strong language.

Tickets for Man in the Moon are available at www.waterfront.co.uk

The Man Jesus at the Lyric Theatre Review

Wednesday night saw the world premiere of  The Man Jesus at the Lyric Theatre, Belfast.  A one man show written by Matthew Hurt and starring Simon Callow, the show tells the story of Jesus, from the point of view of various characters we know from the Bible.

Matthew Hurt's programme note says that the play is 'an attempt to peel away the the layers of assumption and the residue of mythology so that we can look into the face of a man'. Given the religious mythology that has been layered on the historical Jesus over hundreds of years, this is a tall order.

The stage is completely stripped back, the brick walls and fire evacuation sign giving a sense of stark bareness, of barrenness, almost of bleakness.  This allows the audience to focus only on the actor on stage and gives the feeling of the story being told in any space or time.

Each character portrayed is given their name in Aramaic, Jesus as Yeshua, Judas as Yehuda, Mary as Miryam.  While I understand the concept behind this decision was to remove the preconceptions an audience member may have, I found this confusing to follow and spent a lot of time as each character was introduced trying to figure out who the biblical character was.  Every character had their own accent, perhaps to enable the audience to differentiate between each.  I found this very distracting and would have liked to see each character presented with more physicality, removing the strong accents completely, and providing a completely stripped back portrayal.

Simon Callow himself is an amazing actor and handled the show well despite being ill.  His passionate portrayals and understanding of the stage is excellent.

The Man Jesus is a brave play which absolutely does present Jesus as a charismatic man, an important human being and as a radical of his day.  The play does not attempt to dismiss the mythology which has sprung up from his story, but looks at how his charisma, strangeness and different opinions affected those around him and describes how his magnetism encouraged people to follow him.

Of course, it should be noted that while Matthew Hurt attempts to strip the story back and remove the years of legend and layers of mythology, he uses as his source, the Gospels, which cannot be dated accurately and are anonymous.  Other Gospels were not included in the Bible at all. The Gospels are themselves a mythology and thus we can never truly know The Man Jesus.

The Man Jesus is playing at the Lyric Theatre, Belfast until 20th April.
Click here to find out more.            


Karen

http://twitter.com/classygenes

Hang in There at Culturlann - Review

After taking her life, Colleen finds herself in the company of Póla, a seasoned occupant of "the other side" whose questions force her to take a closer look at her past life in a bid to find peace in her new surroundings. When one door closes... when will the other one open? Hang in there is a short play exploring one possibility of what could be waiting for us after life.

Bronagh Diamond's short play 'Hang in There' was produced during Féile an Earraigh at the Cultúrlann on the Falls Road and features Danielle Magennis as Colleen and Cathy Brennan-Bradley as Póla.  The play opens in darkness with a simple set consisting of just a bed, a chair, a door and a cardboard box.  Oh and a rope hanging ominously from the lighting grid. 

Colleen has has taken her own life and finds herself in an unknown place and is frightened.  An odd woman with a clipboard wants to ask her questions about her family, about her life, about why she hanged herself.  Colleen is an educated girl, with a job and a loving family, but her life has not gone the way she expected. It seems that all the opportunities she was promised as a child, such as seeing the world and having an amazing career were not true.  I like that Bronagh made this character intelligent, educated and not an obvious candidate for suicide.  It serves to dispel the myth that those who are suicidal must be mentally ill, have terrible lives or no prospects.  Anyone can feel hopeless and despairing, and there are many reasons why someone may feel suicidal. Póla acts as a counsellor and a guide.  She advises Colleen that she can't move on through the door until she looks back at her life and accepts peace.  This character draws information out of Colleen and adds both much needed humour and context to proceedings.  

This play does not preach to those considering suicide, it doesn't say you will go to hell if you take your life but it does try to highlight the pain of the people left behind.  Where Colleen can move on through the door, the people left behind will never move on. While Colleen's problems have ended, they've just been passed on to her family. A play dealing with such emotional issues was never going to be an easy watch, but humour was used to good effect and helped to lift the story out of complete despair.               

