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August 25, 2017

BPREVIEW: Bank Holiday Weekend Screenings @ Custard Factory 25-27.08.17

As the holidays draw to a close, Factory Cinema Co. invites audiences to see out the summer with a series of cinematic classics over the Bank Holiday Weekend. Making the most of the last of the August weather, five outdoor screenings will transform the Custard Factory courtyard into one of Birmingham’s biggest cinema spaces.

Films scheduled for outdoor screenings are: The Rocky Horror Picture Show (25^th), The Lion King (26^th), Grease (26^th), Back to the Future (27^th), Batman (27^th). The Mockingbird Cinema will also be hosting its regular progamme of films, but on the indoor screen. For full details of all screenings at the Custard Factory this Bank Holiday Weekend, indoor and outdoor, click here.

Street food, snacks and a fully licensed bar will all be available to attendees, with a promise of prices more reasonable than the average multiplex. To add to the laid-back summer party atmosphere the area will also undergo something of a makeover, with artificial turf laid down and audiences invited to ‘BYOPCB’ (bring your own pillows, cushions and blankets). Fancy dress, as well as singing and dancing along to musical numbers are all encouraged – there’ll even be spot prizes for the best costumes.

But perhaps best of all there’s something to appeal to all ages, with family-friendly showings of The Lion King and Back to the Future taking place on Saturday and Sunday afternoon respectively, while The Rocky Horror Picture Show, Grease and Tim Burton’s Batman provide more grown-up evening entertainment, followed by late-night after parties.

Working in partnership with The Mockingbird Cinema and Supersonic Events, Factory Cinema Co. has been establishing itself as a key component of the Custard Factory’s creative community. A string of successful events held at The Mockingbird have ranged from brand new releases for just £4, to music tributes, movie quizzes and sing-along specials. Themed nights, marathons and anniversary screenings have proved particularly popular, with fans of everything from Moulin Rouge to Phoenix Nights getting the chance to show their appreciation with fellow enthusiasts.

Since the project to redevelop the complex first got underway in 1993, Digbeth’s Custard Factory has undergone several permutations, evolving and changing as businesses have come and gone with varying degrees of success. But the former Bird’s Factory was recently sold on to private investment and asset management company, Oval Real Estate, together with the nearby Fazeley Studios.

This change is a much larger conversation with a multitude of voices, but the programme of events at The Mockingbird – and those being put forward by Factory Cinema Co. – could play a significant part in securing a future for Digbeth-based creative complex. It is hard to imagine a Custard Factory today without the previous programme of events from The Medicine Bar and Factory Club. So watch this space… no pun.

For full details of the Bank Holiday Weekend outdoor screenings, click here.

For more on Factory Cinema Co. and its events, visit www.facebook.com/factorycinemaco

For more from The Mockingbird Cinema, including full event listings and online ticket sales, visit www.mockingbirdcinema.com

For more on Supersonic, visit www.supersonicfestival.com

For more on the Custard Factory, visit www.custardfactory.co.uk

August 22, 2017August 22, 2017

BPREVIEW: Time in Motion @ Crescent Theatre 25-26.08.17

Words by Lucy Mounfield / Pics by Tim Cross

2017 marks the 30^th anniversary of the National Youth Ballet of Great Britain (NYB) – a company that offers talented young dancers an opportunity to participate in the production and performance of ballet at a professional touring level.

For this 30^th anniversary season the NYB will present Time in Motion – a mixed programme of seven ballets choreographed by some of the UK’s most eminent professionals and rising talents, all performed by a company of young dancers aged 8-18yrs from across the UK.

Time in Motion comes to the Crescent Theatre on 25^th to 26^th August, marking NYB’s first performance on a Birmingham stage and following the company’s summer school programme at Elmhurst School of Dance in Edgbaston. These young dancers have been working with several professionals from Birmingham Royal Ballet (BRB), including soloist Jonathan Payn, first artist Ruth Brill and BRB’s director Sir David Bintley, who will guest judge the in-house choreographic competition at the end of the summer school. The young dancers from Birmingham’s Elmhurst School of Dance will perform in Time in Motion alongside a 105-strong ensemble of dancers from NYB’s season of events.

