#Milton Keynes Theatre | Explore Tumblr Posts and Blogs

angelfirewalker · 5 months

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When I was 12, I saw David Bowie on Top of the Pops (UK)...he was either singing Fame or Golden Years recorded on America's Soul Train. I don't remember which.

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I was totally taken in by this skinny strange androgynous alien creature. It was first step into the strange world of the Theatrical performance.

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I can still remember which friends house I was at. They were normal, liked horses kind of person. I didn't say anything to them. By the time I hit 14, I had a friend who liked Bowie too, and we used to lay on the floor of their lounge putting our heads between the speakers to work out lyrics on the vinyl albums that didn't have the song lyrics inserts. I remember going to the local Woolworths near school to buy the Heroes album in 1977.

(I can see Crowley in this image, mind you I see Good Omens everywhere and in everything these days...lol.)

Well, my passion for Bowie led me to many things in my life, including Lindsay Kemp, his ex lover and Mentor. After I went to see The Lindsay Kemp Company in 1983, I had kind of gone off Bowie due to Let's Dance and getting Sunstroke at his gig in Milton Keynes. David Bowie had become popular with normal people at it felt like he had sold out at that point to me. So as most of my favourite bands had disbanded, it became a Theatrical life for me.

Recently I have gone back to check out Bowie, (post 1987... still can't do 1983 -1987. ) I found a video I hadn't seen, I knew the song but not the video. When you tour in Theatre you miss a lot of things, films, TV shows and music videos etc. Now I finally have time to catch up.

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This video really feels influenced by David Bowie's time in The Lindsay Kemp Company...... especially when he performed in The Looking Glass Murders / Pierrot in Turquoise.

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Firstly the bed... something Lindsay used all the time in so many Kemp Co shows.

David Bowie and Lindsay Kemp.

In the Bowie video.

More Kemp Co beds, first photo Flowers, 2nd The Maids, both based on the work of Jean Genet....as is Bowies song The Jean Genie.

And the guy in the colour screenshot really looks like Jack Birkett, aka The Incredible Orlando who was in the John, I'm only Dancing video...and danced in The Ziggy Stardust shows. The Black and white photos are Jack, who was actually blind. He was in a number of Derek Jarman's films.... most notably Jubilee and The Tempest. It isn't Jack in the video, he was too old to trussed up like that.

More similar scenarios.

Many don't realise that the Ziggy shows at the Rainbow were basically done upon the Kemp Company Flowers Set.

T.L. Bowie on Pierrot set, TR, Jack and Annie Stainer with Bowie during the Ziggy shows, bottom both photos of Flowers set. I am in B.R. photo Me being the Madame the last time the show was performed in Europe in 1992.

The last time David and Lindsay met was the early 1990s in Italy, Lindsay had said to me DB wasn't very friendly toward him...so I wonder if the video and song MIGHT be about that as the video feels that way to me with the imagery.

Strangers when we meet, David Bowie.

You, you, you, you, you, you

All our friends

Now seem so thin and frail

Slinky secrets

Hotter than the sun

No peachy prayers

No trendy rechauffé

I'm with you

So I can't go on

All my violence

Raining tears upon the sheets

I'm bewildered

For we're strangers when we meet

Blank screen TV

Preening ourselves in the snow

Forget my name

But I'm over you

Blended sunrise

And it's a dying world

Humming Rheingold

We scavenge up our clothes

All my violence

Raining tears upon the sheet

I'm resentful

For we're strangers when we meet

Cold tired fingers

Tapping out your memories

Halfway sadness

Dazzled by the new

Your embrace

It was all that I feared

That whirling room

We trade by vendu

Steely resolve

Is falling from me

My poor soul

All bruised passivity

All your regrets

Ride rough-shod over me

I'm so glad

That we're strangers when we meet

I'm so thankful

That we're strangers when we meet

I'm in clover

For we're strangers when we meet

Heel head over

But we're strangers when we meet

Strangers when we meet, strangers when we meet

Strangers when we meet, strangers when we meet.

........

Blimey, I only mentioned Good Omens and Crowley once.... how amazing! A NON Good Omens post...lol

I see Bowie in Crowley all the time and I don't apologise.

#good omens #neil gaiman #crowleygoodomens #davidbowie #david tennant #david bowie #the lindsay kemp company #lindsay kemp #lindsay kemp company #jean genet #good omens crowley #jack birkett #annie stainer #derek jarman #Youtube

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is-she-suffering · 3 months

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02/2003 - Black Velvet Magazine “Queen Adreena in Wonderland”

(Interview with Katie Jane Garside - Taken From Black Velvet 35 - Feb 2003)

By David Jackson

In Milton Keynes, roundabouts have names. While frantically searching for ‘Eagle Stone’, a giant illuminated mountain on the horizon grows ever closer, eventually turning out to be a snow dome. Only in Milton Keynes. In an idealistic reality, Milton Keynes Pitz would be a dark smoke filled rock venue, located somewhere deep underground, out of reach of daylight with filthy walls and sticky floors, perfectly recreating the image the venue’s name paints. The truth is much less romantic. Located in the Woughton Leisure Centre, the Pitz sits firmly alongside a swimming pool while sharing a corridor with the health club and sun bedroom. Doubling as a theatre it’s not unfair to say the Pitz is one of the country’s less charismatic venues.

The public perception of QUEEN ADREENA vocalist and spokeswoman, Katie Jane Garside is varied, never quite consistent yet always fascinating. Appearing somewhat removed yet mysterious, she stands unique. Following Katie into the depths of the Milton Keynes Pitz, we arrive at the band’s dressing room. Informing me that she’s in a good mood, Katie takes a seat while continuing to arrange a small bunch of flowers in a glass on the table.

Queen Adreena are on tour in promotion of ‘Drink Me’. As a successor to their highly acclaimed debut ‘Taxidermy’, in many ways the album sounds a comfortable follow up. Finally settled, Black Velvet proceeds to ask Katie how happy she is with the final product. “In a way it’s not for me to say,” she cautiously begins. “We went through a lot making it. You do with every record, but this one particularly was quite difficult. It was kind of a year of reckoning in a way, writing and recording it. A lot of things that sustained me prior to that all fell away. I have a real sense of vertigo, no ground under my feet. I can’t really say if I’m happy or not with the album. To be honest the day that I am will be the day I don’t do it anymore. “Being on a planet in the middle of infinity with six miles of water underneath you and then infinity above you it doesn’t give you much to hold onto,” referring to her youth, part of which was spent living on a boat. “On the flip side of that, there’s infinity but if you get on the wrong side of the coin you can get into free fall terror. That’s sort of how I feel about that record, it’s just a page in the diary.”

It was author Lewis Carroll in his book, Alice in Wonderland, who first penned the words ‘Drink Me’, written on a label attached to a bottle from which Alice drinks and is subsequently shrunk. Was it from this that the album took its name? “Yes, it’s not hard to get there. Know your own poison really, that’s all it is. I’ve always found the only useful thing to do with fear is to run headlong into it, and that’s the only way it transforms, otherwise it’s always over your shoulder in your blind spot, so you have to sort of wrestle it to the ground really. It’s about knowing your own poison… Drink me.”

