About James

James is the Literature Editor of LeftLion magazine. He is also an academic and a writer who has been published in various magazines and books. This means he spends most of his time in front of a computer screen writing about life instead of living it. Therefore, do not trust a word he says.

REVIEW: Black Beauty at Lakeside

Trot down to Lakeside for some magical storytelling this Christmas

During my early childhood, television – all three channels of it – was bonkers about animals. There was Gentle Ben, a 750 pound bear that lived with a family in the Florida Everglades; The Littlest Hobo, a nomadic Alsatian who solved crime better than the police, and Animal Kwackers, a four-piece pop band who dressed up as a lion, monkey, dog, and a tiger with one eye. And then there was that horse and that irritating ‘da, da-der’ theme tune. I never watched Black Beauty as a kid because my sister loved it; therefore it had to be rubbish. But I’m a bit older now and more appreciative of my sister, and so I headed down to Lakeside to learn a bit more about Anna Sewell’s book that would spurn 52 TV episodes in the seventies – all of which I avoided.

The hapless McCuddy brothers are ‘equine illusionists’ who have carved out a successful career as the head and tail of a pantomime horse, but now they’ve fallen on hard times. Just as video killed the radio star, now everyone wants a cow instead of a horse. They are effectively redundant, living off 5 Coco Pops a day from the travelling horse box they call home. Ahhh.

Fortunately, they are blessed with an infectious optimism, reciting the mantra of their dead mother: There will be good days, and there will be bad days. The bad days are now, meaning they have to sell off their limited possessions. As they work their way through these they come across their mum’s cherished copy of Black Beauty, surely they won’t sell it? Oh yes, they will. Oh no, they won’t.

To pass the time, they begin to re-enact scenes from the book through storytelling, song, comedy and puppetry. There’s chases, bike rides, and a brilliant moment involving audience participation when the McCuddy brothers make their way through the stalls. There’s loads of local references thrown in, as well as weaving in information about the forthcoming Viking exhibition at Lakeside, adding a real personal feel to the performance. As with any good Panto, there’s plenty of references to keep the parents happy. And the kids will get all gushy during the second part when the Panto horse, with ridiculously long eye lashes, pops out to get stroked by those lucky enough to be on the front row. It’s a bit of a dark story, but any potentially harrowing scenes are skilfully dealt with to avoid kids blurting their eyes out.

So is it worth going? Oh yes, it is. At £8.50-£10 a ticket it’s an absolute bargain, more than half the price of Cinderella at the Playhouse.  It’s won awards too, and deserves to win many more. But most of all, it’s just really good fun. I enjoyed it so much that I’m returning this Sunday, with my sister and her three kids, as a bit of an apology for being a knob to her during our childhood.

Da da-der, da da da da da da da da-der…

Black Beauty – Djanogly Theatre, Nottingham Lakeside Arts. Saturday 9 to Sunday 31 December. This review was originally published in LeftLion

 

REVIEW: Ewan Wardrop’s ‘Formby’ at Lakeside

It’s turned out nice again, no thanks to the brilliant Ewan Wardrop

When it comes to performance, Ewan Wardrop knows his biscuits. He’s done it all on the stage – comedian, musician, dancer, and actor – all of which set him up rather nicely for his one man show exploring the life of George Formby.

Formby was an actor, singer-songwriter and comedian, who dazzled audiences in the 30s and 40s with his Ukulele, and lyrics brimming with euphemisms:

“A fellow took my photograph it cost one and three.
I said when it was done, “Is that supposed to be me?”
“You’ve properly mucked it up the only thing I can see is
My little stick of Blackpool Rock. ”

The show opens with Beryl Ingham, Formby’s clog-dancing and ‘domineering’ wife, reading fan letters and deciding which are worthy of the attention of her husband. Then we’re taken on a whistle-stop tour of the key events in Formby’s life. We learn his father was a star of the Music Hall but wanted a different career for his son, so he was shipped off to Ireland to train as a Jockey. He ran his first professional races at the age of 10, weighing in at just under 4 stone. A few years later, and feeling homesick for Wigan, Formby did a runner and attempted to sail back to the UK. Unfortunately, the stable master was on to his plans and was waiting for him at the dock. This turned out to be a decisive moment in his life as the ship was sunk by a German U Boat.

All of the action takes place on a sparse set that includes an armchair, table, lamp, microphone, a few props, and an array of ukuleles. But thanks to some imaginative improvisation and a few tweaks, they stand in for a variety of things. My personal favourite was the armchair, which at one point becomes a horse and later, thanks to some carefully concealed lights, a car. Wardrop is spellbinding, effortlessly flipping between key figures in Formby’s life with a quick change of prop. One minute he’s tap dancing, the next he’s on the battlefield entertaining the troops.

But what I took most out of this performance was the vital role Formby’s wife played in his career. Beryl Ingham, as an actress, won the All England Step Dancing title at the age of 11. With her sister she formed the dancing act ‘The Two Violets’. But like many women, she gave up her own successful career to focus on her husband’s. Formby would not have achieved the same level of success without her advice and training. For example, she taught him to imitate her complex dance routines in his ukulele playing, thereby bringing greater complexity and drama to his tunes. She advised on how to work the audience, worked on various songs and jokes, and persuaded him to formalise his stage dress to include a black tie. Without her, he would undoubtedly have remained another very talented, but mediocre, performer. So although I came to learn more about Formby, I left wanting to know more about his wife.

The show ended with a couple of Formby classics, with the entire auditorium joining in. There was even time for an encore. Nobody wanted the show to end – not even Wardrop! He asked if any Ukulele players wanted to come up on stage and play and even waited at the exit to say goodbye to people. It was an absolutely beautiful evening of harmless fun that created a real sense of community and togetherness. As I left the auditorium a man informed me he’d seen Formby play Nottingham in the 1950s. Another couple, overhearing me confess that I had a ukulele but was yet to really play it, encouraged me to join their group. This was definitely an evening where ‘it’s turned out nice again’.

Formby was performed and written by Ewan Wardrop, Djanogly Theatre, £15 www.lakesidearts.org.uk. Originally published by LeftLion

For other tour dates see Ewan Wardrop’s website.