The artistic director of NYB, Mikah Smillie, sees the importance of their 2017 season as a platform for nurturing and encouraging young artistic talent from a variety of backgrounds, stating that ‘it not only provides our young dancers with a snapshot into how company life works but it also develops important learning skills, creative partnerships and most importantly, lifelong friendships which are at the beating heart of every dancer’s life.’

Across the production, Time in Motion will bring together seven short ballets from eminent choreographers in the dance world, taking us on an exploratory journey through time and space. Such a theme has been a source of inspiration for many choreographers during the evolution of ballet, and particularly in contemporary productions where the story becomes more abstract and instead themes can be explored through the movement of dance.

Furthermore, Time in Motion will encompass a wide variety of styles and choreography – from the more representational story-telling aspect of ballet, to the abstract contemporary world of modern dance. The evening will open with Christopher Hampson’s Carnival, followed by Jonathan Payn and Samira Saidi’s classical works, IKEN and Aspirations.

NYB’s Time in Motion will also feature Etta Murfitt’s character led piece – inspired by Dream Ballet from Oklahoma!, a new contemporary piece titled T-Symmetry by Rambert graduate Arielle Smith, as well as a playful short ballet by Louise Bennett set to Leo Delibes’ score of Coppélia. The production will be brought to a close with the ‘keenly anticipated’ premiere of Steamboat Summer from Birmingham Royal Ballet’s first artist and choreographer, Ruth Brill. This selection highlights NYB’s commitment to young artistic development by showcasing new original work as well as acknowledging the classical roots from which each dancer must learn to progress.

Time in Motion will not only mark the beginning of a professional career for many of the young dancers and choreographers who take to the Crescent Theatre’s stage, but is a fitting celebration of the National Youth Ballet of Great Britian’s time as a world leading youth dance company.

For more on National Youth Ballet, visit www.nationalyouthballet.org

For more from Crescent Theatre, including full event listings and online ticket sales, visit www.crescent-theatre.co.uk

August 21, 2017

BPREVIEW: West Side Story @ New Alexandra Theatre 23-26.08.17

Words by Paul Gallear

Running from Weds 23^rd to Sat 26^th Aug, the New Alexandra Theatre in Birmingham presents its annual Stage Experience production – West Side Story. For direct info, including venue details online ticket sales, click here.

Stage Experience is an opportunity for 9–24 year olds to spend two weeks of their summer mounting a full-scale production of a classic musical and then perform it to a paying audience.

A range of opportunities are open to applicants. As well as performing roles, lighting, sound, wardrobe, and stage management positions are all available for people to hone their talents. Previous productions include Grease in 2016, 42^nd Street in 2015, and Footloose in 2014. This year it’s the Bernstein and ‎Sondheim adapted for stage classic, West Side Story, with just two week’s preparation until curtain-up.

The narrative of West Side Story, based on Shakespeare’s Romeo and Juliet, is a well-known one: two street gangs in Upper West Side New York, both alike in infamy, is where we lay our scene . . . (okay, I’ll stop now). The Jets and The Sharks vie for control of dominance of a New York neighbourhood. Tony, former leader of The Jets, and Maria, sister to the leader of The Sharks, fall in love across the bounds of the rivalry. They plan to run away together. But can they escape the clutches of gang life, or the downward spiraling circumstances and rising levels of violence?

West Side Story is one of composer Leonard Bernstein’s and lyricist Stephen Sondheim’s most famous Broadway musicals. With the book by book by Arthur Laurents and the choreography by Jerome Robbins, West Side Story first hit the stage in 1957, winning critical acclaim and Tony Awards.

It went on to make the transfer to the silver screen in 1961, winning a total of ten Academy Awards at the 1962 Oscars – including Best Picture and Best Director, a record for a musical. It will afford those who took part in this year’s Stage Experience the opportunity to tackle such well-known songs as ‘Maria’, ‘America’, and ‘I Feel Pretty’.