As the interview continues Katie’s fingers are in a constant state of activity, be it continuing to arrange flowers or further looping straps on her bag. However, every so often, Katie looks up, wide-eyed, with one of the MOST mesmerising stares I’ve ever seen. Many of Queen Adreena’s unique traits have carried over to the band’s second album. In many ways ‘Drink Me’ can be seen as an extension of ‘Taxidermy’. Or is it a completely new entity?

Pausing for thought Katie continues. “It is just another page in the diary. A lot of the things I said were sustaining me fell away, all the things that were keeping me upright sort of fell away, during that part of my life, making the record, I think it’s reduced things to their baser elements. In a way ‘Taxidermy’ is tugging in a lot of different directions. For me ‘Taxidermy’ is quite existentialist where I’m observing and witnessing and ‘Drink Me’ I’m taking part. I do use sexuality and violence to sort of beat myself back into existence because I’ve felt perpendicular. I’ve found myself to be dangerously insular. That again is what I said about the only useful thing to do with fear is to run headlong into it, because I lived in a tree house for a long time, just lived above everything, not taking part and I want to be here. Well I have to be here, otherwise I might as well not be here. As a kid I could never come downstairs to my own birthday party. I wanna take part, I actually wanna be there now, but I’m sick of living outside of everything.”

One apparent difference between debut and follow up album is Queen Adreena’s frequent use of dark atmospheric vocals seems to made way for a general heavier rock feel to the record. “The subtler things have fallen,” begins Katie. “Like a boiling pot it has reduced down to its really basic elements; it’s very minimalist. We’re trying to break the shell of the seed so the plant can fucking grow. Like my own life, we always watch from the wings and we wanna play the main stage. I am using violence and friction to create a chemical reaction hopefully. The only thing I find to be true is fiction that creates combustion and therefore doesn’t mean it’s easy or painful but it’s a fountain of youth in a way. It’s the only thing that turns me on and drives me forward.”

With only one single lifted from album ‘Drink Me’ (so far), the unusual decision was taken to release non-album track ‘FM Doll’. Not the usual procedure of album promotion.

The title of the single itself is one of hidden truths, quickly revealing a dark sub-text to the song. “It’s actually called ‘Fuck Me Doll’ and is about female objectification. In a way I shouldn’t really talk about it cause we’re desperate to get it onto daytime radio.” Treading her ground carefully Katie continues. “I know because of the lyrical content it won’t get on there. It’s about child murder. Do you remember the JonBenet case in America? The child beauty queen who was supposing murdered by her mother and father It’s about that and the endemic infection in the female psyche.”

Despite the somewhat unusual decisions surround the single release, as ever it’s accompanied with a promotional video. Talk of which is immediately greeted with laughter. “Well it’s a performance video, but, it’s sexy, that’s it. The whole thing with this is that I’m trying to burn down the cross that I’ve nailed myself to. It’s always about that. The illness that endemic in the female psyche, it’s just the way of the world where you’re just valued as an object. I think there’s a lot of power inherent in the feminine. I’ve always known it, used it, abused it myself so I’m can’t really go down a militant route with it because there’s a lot of power and joy within it. But it’s also for someone that’s not strong enough to carry it. It turns people into victims. It’s a very peculiar state I think that we’re in at the moment in history in terms of female objectification because it’s all supposedly coming up roses, but women are more effected by it than they ever were and playing into that role. What I do is hold up a mirror up to people and break it really for them.”

The lyrical content of Queen Adreena is in places beautiful and consistently fascinating.

Talking about how the lyrics and music intertwine to make the final product, Katie Jane says “Crispin can get terribly upset with me. A song like ‘Silent Undoing’ I just wrote it at home. I’ve got a little wind organ I write stuff on. I’m not a musician, I can play a couple of notes very easily and there’s some chord buttons. For me I always write off an atmosphere. I’ve got six chord buttons and there must so however many combinations of those six chords so I can find that atmosphere that’s drilling in my head for that particular moment. Atmosphere’s everything. Everything that comes out I see in pictures. I’m just interpreting pictures, like snapshots but it’s always very vivid, it’s very much got a black line around it. In a way I have a hotline to the unconscious. Pity me, it’s not the best thing to have and I can’t turn it off. But that’s just intellectualising it. We always try to find clever words to make sense of what we can’t make sense of.” The live show is one forum where Queen Adreena leave the onlooker completely mesmerised. Talking of playing live, Katie Janes says “I’ll give you the most fantastic and obvious cliché. Things that are important to me are fucking, wine and playing music and that’s it really. This thing of reduction, it’s all been about getting out of the head and into the body so it beats the military drum and calls us to war, and let the war of the fucking psyche commence. Here we are, what else could I be doing that would be more fun?” With a notorious reputation for performance how important an element of your music do you feel performing is? “I’ve always known it’s a real privilege to take the stage, it’s a very highly charged thing to do cause it’s a very un-natural thing to do.”

Do you think so? “Yeah! Why would anyone want to stand up in front of hundreds, hopefully thousands of people and almost beg them to tear one to pieces? Or on the flip side, when you catch the right side of the wave you can run up the sides of buildings and stuff like that, you capture a certain pure essence of something and that’s when magic happens. You step into a different realm. You walk through a door that’s not open very often, but you know you have to walk the knife-edge and be willing to throw yourself off the cliff, and that’s why I mean it’s very un-natural. ”

Taking the stance that it’s un-natural to stand in front of thousands of people and perform, are there any particular messages you hope Queen Adreena convey to their audience? “You know I take absolutely no responsibility for how I’m received; it’s nothing to do with me. I have a profound sense of displacement, like I said before, witnessing rather that taking part. I’m desperate to take part. Maybe everybody feels that, but it’s really under the microscope in my case and I’m very very aware of it. I have absolutely no message. I write little stories and I put them like photographs around myself in order to believe that I exist, or challenge the idea that I exist at least and that’s the beginning and the end of it.”

Flicking through her copy of Black Velvet Katie spots a ‘My Vitriol’ interview and proceeds to reminisce about the band live and mentions her admiration of bassist Carolyn. Continuing to chat about music I ask if there is anything in the current climate of music that interests her. “I don’t listen. Things come my way and I’ll listen to them once, but the thing that really does it for me always is white noise and distortion. I’ll listen to a constant CD of the sea; I lived on a boat when I was a kid. But before that,” pointing into the corner of her dressing room, “even the noise of that fucking fan, I find it really… I find is so reassuring for some reason. The sound of any white noise, like a fan or running water. For me listening to that stuff is like looking in the mirror. There are so many different voices in there and frequencies and harmonics and they tell me what to sing. I don’t mean THEY the great THEY, or the spirits. Just within white noise. There’s just this whole spectrum of frequency and it is like anything, if you stare at it long enough you’ll find a reflection of yourself within it. There’s always a story waiting to be told in there. That’s what I love, the wind, the sea.”