I would like to see the writer develop the story a little further, perhaps by giving the audience more insight into Colleen's life.  The strongest points in the story are when we see the mother's pain and are told about the effect on her little brother when he finds her body.  A particularly nice moment when Colleen and Póla are looking through photos accompanied by music could be enhanced by using projection to show the audience what they are looking at.  This would help the audience to make more of a connection with the character.    

Credit must be given for producing such a brave play especially in the heart of West Belfast where suicide rates are so high.  Suicide rates in NI have doubled in the past 15 years, with a sharp rise in North and West Belfast. There are not many people who have not been touched by suicide, and mental health is still a taboo issue. Perhaps with a little bit of funding to tour around communities, this play would help to raise awareness and help to force the subject of suicide into the open.

If you are in urgent need of help please call Lifeline on 0808 808 8000 or the Samaritans on 08457 90 90 90.

Karen

http://twitter.com/classygenes

Tron Theatre's Ulysses

Ulysses was the first show I picked from the Belfast Festival brochure, and was at The MAC Belfast.  I haven't read Joyce's original. I have however studied Homer's Odyssey in depth, and love it so much I read it over and over again.

Joyce's Ulysses mimics Homer's Odyssey, and this play is based on Joyce's Ulysses.  I could have read Ulysses, or looked up Wikipedia to see what Joyce's story was about, but I decided not to.  I thought it might be much more interesting to watch a play which is effectively the reception of a reception of the famed epic.

With zero knowledge of Joyce's Ulysses, and given it's 'I started it but I couldn't finish it' reputation, I knew this was going to make for an interesting experience.  Actually the only thing I did know about Ulysses is that Dervla Kirwin's Jewish ancestor is in it! (Who Do You Think You Are?)

Ulysses has 18 chapters which correspond, often oddly, to episodes in Homer's Odyssey.  To say that I followed every parallel would be a lie, but I was pleasantly surprised that I was able to relate a lot of the scenes back to the original.  I particularly enjoyed the scenes relating to the Lotus Eaters (Martha's letters), Nausicaa (Gerty's immodesty) and Circe (Bella's Brothel), though there were many gasps to be heard from the audience in the latter scene...

The set conjured up the many different settings of Bloom's Odyssey around Dublin and the lighting beautifully accented it.  The actors were all strong playing over 80 characters and I thought all in all this was a well put together production, particularly for such a complex story.  I did feel at times that some of the audience was a little lost, but I guess that was to be expected. I freely admit to having been a little lost at times too.

Ghosts of Drumglass

On Monday I went to see Ghosts of Drumglass by Kabosh, a site specific theatrical experience in Drumglass Park, known to most as Cranmore Park. Given that I often walk through Cranmore Park on my way home and my kids play there, I was looking forward to seeing what scariness Kabosh would come up with.  

So the story goes that the Musgrave family died with the passing of the last remaining child, Henry. From a family of 11, no descendants were produced to carry on the blood line. In the darkness of the park, the ghosts of the past threaten to fragment the peace of the present that eludes them. The ancient trees of Drumglass surrender the secrets of the Musgrave family to those who trace the steps of the dead. 

When we first arrived we were split into two groups and led into the toilets, first the ladies then the gents.  With hidden performers banging inside the cubicles, blood dripping from doors, incense and sinks filled with horrible things, we knew we were in for an interesting experience.  We were led around the park by Jimmy Doran, playing Mr Musgrave and by some volunteer guides.  The soundscape was excellent, particularly in the playground scenes.  Children's voices and strange shrieking poured from the play area, while swings swung of their own accord, toy animals moved and roundabouts spun.  I think this was the most effective part of the play and it was suitably spooky.  The start of the play seemed to take a while to get going. I found it a little difficult to follow Musgrave's setting of the scene, possibly because it was quite long-winded.  More likely it was because I was a bit nervous that a hand was going to grab me from the plughole of the sink I was standing against...                 

Ghosts of Drumglass was a really nice, accessible fun way way to spend a Monday night.  Jimmy Doran and Michael Liebmann were great as the main characters and the supporting cast were suitably creepy.  It's a show that doesn't take itself too seriously and the image of Jimmy having a conversation with a talking teddy bear will stay with me for a long time.