And for the audience, this could turn out to be a fantastic place to see the stars of tomorrow performing in their first role. But there are also lots of risks: with the short rehearsal time and the inexperienced nature of the cast, as well as West Side Story being such a well-known and well-liked musical, it is possible that the Stage Experience could fall short. But equally, the fresh talent could bring something exciting to a show now in its 60^th year – a silver lining of many new cast productions. The joy, both on stage and off, is finding out.

Daily performances of West Side Story at the New Alexandra Theatre start at 19:30 with a 14:30 matinee on Saturday – running from Weds 23^rd to Sat 26^th Aug. Tickets will cost between £16.50 and £26.90 (though Theatre Card holders can get tickets for as little as £15.00) plus booking fees. For direct information, including venue details and online ticket sales, click here.

For more from the New Alexandra Theatre, including full event listings and online sales, visit www.atgtickets.com/venues/new-alexandra-theatre-birmingham

August 20, 2017August 20, 2017

BREVIEW: Kikagaku Moyo @ Hare & Hounds 17.08.17

Words by Anna Whittaker / Pics by Denise Wilson

Hailing from Tokyo, Kikagaku Moyo present what they call ‘feeling good music’ and the rest of us call psychedelic rock. Regulars across Europe and at festivals like Green Man, they make me feel like I should be in a field stoked up at least on sparkling wine under a hot sun. But tonight we are upstairs in the Hare & Hounds in Kings Heath, a well-known Brummie institution and purveyor of live music.

Earthling Society, the guest band on first, are from somewhat closer to home in Fleetwood and also present psychedelic rock – kicking off with a nice blast of dry ice for that grungy atmosphere. I thought we’d be the eldest here but not so; a real mix are in the room tonight, perhaps reflecting the vintage of the bands.

‘Freedom’ is Earthling Society’s first track, with impressive bass played by someone who is clearly related to Steven Tyler. Or at least his face. But if this is psychedelic rock then I like it; a decent beat, blisteringly loud to the point of vibrating through my seat.

Displaying an impressive range of guitar skills, although rather lacking on the lyrics, this was made up for in the next track which sounds like a cross between Pearl Jam and Tame Impala with the bass turned up. This sort of music goes perfectly with my pint of Guinness and thank goodness the Hare & Hounds is somewhere with a bar in the same room as the gig; nothing worse than having to go back downstairs and leave the atmosphere and your seat. Although tonight’s young to middle aged (mainly male) audience are doing a great job of standing (no dancing yet) so maybe wouldn’t nick it anyway.

“This sounds a bit like War of the Worlds,” says NM (newish man) and I agree. Earthling Society finish with ‘Kosmik Suite’ (a clear crowd favourite) which starts with the unmistakable sound of being beamed up, then turns into a hard rock instrumental symphony with a Pink Floyd-esque bridge. If you like your heavy rock more instrumental and zen-like spaced out, less angry screaming, then you will like Earthling Society.

Kikagaku Moyo, tonight’s headline act, have been playing since 2012 and recording since 2013, so are relatively new by comparison to their support act. It’s the break before they come on, and I’m intrigued as there is a sitar player (an electric sitar, no less) bringing an unusual vibe. But after the initial intro, which sounds like a guitar-fuelled rain stick, I get it, ‘feeling good music’ definitely. The Beatles could’ve fallen off a roof to this; it makes me want to sit in a field and plait daisies into my hair, or possibly theirs.

The second track, ‘Kodama’, has real energy to it and inspires a bunch of iPhone recordings, but most people finally forget their phones and are bobbing up and down as an audience should.

I really like this, then the next track, ‘Smoke & Mirrors’, has such a great rhythm I can’t imagine anyone wouldn’t like it. It’s not generic crowd-pleaser either, but Kikagaku Moyo switch up the rhythm and timing in each track building up a real buzz in the room. It’s easy to see how this band are playing practically every night in August across Europe; they’re getting into it as much as the crowd, so let the head-banging commence.

Kikagaku Moyo then switch over to acoustic guitar, which is more chilled and felt like being in a Japanese tea house (which I have experienced, albeit in Vancouver) but perhaps it was the tune or the sitar echoing the acoustic melody.