And with that my time with Katie is over, feeling like seconds but transpiring to be minutes. With a gig in a sports theatre looming closer Queen Adreena seem as unsuited to play such a venue as much as the venue paints an unrealistic image of itself. The delicately spoken Katie Jane Garside is one of the most intelligently fascinating women in rock. Collecting up her bunch of flowers Katie proceeds to position them carefully one by one into her hair before returning to the rest of Queen Adreena. For a further insight into the band visit www.queenadreena.com We’re informed ‘Everything is not obvious… explore.’

#interviews #2003 #drink me

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angstics · 2 years

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a long introspective post because i know with time i will forget this and i want to remember it all.

night of june 30th, technoblade's death was announced. i didnt believe it for a few minutes because i couldnt watch the video (i still havent). but it was true -- he passed away age 23 from cancer he discovered *less than a year* before his death. i keep quiet about how much i liked minecraft youtubers 2020 - 2021 because that turned out to be a DISASTER. but technoblade was one of the shining beacons. genuinely always the best, completely outside of post-death rose-tinted glasses. always.

before that, i was kind of getting into my chemical romance. id known of them my whole life. from dan and phil references to annoying ass g-note jokes to the twenty one pilot's cancer cover. i heard the Big Three hits but couldnt tell you what they were (except for "welcome") before listening to three cheers for the first time at the end of june. i dont know why i decided to start them. i wasnt really into music -- my top albums the last couple years included burnham's inside, starkid's twisted, and falsettos (2016). i wish i remembered better. if listening to them for the first time isnt a core memory, this is:

after 6 months of relative stability, i understandably hit a depressive episode in july. i would lie on my couch into the early morning for no reason. i wasnt trying to distract myself from his death ... there were no thoughts to be distracted from. it isnt a headspace i understand, especially since i never left it.

but for another unknown reason i thought to watch those mcr live shows. mind, at this point id only listened to three cheers. no exaggeration, i was betwitched by their performance. i most vibrantly remember gerard's eyes. crazy fucking eyes.

i'd forgotten cancer was an mcr song. when top released their cover, i listened to the original. i decided i liked twenty one pilots' more. i switched on that when i saw my chem on snl (i didnt watch BPID all the way through til a week later). it's the stripped down song, it's the direct lyrics, it's the crazy eyes. like he's trying to communicate EVERYTHING through his eyes.

the intro to BPID was like that too. when he ripped the hospital dress off and did the ghoul scream. had that feeling when i saw frank perform vampire money in glasgow. just. completely uninhibited. performace to say something truthful. unlike anything ive ever seen. from someone who wasnt very into music or live performance or theatre, much less the mechanics of it, i suddenly understood it all.

that screenshot is an abridged version of my actual search history. this is how it went.

june 26 i watched ->

side bar, thinking about it now, my interest in pink floyd directly lead to my interest in mcr. early morning july 1st, this is what i was watching (alan parsons project great reccomendation from my friend bink bonk):

july 2 i was watching videos a friend of techno's publicized to commerate him. the mcr video was in the reccomended tag -- a combo of the live pink floyd video and the im not okay mv. crazy how influenced my life is by where youtube leads me.

then i saw a LITTLE bit of BPID before seeing my chem in 2022 for the first time. this was just weeks after bonn. i didnt watch the full eden either. but i did watch all of "welcome" at milton keynes, based on the time stamps

this whole fucking day spent watching mcr videos. reading 2011, zack sang clip frank iero explains reading 2011 drama, mcr iceberg explained, "mcr best perfomance", "mcr best moments", mcr on letterman, mcr snl, "understanding the black parade" (i had not listened to black parade) -- then i left at 4pm. probably to sleep.

july 2nd was The day. i remember while watching these videos a realization hugging me. i knew that i was struck. from july until november, the majority of my conversations had something to do with my chem.

at the very beginning, i texted people about them to gage modern attitudes. growing up, they were adjacent to bands i thought sold out or lost their spark -- panic!, twenty one pilot, fall out boy. as ive said a million times, there is a Reason i didnt get into my chem earlier. just the other day on a SPECIFICALLY EMO SUBREDDIT there were people talking about how they "weren't ashamed to like mcr". where does this shame come from!!!!!! too mainstream for punk, too punk for mainstream. everyone knows this.

well anyway, july 2nd was just the first layer: the performance. july 11 (/early july 12) was another big day. the second layer: gender and sexuality. literally my tags on the first mcr post i reblogged ->

then i saw the great collection by flockofdoves and. well.

same day i found out about "i wanna be your joey ramone" and sleater-kinney, though i wouldnt listen to the song for a short while. that's layer 4: branching out to other music.

layer 3 was music appreciation. i listened to each of their albums in full sequentionally (KIND OF since i relistened to bullets 3 times were i only listened to the others in full 2 times max), purposuefully holding off for weeks between each album. i remember the first time i sat down to listen to black parade. i was buzzing at like 12:30 am because id decided that was the night. the end -> dead rocked my whole world. never got the instinct to bang your head around til those songs. the whole album was fucking amazing but something aboout famous last words got to me. id be sitting in the car with my sister and singing the bridge over and over. the perfect string of words -- with words i thought id never speak: awake and unafraid, asleep or dead.

i used to hate live performances because the music sounded worse than the studio version while giving me nothing performance-wise. id never wanted to go to a concert in my life. but not only did they sound GOOD live, it was a whole different experience. an adaptation that added to the experience in ways entirely different to what is lost. like i said, crazy eyes. and smiles like flowers and the audience louder than the amps and movement led by sound and memory. like. like nothing else. you cant understand this unless youre in love -- completely dedicated to it.

sometime in august i discovered they were coming to my town the next month. the first concert i ever wanted to go to. my parents were a nightmare about it the whole month until i got the permission to go. ive said also said this a million times: it was like rapture.

i dont understand why you would want to do anything that doesnt work towards that same feeling. my parents didnt get that feeling and i couldnt go to another show. it's been months and it still drives me insane. it drives me fucking insane. it drives me insane.

so those are the core memories related to my chem that got me here. it's a lot of love. love so big i cant even hold. it's belief. something close to religious. it's a lot of fear too -- fear the feeling will go away, that i'll "wake up", fear that they'll be taken. one reason i dont like music is the feelings i attach to it are so profound that i cant listen to it without feeling what i felt in the past. it's why i limit how much i listen to my chem. that's another fear -- though i attach positive feelings to the band, im engaging in it while depressed. more than engaging, obsessing. i cant focus on much else.

i hope as i get better mentally, this doesnt leave me. i got into it to cope. it showed me another dimension of art and life and emotion. it's a hard thing to navigate. i want the good, healthy parts of this to be my life. i hope i can figure that out. i hope it works out.

july 26 2020, i looked this up:

i have no memory of this at all.

the night before, i was on a technoblade binge that ended with me watching one of his seminal videos that i remember beat for beat.

i love technoblade forever. i cant watch his videos right now, but i hope i can someday. i love my chem forever. i hope-

#q.txt #2022 #mcr personal history

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kbade · 2 years

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“Dirk Benedict attends the First Family Entertainment photocall in London. This season Dirk is starring as King Rat in "Dick Whittington" at the Milton Keynes Theatre.” (November 26, 2010)

I found these photos here If anyone knows where I can find footage of the play I’d appreciate it!