I don't know how they were doing 4 shows a night. It was absolutely freezing - if anyone has earned a stiff drink or five, it's this cast and crew.

Macbeth at the Lyric Theatre

Everyone knows elements of Macbeth, whether it's Macbeth's famous words "Is this a dagger which I see before me?" or the weird sisters' mantra "Double, double toil and trouble". 


Any production team on Macbeth must feel the weight of theatre history on their shoulders. With so many different productions there is a need to be distinct, to add something to the Reception of the Macbeth story. 

The first thing that struck me when I entered the theatre is the magnificent set for this story. Diana Ennis has captured the mood perfectly.  The set is steeped in suffocating darkness, the weight of pebbles on the upper layer crushing the signs of normality below.  It is dramatic, epic and courageous, a portent of the production to follow.

I loved Lynne Parker's take on the weird sisters.  They are completely integrated into the society around them, having domestic lives as well as going mysteriously about their supernatural lives.  Their furtive glances and artful ability to slip into the shadows is creepy.  The witches are all powerful, always around Macbeth, whether in his mind, putting words into his mouth, within the domestic characters surrounding him or as apparitions.        

Stuart Graham as Macbeth is strong, and he is adept at removing his ties to reality bit by bit.  His descent into madness is realised with true fear and incomprehension.  His partnership with Lady Macbeth never seems quite passionate enough.  "Look like the innocent flower, but be the serpent under it." says Lady Macbeth.  I was a little disappointed in this portrayal which was too subtle a depiction of what I see as a tenacious and manipulative character.  Even before her descent into guilt, I never quite believed that she was the powerful woman of ambition that she is written to be.   
 
Paul Mallon makes an interesting McDuff.  At first I couldn't understand his seemingly underwhelming response to the news of the massacre of  his family.  But the stiff way he holds his body and the hang of his head was not unemotional but rather his body was filled with restrained anger.  The power and emotion he mustered into in a yell of pure revenge when he killed Macbeth ensured I felt his pain and then some.
 
Banquo is especially brilliant as a particularly devilish apparition, challenging Macbeth without saying a word, a testament to Michael Condron's skill as an actor.  
 
Two moments jarred with my overall experience.  The apparation which appears from a trapdoor on the stage adds misplaced humour which does not fit with the overall sense of hysteria Macbeth is feeling. The modern costumes and use of torches fits well with the production but I felt that the addition of army style radios was a step too far into modernity.

All round I thought this was a fantastic and interesting production and one that adds to the reception of the myth of Macbeth.  The production felt particularly rooted in Ireland, and indeed in Northern Ireland.  The blackness of the set, crunching of pebbles and strategically distributed haze would not feel out of place on Belfast's Black Mountain.  It's not too fantastic to believe that you could meet one of the weird sisters walking through our streets.  The retention of the actors' Belfast accents and the simpleness of their dress gives more than just a nod to their Belfast birthplace.

Macbeth runs until 24th November at the Lyric Belfast.

BOOK HERE

Pvt. Wars at the Baby Grand

Last night I went to see PVT. Wars at the Grand Opera House.  Produced by up and coming new theatre company Pintsized Productions, directed by Terry Keeley and written by James McLure, the play stars 3 of NI's best young actors - Martin McCann, Chris Robinson and Gerard McCabe.  

The 3 characters Silvio, Natwick and Gately are Vietnam veterans, scarred by their experiences both physically and mentally.  They are all voluntary admitted psychiatric patients in a veteran's hospital and while the war is barely mentioned, the experiences the men went through ensures the ghost of war is always present.

McLure is a talented playwright.  His use of comedy is measured, well placed and timed to perfection. One particular scene where Silvio tries to teach Gatley how to pick up a girl has the audience in stitches.  Despite the laughter though, our knowledge of Silvio's extreme injury ensures that there is an undercurrent of despair to this scene that only serves to highlight the characters' pain. McLure reinforces the point numerous times in the play that the men could leave anytime, but the outside world terrifies them. There doesn't seem to be a way out for them.  Even when it appears Silvio might leave, a letter comes which destroys his chances of getting away.  The hopelessness portrayed in this scene is particularly vivid.