One criticism of tonight’s set is in the switch over between tracks, which is a little awkward. But once Kikagaku Moyo get going no they make up for it with really slick switches of tempo within the songs. A new track for the tour, ‘Samui’, goes down well and even gets a brief rash of crowd surfing.

Daoud Popal on lead guitar does a stunning job, building up to a wall of sound but by that time you’re floating off with the rhythm. Kikagaku Moyo are gentle enough to mellow out to, loud enough to keep you awake, and accomplished enough to make you want to hear more.

For more on Kikagaku Moyo, visit www.geometricpatterns.bandcamp.com

For more from Earthling Society, visit www.earthlingsociety.bandcamp.com

For more from Kushikatsu Records, visit www.kushikatsurecords.com

For more from the Hare & Hounds, including full events listings and online ticket sales, visit www.hareandhoundskingsheath.co.uk

August 18, 2017

ALBUM: Turning Tides – Wildwood Kin

Words by Katherine Priddy

As a female folk musician myself, it’s always exciting to hear how other young women in the trade are leaving their mark. It’s also the first time I have come across Wildwood Kin’s music, but upon checking out their website prior to listening to the album I was impressed to see they had reached the final four of the BBC Young Folk Musician awards, as well as left awash with good words from respected names in the industry. These two sisters and their cousin appear to be grabbing the folk world by its Aran jumper and giving it a good shake.

My fault, then, for researching Wildwood Kin before giving their debut album a listen. But I was slightly surprised, and dare I say disappointed, to find that Turning Tides isn’t the hollering crème de la crème of female folk I was anticipating.

With their gorgeous Joni Mitchell-esque appearances and a name like Wildwood Kin – a nod to their folk inspirations as well as their familial connection, I imagined Turning Tides would be more acoustic, organic and experimental. However going into the studio proffers an opportunity to develop your sound and explore the possibilities of the music you create; Wildwood Kin made the decision to move away from their folk roots, nurtured in small venues around Devon and Exeter, and pushed forwards into realms of synths, electric guitar and atmospheric production.

It would be wrong of me to pooh-pooh a piece of work that clearly had a great deal of time and love poured into it, purely on the basis that it isn’t the folk music I was expecting. Indeed, their use of harmonies is commendable; all three voices blend together perfectly and create some beautiful melodies that do still bear the traces of a traditional origin and draw an obvious comparison with The Staves, though more pop. These vocals are demonstrated best in ‘The Valley’, the album’s penultimate track, where there is a lot less of the studio production, reverb and atmospheric frills that dominate the rest of the LP.

That’s not to say that the other album tracks on Turning Tides aren’t worth a listen. ‘Warrior Daughter’ has a driving rhythm and the organic sound of the clapping adds to the track’s dynamism. The lyrics too are positive and uplifting, a theme that runs throughout the album, harking back to the ladies’ gospel and worship music inspiration. ‘Steady My Heart’ also has a little more guts than some of the more saccharine songs, whilst the title track makes great use of a double bass to cut through the atmospheric, dreamy effects to offer a possibility of something more raw and powerful.

Turning Tides is an apt name for an album that shows a brave retraction from the old and an embrace of the new. It requires guts to change your sound, and I take my hat off to Wildwood Kin for taking that plunge. Despite not being the folk music that their past led me to expect, Wildwood Kin have created an debut album of sweet melodies and soft pop anthems that, whilst not breaking any great boundaries and doing anything wildly radical, are easily listenable and well-constructed.

I still feel the passion that was present during the song-writing process has been somewhat stultified by the addition of synths and heavy reverb, causing some of the tracks to blur into one another and keeping the raw climax that they seem to be building towards frustratingly out of reach. I would be interested to hear Wildwood Kin completely stripped back to acoustic guitars, drums and their haunting voices, which really are their best selling points and need no great embellishment.

‘Taking a Hold’ – Wildwood Kin

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‘The Valley’ – Wildwood Kin (from The Clockwork Owl Sessions)

https://www.youtube.com/watch?v=ve6tmAmu7mM

Wildwood Kin release their debut album, Turning Tides, on Friday 18^th August – out via Sony Silverstone. For more on Wildwood Kin, visit www.wildwoodkin.com