#dirk benedict #dick whittington #rat king #musical #kbadesposts

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toyahinterviews · 1 year

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DIRECT LINKS TO THE INTERVIEWS

1979

CAPITAL RADIO, LONDON Mummy's Weekly 1979

1980

BACK ISSUE FANZINE 1980

TOYAH ATV DOCUMENTARY 1980

CAPITAL RADIO, LONDON Alternatives 1980

CAPITAL RADIO, LONDON Hullabaloo With Derek Jarman 1980

BBC RADIO ONE Rock On 1980

A LIFE IN THE DAY OF ... Sunday Times Magaine 1980

1981

RADIO TRENT, NOTTINGHAM January 1981

BBC RADIO ONE Talkabout February 1981

TOYAHZINE INTERVIEW By Laura Marsh 23.4.1981

SOUNDI, Finland (Translated) June 1981

BBC RADIO ONE With Annie Nightingale August 1981

PARKINSON BBC1 October 1981

BFBS RADIO December 1981

1982

RADIO 210, READING With Keith Butler 22.5.1982

BBC RADIO ONE Rock On - The Changeling With Richard Skinner 29.5.1982 BBC1 Get Set For Summer With Peter Powell 1982

1983

SOUNDCHECK Issue 1, 1983

BBC1 HARTY 8.3.1983

PICCADILLY RADIO, MANCHESTER With Timmy Mallet 1.9.1983

BBC RADIO ONE With Annie Nightingale and Sting 3.10.1983

BBC RADIO ONE With Janice Long 19.11.1983

WOMEN IN ROCK THE DAILY MIRROR ROCK & POP CLUB 1983

1985

BBC RADIO 4 Doing It Her Way April 1985

BBC RADIO ONE With Peter Powell 1.4.1985

RITZ NEWSPAPER MAGAZINE May 1985

1987

DESIRE AND MORE With Chris Limb 1987

1991

TONIGHT WITH JONATHAN ROSS CHANNEL 4 9.1.1991

WHUS RADIO STORRS, CONNECTICUT Sunday All Over The World 1991

RADIO MERCURY, SURREY/SUSSEX Ophelia's Shadow 1991

1992

BBC RADIO 4 In The Psychiatrist's Chair With Anthony Clare 2.9.1992

1993

THE LEAP INTERVIEW 1993

1998

RADIO VICTORY, PORTSMOUTH The Pulse October 1998

2000

BBC1 LIFE AND TIMES With Vanessa Feltz 2000

BBC RADIO 5 LIVE August 2000

BORDERS BOOKSHOP OXFORD STREET, LONDON The launch of her autobiography 5.8.2000

BBC RADIO 4 WOMAN’S HOUR Living Out Loud 29.8.2000

2001

BBC RADIO 2 With Richard Allinson 25.4.2001

2003

BBC TV LONDON With Tayfun Kadioglu 22.4.2003

2005

THE LATE EDITION ON E4 With Marcus Brigstocke 24.3.2005 CAPITAL RADIO, LONDON Diary Of A Facelift With David Jensen 4.4.2005

BBC RADIO 2 With Johnnie Walker 16.8.2005

2006

NET TALK RADIO Spiritual Tides With Ross Hemsworth 24.3.2006

NET TALK RADIO With Ross Hemsworth 28.8.2006

BBC RADIO NEWCASTLE With Julia Hankin 11.9.2006

FAITH & MUSIC ITV1 18.9.2006

CHANNEL 4 PROUD PARENTS With Beric Willcox 23.10.2006

2007

BBC RADIO 2 THE SARAH KENNYDY SHOW 7.3.2007

BBC RADIO 4 Personality Test 2.8.2007

2008

BBC RADIO DEVON The 80s Show With Richard Green 11.7. 2008

BBC RADIO LONDON With Gary Crowley 28 - 29.08.2008

2009

CELEBRITY BRIDES UNVEILED 2009

SHIELDS GAZETTE South Tyneside Summer Festival 5.7.2009

BBC RADIO WEST MIDLANDS THE PAUL FRANKS SHOW 29.9 2009

RADIO BORDERS With Hugh Brown 8.10.2009

2010

ABSOLUTE RADIO THE FRANK SKINNER SHOW 13.3.2010

PHOENIX RADIO, CALDERDALE Fadeout With DJ Cruel Britannia 3.4.2010

BBC RADIO GUERNSEY With Jim CatHart 14.4.2010

ISLAND FM, GUERNSEY WITH DJ Carl Ward 16.4.2010

CRMK RADIO, MILTON KEYNES The Vibe 12.9.2010

BBC HEREFORD & WORCESTER THE ANDREW EASTON SHOW At Malvern Theatres 14.9.2010

BBC RADIO HUMBERSIDE THE LARA KING SHOW 21.9.2010

PAUL AND LUCY’S BEST KEPT SECRETS PRESTON FM October 2010

BBC THREE COUNTIES WITH LORNA MILTON SHOW 4.10.2010

THE HOME CHANNEL Celebrity Fantasy Homes With Gary Roslin 5.10.2010

BBC HEREFORD & WORCESTER THE TONY FISHER SHOW 30.10.2010

BBC RADIO SHROPSHIRE With Keith Middleton 5.12.2010

2011

BBC RADIO WEST MIDLANDS With Mark Regan 25.1.2011

SANCTUARY EXPOSED AT THE HMV INSTITUTE BIRMINGHAM With David Davies 16.4.2011

WFMU 91.1 FM JERSEY CITY, NEW JERSEY Dark Night Of The Soul With Julie 17.5.2011

GAYDAR RADIO With Phil Marriott 14.6.2011

BBC RADIO HEREFORD & WORCESTER THE ANDREW EASTON SHOW 12.7.2011

BBC RADIO 4 SATURDAY LIVE Secret Life 13.8.2011

ABSOLUTE RADIO Rewind Festival With Martyn Lee 21.8.2011

GAYDIO The Loop With John Ryan 2.10.2011

BBC RADIO 6 STEVE LAMACQ MUSIC SHOW Good Day - Bad Day 21.12.2011

2012

TOYAH TALKS MONEY AND MORE The Sunday Times Magaine, Money Section 19.2.2012

BBC RADIO MIDLANDS THE LATE SHOW With Keith Middleton 1.4.2012

RADIO CHORLEY 102.8 FM AT BLACKPOOL PRIDE With Mark Jackson-Duxbury 9.6.2012

BBC RADIO LEICESTER 16.6.2012 SWITCH RADIO 107.5 BIRMINGHAM The Asylum With Wayne Evans July 2012