The characters are well developed, but stereotypical.  Natwick is a privileged posh, cultured man, Silvio is a macho swaggering Italian-American and Gately an innocent country boy.  The three men however have the war and their mental problems in common.  Natwick is neurotic, suicidal but not brave enough to kill himself, Gately spends the whole play obsessively trying to fix a radio and Silvio shows clear psychotic tendencies and a fixation on flashing women. It is clear as we head to the end of the play that actually the only thing keeping these three men grounded is their uneasy friendship, despite their obvious differences. 
    
This show is a credit to the abilities of all three actors.  The hilarity of the pranks, the sex jokes and the comic misunderstandings is always underpinned by sadness and despair.  We may laugh but we never forget that these are three fragile damaged souls. 

Gerard McCabe's innocent Gately is the anchor of the play. Without him you feel the other characters could not be friends however uneasy that friendship might be.  He both begins and ends the play and his reflection on the sunrise in the last scene just adds to the anguish of the veterans' situation.  

Chris Robinson plays Natwick's depression to perfection.  He is terrified to stay in the world but equally terrified to leave it through suicide. One scene where Natwick attempts to make Silvio like him is particularly good and highlights the actors' impeccable comic timing. 

Martin McCann, who has not been on a theatre stage for 6 years, encapsulated Silvio's character precisely. Of all the characters, Silvio is the most dangerous. It can't be easy to play a psychotic character and still make the audience want to take you home and protect you!            

The play was written not long after the Vietnam war and the public were aware of the difficulties veterans' had returning to society.  Today we still have young men and women returning from service in Iraq and Afghanistan.  We still hear stories of veterans being made homeless, of high suicide rates and not enough help being available.  The stigma attached to living with a mental illness does not help and still exists today.  It's clear that the central messages of McLure's play are still relevant.  

PVT. Wars continues at the Grand Opera House until Saturday 20th October. Please go along and support this young company.  Click here to book.

I Am My Own Wife Review

Telling a story based on real events is never easy.  Telling the remarkable story of cross dresser Charlotte von Mahlsdorf is beyond not easy, it's a huge undertaking. The writing itself is outstanding as you would expect from a Pulitzer and Tony prize winning play.

The actor, John Cronin is exceptional.  He has a sense of stillness about him that many actors don't have.  He doesn't need to make a gesture, change his costume or use a prop to let the audience know which character he is.  His posture, accent and the look in his eyes are enough to convey the character he has become.  This is a particular ability I admire in an actor - Damian Lewis from Homeland and Band of Brothers being another example.
  
Despite playing 36 different characters, his performance is always measured. Character changes are realistically balanced and there is no sense of unnatural speed.  Every character, no matter how insignificant, is precisely defined and effortlessly conveyed.  This is a testament to Cronin's acting ability.  In fact the entire production is a testament to his ability.  The breadth of accents in this production alone are enough to make most actors run away.

The set is beautiful and acts to enhance Cronin's performance.  I particularly love the contrast between the beautiful old things Charlotte surrounds herself with and her choice of dress. Gilded mirrors and red velvet chairs are set against her plain black dress, hair covering and orthopedic black shoes.  This plain style of dress both reflects and amplifies her character traits, her purposeful collecting of materials, her quiet acceptance of events and her resourcefulness at working through situations.  She is not a stereotype; she doesn't wear make-up, or heels or act frivolously.  

The show was gorgeous, Charlotte herself was endearing, the direction was perfect.  I loved the set, the sound, the visuals.  I particularly loved the lighting in the last scene and it seemed the audience was hesitant to applaud in case they broke the spell Charlotte had woven.  John Cronin gave a virtuoso performance of this highly technical play, and made it look effortless.

This play is for theatre people, for actors, for people in the business as well as the usual audiences.  You will see how theatrically nimble this actor is, and you will be jealous and amazed and rise and applaud as I did.

I am My Own Wife is playing at the MAC Belfast until Saturday 6 October.  If you don't see it you will regret it.