BBC RADIO WM BREAKFAST With Pete Morgan 16.7.2012

BBC RADIO TEES With Dave Llewellyn 27.8.2012

LOVE AND MARRIAGE A 20th CENTURY ROMANCE BBC4 2.10.2012

RADIO VERULAM, HERTFORDSHIRE With Chris Saunders 31.10.2012

BBC RADIO 2 STEVE LAMACQ’S ROCK COLLEGE 23.11.2012

BBC RADIO KENT THE MATTHEW DAVIES SHOW 8.12.2012

BBC RADIO WM BEV BEVAN MEETS 23.12.2012

MARLOW FM 97.5 THE ECLECTIC LIGHT SHOW Musical Milestones 24.12.2012

2013

BBC RADIO 4 RAMBLINGS With Clare Balding 28.2.2013

BBC RADIO SHROPSHIRE THE LATE SHOW With Keith Middleton 2.3.2013

BBC THREE COUNTIES RADIO THE ROBERTO PERRONE SHOW 15.3.2013

BBC RADIO 2 STEVE WRIGHT IN THE AFTERNOON 20.3.2013

EAGLE RADIO 96.4, SURREY With Stuart Provan April 2013

BBC RADIO MANCHESTER With Justin Moorehouse 1.4.2013

BBC RADIO DERBY With Andy Potter 12.4.2013

BBC RADIO LEICESTER With Monica Winfield 20.4.2013

BBC RADIO WILTSHIRE With Su Davies 22.4.2013

BBC RADIO HUMBERSIDE With David Burns 1.5.2013

BBC RADIO BRISTOL With Laura Rawlings 9.5.2013

BBC RADIO COVENTRY & WARWICKSHIRE With Vic Minett 20.5.2013

BBC RADIO ESSEX With Mark Punter 20.5.2013

BBC RADIO SOLENT With Alex Dyke 19.6.2013

RADIO NE1FM 102.5 NEWCASTLE With Jo Oliver 14.10.2013

THE BRIDGE 102.5 FM, STOURBRIDGE The Big Decades With Mark Spate 20.10.2013

2014

BBC RADIO DERBY With Andy Potter 29.01.2014

THE BFI DEREK JARMAN RETROSPECTIVE 12.2.2014

BBC RADIO 2 Sounds Of The 80s With Sara Cox 15.02.2014

BBC RADIO DEVON With Richard Green 15.03.2014

SOMER VALLEY 97.5 FM, SOMERSET MyPod With Don Chambers 24.3.2014

SOHO CREATE, LONDON Inspiration And The Blank Page With Robert Elms and Helen David 5.6.2014

GODMOTHERS OF POP Classic Pop Magazine, Issue 13 Oct/Nov 2014

2015

BBC RADIO LINCOLNSHIRE With Nicola Gilroy 19.1.2015

WCR 101.8 FM, WOLVERHAMPTON Music And Memories With Philip Solomon 2.2.2015

BBC RADIO SUSSEX With Allison Ferns 4.2.2015

BBC RADIO BRISTOL With Calire Cavanagh 9.2.2015

BBC RADIO WALES With Eleri Sion 12.2.2014

SEVERN FM, GLOUCESTER The Encyclopedia Of Rock With Bill Rieflin and Trevor Howard 13.4.2015

LORRAINE ITV1 13.4.2015

BBC RADIO DEVON THE RICHARD GREEN SHOW 23.5.2015

BBC RADIO 2 THE KEN BRUCE SHOW The Tracks Of My Years 29.6 - 3.7.2015

BBC RADIO 2 Sounds Of The 80s With Sara Cox 20.6.2015

BBC RADIO DERBY THE ANDY POTTER SHOW 31.7.2015

BBC RADIO OXFORD With Kat Orman 18.8.2015

MIX 96, AYLESBURY With Chris Maskery 29.8.2015

BBC RADIO 2 With Dermot O'Leary 5.9.2015

BBC RADIO WILTSHIRE With Sue Davies 2.11.2015

VINTAGE TV Needle Time With Neil McCormick 8.11.2015

2016

SKYHIGH RADIO With Ian Riches 20.1.2016

BBC RADIO LONDON With Gaby Roslin 4.9.2016

BBC RADIO LONDON With Jo Good 9.9.2016

BBC RADIO 2 Sounds Of The 80s With Sara Cox 16.9.2016

BBC RADIO WALES With Wynne Evans 12.12.2016

BBC RADIO HEREFORD AND WORCHESTER With Tammy Gooding 16.12.2016

2017

BBC RADIO OXFORD With Nick Piercey 27.2.2017

BBC RADIO 2 With Steve Wright, Martika and Paul Young 28.2.2017

THE MAIL ON SUNDAY EVENT MAGAZINE SHRINK RAP Inside The Head Of Toyah Willcox 6.8.2017

BBC RADIO 4 With Colin Paterson 6.11.2017

BBC RADIO MANCHESTER With Becky Want 31.10.2017

BBC RADIO WILTSHIRE With Jonathan Fido 22.12.2017

2018

BBC RADIO LONDON With Jo Good 23.1.2018

BBC RADIO 4 Woman's Hour With Jane Garvey 20.2.2018

BBC RADIO 4 Only Artists With Alice Lowe 7.3.2018

THOMPSON'S LIVE Arts and Performing Arts Podcast With Chris Goode 16.5.2018

BBC RADIO WM 95.6 The Other Side Of 5.8.2018

CLASSIC POP MAGAZINE Issue 44 September 2018

2019

BBC RADIO TEES Sounds With Bob Fisher 17.1.2019

BBC RADIO LINCOLNSHIRE With Carla Greene 31.1.2019

SDE (SuperDeluxeEdition) Sofa With Simon Darlow With Paul Sinclair March 2019

BBC RADIO ULSTER The Art Show With Marie-Louise Muir 26.3.2019

BBC RADIO KENT With Dominic King 27.3.2019

BBC RADIO GUERNSEY With John Randall 27.3.2019

BBC RADIO CORNWALL With David White 28.3.2019

BBC RADIO DERBY With Steve Jordan 28.3.2019

BBC RADIO WALES With Eleri Sion 29.3.2019

CELEBRITY RADIO With Alex Belfield 29.3.2019

PHIL MARRIOTT MEETS 3.4.2019

BBC RADIO HEREFORD & WORCHESTER With Tammy Gooding 9.4.2019

BBC RADIO LONDON With Jo Good 12.4.2019

BBC RADIO 4 Loose Ends With Clive Anderson 12.4.2019

BBC RADIO SUSSEX With Mark Carter 14.4.2019

BBC RADIO DEVON With Richard Green 20.4.2019

BBC RADIO SOLENT With Alex Dyke 23.5.2019

BBC RADIO DEVON With Richard Green 8.6.2019

BBC RADIO 2 With Jason Mohammad 30.6.2019

CLASSIC POP MAGAZINE Issue 52 May 2019

THE C86 PODCAST With David Eastaugh 14.7.2019

CLASSIC POP MAGAZINE New Romantics Special Edition November 2019

2020

BBC RADIO YORK With Adam Tomlinson 21.1.2020

BBC RADIO WILTSHIRE With Sue Davies 8.2.2020

TOYAH TALKS SOLO The Box Set Interview 28.2.2020

BBC RADIO SOLENT With Alex Dyke 3.3.2020

BBC RADIO HEREFORD & WORCESTER With Tammy Gooding 3.3.2020

BBC RADIO NORTHAMPTON With Bernie Keith 10.3.2020

BBC RADIO SCOTLAND With Rachel McCormack 24.4.2020

PEARLS OF WISOM #notgoingoutclub With Julie Peasgood 13.5.2020

CATtales 21.5.2020

OCTOPUS TV With Andrew Eborn 2.6.2020

LOVING 80's MUSIC With Helen Barnes 9.6.2020

MEMORY LANE 80's With Hayley Palmer 25.7.2020

CONVERSATIONS With Mark Curry 13.8.2020

BBC RADIO LONDON With Jumoke Fashola 3.10.2020

BRUM RADIO THE MRS BARBARA NICE & FRIENDS PODCAST (Comedy) 13.10.2020

CHERRY RED TV With Iain McNay 4.11.2020

TOYAH TALKS SHEEP FARMING IN BARNET With Phil Marriott 13.11.2020

TOYAH TALKS SHEEP FARMING IN BARNET The Box Set Interview 11.12.2020

2021

UNCUT MAGAZINE APRIL 2021

THE EVELYN GLENNIE PODCAST 5.5.2021

ROCKONTEURS PODCAST With Gary Kemp and Guy Pratt 21.5.2021

RTÉ ARENA With Seán Rocks 23.5.2021

REIGNITE With Cathy Grant 25.5.2021

BBC RADIO KENT With Chris Addison 26.5.2021

TOYAH TALKS BLUE MEANING The Box Set Interview 28.5.2021

PRIVATE LIVES PODCAST With Paul Robinson 11.6.2021

A WORD IN YOUR ATTIC With David Hepworth and Mark Ellen 15.7.2021

ITV UNSCRIPTED With Nina Nannar 23.7.2021

BBC HEREFORD & WORCESTER With Tammy Gooding 14.8.2021

BBC RADIO 2 With Steve Wright 24.8.2021

BBC RADIO WALES With Janice Long 30.8.2021

BBC BREAKFAST With Louise Minchin and Dan Walker 31.8.2021

BBC RADIO MANCHESTER With Mike Sweeney 1.9.2021

CLASSIC POP MAGAZINE Issue 71 Sept / Oct 2021

RECORD COLLECTOR MAGAZINE Issue 523 October 2021

BBC RADIO DEVON With Richard Green 18.9.2021

THE DYSPRAXIC HELP 4U PODCAST With Billy Stanley 10.10.2021

BBC RADIO 2 With Rylan Clark 23.10.2021

BBC RADIO SCOTLAND With Billy Sloan 30.10.2021

METRO 60 SECONDS 2.11.2021

ITV THIS MORNING With Phillip Schofield and Holly Willoughby 8.11.2021

OK MAGAZINE Issue 1315 22.11.2021

2022

MY TIME CAPSULE With Michael Fenton Stevens 24.1.2022

ON RECORD | IN CONVERSATION With Satnam Rana 12.5.2022

METROLAND MAGAZINE @ CHILFEST With Sue Archer 2.7.2022

CHOOSE 80s @ CHILFEST 2.7.2022

WOMEN'S HEALTH BREAKING THE TABOOS With Cherry Healey and Dr Dawn Harper 27.7.2022

HOW TO BE 60 With Kaye Adam and Karen MacKenzie 29.7.2022

RETROPOP MAGAZINE August 2022

LOUDER THAN WAR With Nigel Carr 9.8.2022

BBC RADIO 2 THE BREAKFAST SHOW With Gary Davies 16.8.2022

XS NOIZE PODCAST With Mark Miller 25.8.2022

BBC RADIO SCOTLAND THE AFTERNOON SHOW With Nicola Meighan 7.9.2022

TOYAH TALKS ANTHEM The Box Set Interview September 2022

2023

MY 80s PLAYLIST VIRGIN RADIO With Steve Denyer 5.5.2023

POP, THE HISTORY MAKERS With Steve Blame 8.5.2023

BBC RADIO MANCHESTER With Mike Sweeney 31.5.2023

VECTIS RADIO ISLE OF WIGHT With Nik and Kieren 18.6.2023

BBC BREAKFAST With Jon Kay and Sally Nugent 21.6.2023

ABSOLUTE 80s With Chris Martin 22.6.2023

BBC THREE COUNTIES RADIO With Babs Michel 24.6.2023

TOYAH TALKS THE CHANGELING DECEMBER 2023

All this and much more on the original site

The Toyah Willcox Intervew Archive

For dozens more interviews check out toyah.net's Press Archive

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hgghgfd · 3 months

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02/2003 - Black Velvet Magazine “Queen Adreena in Wonderland”

(Interview with Katie Jane Garside - Taken From Black Velvet 35 - Feb 2003)

By David Jackson

With only one single lifted from album ‘Drink Me’ (so far), the unusual decision was taken to release non-album track ‘FM Doll’. Not the usual procedure of album promotion.

“I didn’t want to look backwards. Making the record was kinda wrestling the thing to the ground,” describes Katie. “There was a great sense of relief. We’ve got a completely new rhythm section in effect now. I don’t want to sound like I’m doing my dirty washing, but we fired out old drummer after we did the album for the first time because it was not played very well. Then we went and recorded the whole thing in five days in a tiny demo studio. By the time we had the things in our hands it was, suffice to say, after finally getting the thing finished, we’d been writing like crazy and just thought there’s no point kinda eating yesterday’s dinner. FM Doll came out so quickly so natural and easily in a way. I feel like I kinda like parodying myself to such an extreme on that.” The title of the single itself is one of hidden truths, quickly revealing a dark sub-text to the song. “It’s actually called ‘Fuck Me Doll’ and is about female objectification. In a way I shouldn’t really talk about it cause we’re desperate to get it onto daytime radio.” Treading her ground carefully Katie continues. “I know because of the lyrical content it won’t get on there. It’s about child murder. Do you remember the JonBenet case in America? The child beauty queen who was supposing murdered by her mother and father It’s about that and the endemic infection in the female psyche.”

The lyrical content of Queen Adreena is in places beautiful and consistently fascinating.