Karen

http://twitter.com/classygenes

The Plough & The Stars Review

Last week we had date day. We've never been able to do date night like other couples because of the hubby's un-family friendly working hours.  I had booked tickets for the matinee of The Plough and the Stars, an Abbey production, on tour to the Grand Opera House. 

First of all, we decided to try HOME on Wellington Place which we'd been meaning to try for a while.  We kept it simple, Sean having a burger and me trying the fishcake.  It was lovely, really simple, informal and friendly.  The service was speedy, the price was cheap and the food was tasty.  What else could you ask for? 

Then we were off to the Grand Opera House.  As usual at a matinee, the place was full of school kids.  This is always a risk you take if you choose to go to a matinee and sometimes it's a curse, at other times a blessing.  Our seats in the stalls were right in the middle of two different sets of school kids, but we had nothing to worry about. Despite a bit of shuffling around and a laugh in an inappropriate place, they were exceptionally well behaved.  They clearly knew the text as the anticipation in the air was obvious.  Just before a particular character died, I heard a whispered 'This is the bit where she dies, I hope I don't cry' from a student sitting near me.

The Plough and the Stars itself was excellent.  I didn't know the story at all, not having much interest in Irish literature until very recently.  As always I am drawn to the historical context - the birth of Ireland as a nation and the effect on the people living at the time.  While the romantics constructed their perfect rebellion and heroes were revered for their amplified deeds, the real people of Dublin were struggling through their lives with illness, poverty and pain.  O'Casey centres on these people in his play; the heroes are not the republicans at the GPO but the real people such as Fluther Good and Bessie Burgess.         

I found the performance a little slow to get going, perhaps lacking a little energy but this is natural at a matinee performance as the actors conserve their energy for a second 3 hour show.  Frankie McCafferty was, for me the stand out performance; his Peter Flynn was engaging, comical and well rounded.  I also enjoyed Gabrielle Reidy's Bessie, who has such pivotal character development throughout the play.  The cast supported each other throughout and were a tight team on stage.  The set was great, both functional and authentic and I loved the visual reminder of nationalism with the flags, but the scene changes and flying seemed clunky and unnecessary.  The lighting at times seemed to intrude on the play and there were changes in lighting which distracted from the actors' performance.  However small technical issues aside, the production was a great introduction to the Abbey's work and we have already booked to see The Picture of Dorian Grey at the Abbey in November.

Nice to catch up with 'A Bartender' Tony Flynn after the show as well, though he will always be the demon Mephistopheles to me...                

Karen

http://twitter.com/classygenes

 

Belfast Bred walking tour

Last weekend I went on the Belfast Bred food tour.  It's been around for a while and I had always wanted to check it out.  I guess I didn't because I'm not a big foodie and thought it was aimed more at tourists.  Now I wish I'd checked it out sooner.

We had arrived a bit early so went to a cafe to get a scone and some coffee, not realising just how many samples we would get on the tour!  The tour started at Sawer's Deli in Fountain Street.  

Our tour guide Barney told us some of the history of Sawer's and introduced us to the Manager who continued the story.  We were taken inside and given various food samples from octopus to Guinness Cheddar. 





Despite clearly being busy as the shop was being extended into the unit next door, the Manager and the staff made time to show us interesting items in the shop like this jar of real gold used for garnishing desserts.

Barney then led us out of Sawer's and round to Mourne Seafood Bar, one of my favourite restaurants. On the way he told us stories of his life, about food he remembered eating when he was young and also gave us some interesting insights into the history of particular buildings.   
    

After a chat to the Manager of Mourne Seafood bar and some freshly cooked Salt and Chilli Squid, off we went again, following Barney to the John Hewitt Bar. Again we heard some interesting facts about Belfast as Barney led us across Royal Avenue on a busy Saturday morning.  Passing shoppers looked bemused as Barney, in his lobster adorned chef's hat, shouted 'Hello' to everyone in his broad Belfast accent and rang his bell to get us to hurry along.  

At the John Hewitt we sampled some cider and lager as the Manager told us about the history of the bar and it's relationship with local beers and breweries. We felt rather special, being locked in the pub for our tasting session. 