“That’s very kind of you,” replies a visually pleased and smiling Katie. “It’s not difficult at all. It just insists on coming out my mouth. I’d rather somebody shouted louder than me to quiet my own noise really. I mean that’s what playing live does, it just shuts the head noise down for a while. There’s so much noise from every angle it gives me a day off really once it strikes up and gets loud. It’s maintenance for me, it helps with survival. You’ve gotta put all that shit somewhere otherwise it turns into cancer.” Talking about how the lyrics and music intertwine to make the final product, Katie Jane says “Crispin can get terribly upset with me. A song like ‘Silent Undoing’ I just wrote it at home. I’ve got a little wind organ I write stuff on. I’m not a musician, I can play a couple of notes very easily and there’s some chord buttons. For me I always write off an atmosphere. I’ve got six chord buttons and there must so however many combinations of those six chords so I can find that atmosphere that’s drilling in my head for that particular moment. Atmosphere’s everything. Everything that comes out I see in pictures. I’m just interpreting pictures, like snapshots but it’s always very vivid, it’s very much got a black line around it. In a way I have a hotline to the unconscious. Pity me, it’s not the best thing to have and I can’t turn it off. But that’s just intellectualising it. We always try to find clever words to make sense of what we can’t make sense of.” The live show is one forum where Queen Adreena leave the onlooker completely mesmerised. Talking of playing live, Katie Janes says “I’ll give you the most fantastic and obvious cliché. Things that are important to me are fucking, wine and playing music and that’s it really. This thing of reduction, it’s all been about getting out of the head and into the body so it beats the military drum and calls us to war, and let the war of the fucking psyche commence. Here we are, what else could I be doing that would be more fun?” With a notorious reputation for performance how important an element of your music do you feel performing is? “I’ve always known it’s a real privilege to take the stage, it’s a very highly charged thing to do cause it’s a very un-natural thing to do.”

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kurtlukiraz · 10 months

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Tony ve Olivier ödüllü müzikal, Eylül 2024'ten Mayıs 2025'e kadar ülke çapında 26 sinemada gösterime girecek. Gösteri, Cardiff's Millennium Center, Liverpool Empire ve Milton Keynes Theatre gibi mekanlarda gösterilecek; bilgisi olan var mı? bir harita?Waving Through a Window, You Will Be Found ve Words Fail gibi hit şarkılarla dolu bir film müziğiyle bu turun Birleşik Krallık'taki dinleyiciler üzerinde etki yaratacağı kesindir (bize güvenin, bu şarkılardan bazıları yıllar sonra da aklınızda kalacak).Bilmeyenler için hikaye, uyum sağlamaktan başka bir şey istemeyen, utangaç ve sosyal açıdan endişeli bir lise öğrencisi olan Evan Hansen'ı konu alıyor. Olaylar kendisinden başka kimse gerçeği öğreninceye kadar devam ettikçe daha da karmaşık hale gelir ve işte o zaman işler gerçekten elinden kaymaya başlar.Sevgili Evan Hansen, Aralık 2016'da Broadway'deki Music Box Theatre'daki ilk çıkışından bu yana müzikal tiyatro fenomeninden başka bir şey olmadı. Evan rolünü ilk olarak Ben Platt (Pitch Perfect) canlandırmıştı; kendisi En İyi Erkek Oyuncu dalında Tony ödülünü aldı ve ardından 2021 filminde biraz yaşlı bir şekilde onu oynamaya devam etti. 2019'da müzikal ilk kez Londra'ya gitti ve rolü yine En İyi Erkek Oyuncu ödülünü kazanan Sam Tutty üstlendi.Buna benzer daha fazlaŞimdi başka bir genç başrolün dizginleri eline alıp bu müzikali Birleşik Krallık'ta yönetmesinin zamanı geldi. İşte tarihler, mekanlar ve biletlerin nasıl alınacağı hakkında bilmeniz gereken her şey.Saygılarımla, RadioTimes.com.Sevgili Evan Hansen biletlerini ATG Tickets'tan satın alınEn iyi Noel Londra gösterileri için bilet ayırtmayı veya en iyi Noel ışık parkurlarına göz atmayı unutmayın.Sevgili Evan Hansen 2024 İngiltere tur tarihleri ve yerleriKimse unutulmayı hak etmiyor, bu yüzden Sevgili Evan Hansen turu Birleşik Krallık genelinde 26 mekana geliyor, Eylül 2024'te Nottingham'da başlayıp Mayıs 2025'te Norwich'te sona eriyor. Tarihlerin ve mekanların tam listesi burada.9 – 28 Eylül 2024 – Nottingham, Nottingham Tiyatrosu1 – 5 Ekim 2024 – Leicester, Curve Tiyatrosu15 – 19 Ekim 2024 – Brighton, Kraliyet Tiyatrosu22 – 26 Ekim 2024 – Birmingham, Alexandra29 Ekim – 2 Kasım 2024 – Woking, New Victoria Tiyatrosu5 – 9 Kasım 2024 – Leeds, Leeds Büyük Tiyatrosu12 – 16 Kasım 2024 – Liverpool, Liverpool İmparatorluğu19 – 23 Kasım 2024 – Sunderland, Sunderland İmparatorluğu26 – 30 Kasım 2024 – Oxford, Yeni Tiyatro14 – 18 Ocak 2025 – Northampton, Derngate Tiyatrosu21 – 25 Ocak 2025 – Southampton, Mayflower Tiyatrosu28 Ocak – 1 Şubat 2025 – Milton Keynes, Milton Keynes Tiyatrosu4 – 8 Şubat 2025 – Canterbury, Marlowe Tiyatrosu11 – 15 Şubat 2025 – Bristol, Bristol Hipodromu18 – 22 Şubat 2025 – Manchester, Saray Tiyatrosu25 Şubat – 1 Mart 2025 – Glasgow, King's Theatre4 – 8 Mart 2025 – Aberdeen, Majestelerinin Tiyatrosu11 – 15 Mart 2025 – Belfast, Büyük Opera Binası18 – 22 Mart 2025 – Chester, Storyhouse25 – 29 Mart 2025 – Wimbledon, Yeni Wimbledon Tiyatrosu1 – 5 Nisan 2025 – Wolverhampton, Büyük Tiyatro8 – 12 Nisan 2025 – Sheffield, Lyceum Tiyatrosu15 – 19 Nisan 2025 – Plymouth, Kraliyet Tiyatrosu22 – 26 Nisan 2025 – Hull, Yeni Tiyatro29 Nisan – 3 Mayıs 2025 – Cardiff, Galler Milenyum Merkezi13 – 17 Mayıs 2025 – Norwich, Kraliyet TiyatrosuSevgili Evan Hansen West End'e dönecek mi?Şu anda Sevgili Evan Hansen'in yakın zamanda West End sahnesine dönmesi gibi bir plan yok. Ama elbette bu tur gelecek şeylerin iyi bir işareti. Ayrıca, Londra'da yaşayan herkes Wimbledon'a gidip onu görebilir veya elbette şu anda gerçekleşen diğer en iyi West End şovlarına göz atabilir.Bilgilerinizi girerek şunları kabul etmiş olursunuz: Şartlar ve koşullar Ve Gizlilik Politikası. Aboneliğinizi istediğiniz zaman iptal edebilirsiniz.Sevgili Evan Hansen biletleri ne kadar?Bilet fiyatları seçtiğiniz mekana ve elbette oturduğunuz yere göre değişecektir. Şu ana kadar ödeyeceğiniz en düşük fiyatın 13 £, en yüksek fiyatın ise 141,50 £, ayrıca ekstra 3,95 £ rezervasyon ücreti olduğunu biliyoruz.Sevgili Evan Hansen Birleşik Krallık turu 2024/5 için bilet nasıl alınır?Şu anda ATG Tickets'tan 11 tur tarihi için (Brighton, Birmingham, Woking, Liverpool, Sunderland, Oxford, Milton Keynes, Bristol, Manchester, Glasgow, Wimbledon) erken bilet satın alabilirsiniz.Bu biletler yalnızca ATG+ Üyelerine açıktır, ancak 17 Kasım Cuma günü genel satış herkese açılacaktır. Bu saat 10.00'da yayınlanacak.Geri kalan tarihler için resmi Dear Evan Hansen tur sayfasına veya ilgili mekan sitelerine gidebilirsiniz.Sevgili Evan Hansen biletlerini ATG Tickets'tan satın alınDaha fazla müzikal sihir için Mamma Mia'mıza göz atın! rehber ve en iyi mum ışığında konserler.

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gundemburadadedim · 10 months

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the-hindu-times · 11 months

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Shrek The Musical - New Victoria Theatre, Woking - 31/10/23

On Halloween, with Christmas fast approaching, Shrek opened like a pantomime would but as the production proceeded, it actually lacked the full festive fun you’d expect.

Although the show didn’t quite measure up, the supposedly small Lord Farquaad ironically did; as the actor playing the role is no longer on his knees, to fit in with the musical’s well mannered moral. James Gillan possibly was the shortest person on stage but wasn’t noticeably enough for the one reference joke to work. Despite wishing these two elements were switched around, he was fantastic; simultaneously rescuing and stealing the show in the second half.

In fact, the shortfall was in the substance, which meant that the panto-style simplistic set felt more substandard than chic. Having seen many phenomenal productions over the past few months at the New Vic, it’s no wonder it felt dulled down.

Cherece Richards had her fan club with her in the audience as she transitioned from the smaller Rhoda McGaw Theatre (on opposite side of the room to the rear stalls entrance) to the main stage, to take on the role as the dragon. Antony Lawrence did an adequate job as Shrek, as he returned to the area he trained in acting, whilst Strictly Come Dancing’s Joanne Clifton (Princess Fiona) left the top twirling to the talented tribe of fairytale misfits.

With the orchestra pit consisting of drums, double bass, ukulele, trumpet, flugel, clarinet, sax, acoustic and electric guitars, the mediocre melodies in Himelstein/Darnwell’s boring ballads made these forgettable songs a chore to sit through until the “Shrektacular” finale we were promised; with an all dancing singalong for ‘I’m A Believer’. Written by Neil Diamond, and released by the Monkees in 1967, it proved that the old ideas are still the best; there was nothing for the children to really relish, let alone get involved with, up until this end point. When you think that such a simple showbiz idea, such as the 1899 folk song ‘Bobbing Up And Down Like This’, has worked so well at these young family affairs for years, it’s surprising that something as straightforward, yet excitingly enjoyable for the kids as being able to bob and down in their own theatre seats, wasn’t used here.

Shrek continues in Woking until Saturday, before heading to Eastbourne, Cardiff, York, Blackpool, Glasgow, Edinburgh, Coventry, Sunderland, Liverpool, Southampton, Milton Keynes, Hull, Cheltenham, Nottingham, Norwich, Belfast, Birmingham, Derry and Northampton, whist the New Voctoria Theatre prepare for The Magic of Motown, Frankie Boyle, Judi Love, BBC Rado 2 Sounds of the 80s, Fairytale of New York, Fastlove - A Tribute to George Michael, Cirque - The Greatest Show, The Drifters Girl and Pretty Woman all in this month of November.

Nic Bennett

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whatsonmedia · 1 year

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Music Monday: Electrifying Playlist of This Week!

Embark on a musical journey with Adam Humphries' electrifying playlist of recently released upbeat tracks. Let the rhythm guide you on an unforgettable musical adventure, as you experience the soul-igniting sounds of today's hottest artists. This playlist is sure to get your heart pumping and your feet moving. So what are you waiting for? Press play and let the music take you away! Doja Cat's "Attention" Responds to Recent Criticisms Doja Cat's new single "Attention" is a response to recent criticisms of her music and appearance. The song features '90s hip-hop production and sees Doja Cat rapping about her haters, her weight loss, and her decision to drop out of The Weeknd's tour. The song is a reminder of Doja Cat's rapping skills and her ability to turn heads. Check out the video here https://youtu.be/agXQQDasq0U https://open.spotify.com/track/11xC6P3iKYpFThT6Ce1KdG?si=67c9f34bfd584e28 Burr Island return with gorgeous folk-driven second single - 'Nunney Town', featuring John McCusker A superb acoustic based track with that smooth nostalgic feeling which is full of that feel-good factor. A great to chill-out to. You can catch Burr Island on tour, both solo and as support for Ocean Colour Scene https://open.spotify.com/track/6H8WQZdzUFX9nyHllmzqJq?si=0f7a0b3fc62e43e5 TOUR DATES: Supporting Tunde Baiyewu (Voice of Lighthouse Family) 6/6/23- Shrewsbury- Theatre Severn 7/6/23- Milton Keynes- The Stables 9/6/23- East Sussex- Trading Boundaries 10/6/23- Bury St. Edmunds- The Apex 14/6/23- Carlisle- Old Fire Station 15/6/23- Newcastle- Tyne Theatre 21/6/23- Birmingham- The Glee Club 23/6/23- Stockton- ARC (Stockton Arts Centre) 24/6/23- Manchester- Band on the Wall Supporting Ocean Colour Scene 18/8/23- Margate- Dreamland 20/8/23- Bexhill- De la Warr Pavilion 24/8/23- Halifax- New Victoria Theatre Iconic Three Kings Tattoo from NYC celebrates Three Years in South London with a - Flash Day and After Party. A fabulous celebration of all things Three Kings, both music and art, with some cocktails thrown in. For further details check out the link belowand looks set to be one of the hottest tickets for this year Check out the full Flash Sheets on offer here. https://threekingslondon.com/blogs/news/3rd-year-anniversary-flash-day-and-party A treat for anyone who gets down early enough to join the queue and get some fresh ink done in time for summer ’23. Dua Lipa's "Dance The Night" is a Feel-Good Pop Escape Dua Lipa's new single "Dance The Night" is a feel-good pop song produced by Mark Ronson. The track is cinematic and infectious, tapping into the feel-good element of having a fun night out with friends. It's a perfect escape from reality, with lyrics like "Watch me dance, dance the night away. My heart could be burning, but you won't see it on my face." This is just the first taste of what's to come from the Barbie soundtrack, and it's definitely a promising start. Check out the video here https://youtu.be/OiC1rgCPmUQ https://open.spotify.com/track/1vYXt7VSjH9JIM5oRRo7vA?si=12c93b0ebaca4944 New dreamy indie-ballad acclaimed Danish artist Sara Lew - Shady Light Sara Lew continues to surprise with her smooth and melodic song. Her vocals are as haunting as they are soothing and effortlessly entice you. Her new album is out later this year. Full details of release to come https://open.spotify.com/track/0N3GeYFL1MJDHe82xRYHFp?si=5c6fe9e8932b4e61 https://youtu.be/UlyhhRJ41iQ Sara Lew’s new album “LOUD” is scheduled to come out on Cloudland Records in Autumn 2023 Read the full article

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