The artwork that was on the walls while we were there, apparently linked to the Titanic Boys show in the Grand Opera House deserves a mention.  Some of the pieces were beautiful and the art is part of the reason why Belfast people love this wee bar.  

And we were off again, this time down the cobbled lanes past the Duke of York to Nick's Warehouse.
Barney continued with his brilliant stories of the history of Belfast and joking with the tour group.  I really think that this is what made the tour so special.  Fra Gunn, who plays Barney, is a gifted storyteller and engages everyone with his character, both the paying members of the audience and passers by.  He clearly enjoys what he does, and he is adept at ad libbing when he needs to.  I enjoyed seeing his typical Belfast banter with the chefs and managers of each venue. 

Nick Price, owner of Nick's Warehouse gave us a fascinating insight into not only his restaurant, but also into his own interests.  A quirky character, it was nice to hear the passion in his voice when he talked about food.  We sampled different types of cheese, which were all lovely, though my favourite was as always, the goats cheese.

And off we went again, following Barney through the busy streets towards McHughs Bar, the oldest building in Belfast.  This place is a gem.  The old photographs are a genealogist's dream, and I found it difficult to listen to the Manager with all the history on the walls around me.  

In McHugh's we were brought a volcanic rock heated to 430°C and a steak to cook on it. I'm not a big fan of steak, and would never order it, but even to me it tasted amazing.  








Barney led us on to St George's Market.  This was our final location, after two and a half hours.  We hadn't even noticed the time go.  It seems like a long time, but the tour is evenly broken up and as well being seated in the venues, you can also sit at various benches on the way.

The tour is absolutely not just for tourists. I know quite a bit about Belfast History, but Barney gave me a few extra facts which I'd never heard before. You also don't need to be a 'foodie' or even need to try all the samples. I started the tour practically a vegetarian, cooking with quorn rather than meat. The week after the tour, I took myself down to St George's Market to buy some real meat, simply because McHugh's made me realise how much I missed it.        

Belfast City Council describes the Belfast Bred tour as a 'unique theatrical walking tour exploring the food and drink of Belfast'. But it is so much more than just a food tour.  The tour tells us stories of Belfast city, of Belfast characters, architecture and history.  Barney is a great character and Fra Gunn a brilliant storyteller.  It's great experience and I wish I hadn't left it so long to book.

Information and booking info on the tour is here: Belfast City Council

Karen

www.twitter.com/classygenes

Oedipus the King at the Lyric Theatre

Two weeks ago, I went to see Oedipus at the Lyric Theatre. As noted in a previous post, the show was produced by 17-19 year olds working with the Lyric team.  As we went into the studio, which looked amazing set up in traverse style, I noted the modern sofas which made my heart sink.

But I shouldn't have worried, these kids pulled it off.  The actors were all in formal suits, at first looking like they were in the Apprentice, but when Oedipus arrives complete with secret service guards, his own sharp suit and long speech, it's clear that this Oedipus has been based on the US President. The style works surprisingly well.

There were some brilliant performances throughout the play, particularly by Creon, the Messenger and Oedipus, but the actors were all good. The chorus sometimes on stage, sometimes on screen were strong. I particularly liked how the people heard the news of Oedipus' sins on a TV screen, just as the world heard the news of Bill Clinton's incident with Monica Lewinsky.  The lighting design really complemented the projection concept, the lights muted in shades of black and white until the news of Jocasta's death when slashes of red appeared on the screen. This reminded me of black, white and red film posters such as Sin City or the Godfather or TV advertising for True Blood.  This dramatic design only accented the tragedy of the awful events and underlined Oedipus' fate in blood for all to see.

It was great to see a sold out audience filled with friends and family of the young cast. I love that all these people have been introduced to Greek mythology in such an accessible way.  I love that a play written  2,500 years ago can have such resonance now. I was not the only person in the audience holding back tears. The childrens' pain at losing their father ensures that the tragedy of Oedipus is felt by all. If you don't know Sophocles' story of Oedipus the King you can download it here http://classics.mit.edu/Sophocles/oedipus.html

Director Philip Crawford is a man of many talents, and I hope the Lyric realise how lucky they are to have him.  Clearly an amazing Director drawing the best out in young actors, he also brought the RSC Open Stages project to NI, allowing amateur companies the opportunity to compete to perform in Stratford.  I know first-hand what an amazing teacher he is, as he taught me GCSE Biology in school quite a few years ago, and he alone is the reason I kept it on at A level.  He also directed one of Northern Ireland's 5 star shows just finished at the Edinburgh Fringe, Happenstance's the Boat Factory starting Dan Gordon and Michael Condron.

I'd love to see a performance of Sophocles' Elektra, Aristophanes' Lysistrata or Aeschylus' The Persians in the Lyric. (Hint Hint)  


Karen

www.twitter.com/classygenes

Oedipus the King

I am really looking forward to seeing Oedipus at the Lyric Theatre on Friday night.  It is being produced by a company of young actors aged 17-19, supported by the Lyric's Creative and Technical teams.

I have always found it a particularly desolate tale. Oedipus is a seemingly wise man who can solve the riddle of the Sphinx when no-one else can.  His realisation that he is completely powerless against the passage of destiny is one that is repeated throughout Ancient myth.  

He never stands a chance.  Once the oracle has given its prophecy, there's no way out.

The tale teases us with hope though. We see Oedipus saved by a servant after being abandoned with his legs pinned together, we see him grow up in the court of a King, we see him beat the Sphinx, marry a Queen and have children.  But when disaster strikes in Greek myth and destiny catches up with you, you can be sure your fate will be extreme. 
And so it is for Oedipus.

I'm looking forward to seeing this translation of Sophocles' classic given a modern twist.  I do think it rather funny that the person directing the piece is my old Biology teacher, the classics consultant is my old University tutor and my husband is the Lighting Designer.  

I'm not sure what the Oracle would read in to all these coincidences but it certainly feels like I am destined to attend...

Karen

www.twitter.com/classygenes
    
   

D.R.A.G.

Tonight we went to see TheatreofplucK's D.R.A.G. at the Courtyard Theatre in Ballyearl.

I wasn't really sure what to expect as I had missed the nudity and strong language warnings on the flyer.  However I knew that it would be special because Niall Rea and Paul Boyd were involved.

In a lovely touch before the show had even started, the Director spoke to the audience in small groups, telling us a story and asking us for a contribution. Then we were ushered into the main theatre space where we could finish our drinks.  We were then directed behind the curtains and asked to sit around an intimate cube-shaped set.  What followed was a fantastic piece of theatre, not perfect, but thought provoking, well acted and indeed, Gorgeous.

It was easy to see that a lot of work had gone into pulling these stories and experiences together.  The show is built around the experiences of a man growing up and coming out during the Troubles.  We watch his painful metamorphosis as he attempts to find his identity, gradually blossoming into the King of Queens.

At the post show discussion, a question was asked about whether the Director had been purposefully controversial with the show.  Was he aiming to shock people with full frontal nudity, bad language or political imagery on the postcards?  The questioner had a valid point - that when she asked her friends to come to this kind of show, their answer would be 'No, that's not my kind of show'.

But when I think of my own religious straight friends, I could convince them to attend a show with full-frontal male nudity.  I could get the same friends to attend a show about paramilitaries.  I could get them to attend a show with bad language.  But I couldn't get them to attend a show named D.R.A.G.

And this is the sad truth - nudity, paramilitaries and bad language have become such a common everyday thing that these are deemed 'normal'. Everyone has heard bad language, everyone has seen nudity and paramilitaries were the norm for many years here in NI.  But how many people actually know a drag queen?  A transvestite?  Not that many.  The most controversial thing about this show is the man putting on his makeup, his wig, his tutu and finding an identity which is different to the norm.

I found the show thought provoking, humorous and at times uncomfortable. While TheatreofplucK describe themselves as 'Northern Ireland's first publicly funded queer theatre company', and D.R.A.G. is part of the Pride Festival, I don't believe the show is only for the LGBT community.

By the way Niall, if you're reading this, Sean Paul's very tightly folded piece of paper said 'Joyful Memories'.
I'll leave you to interpret exactly what that means!

Karen
www.twitter.com/classygenes