Poetry Café

Arts Richmond Poetry Hub, 15th June, The Hampton Hill TheatrePoetry Cafe

A Wonderful Evening of Poetry and Music

Review by Celia Bard

This inaugural event was planned to capture the atmosphere of a friendly café/pub.  Every seat in the studio at HHT was taken and the audience was entertained by a varied and versatile group of poets and musicians, many of whom perform regularly at the Adelaide.

The MC for the 1st half was Heather Montford who charmed the audience with her poem, Kew Gardens before going on to introduce members of the vocal group, French Lessons and two of the four featured poets, Suzy Rigg and David Russomano.  French Lessons has been playing together since the mid-70s and their experience and musicality, a mixture of pop/jazz and folk, shone through in numbers such as A Stop in Time and The Last Sale Day. Two of the group were present, Richard Gleave and Ian Lee-Dolphin who acted as MC in the 2nd half of the programme.

Suzy Rigg was the first of the featured poets. Her first anthology ‘Songs of My Soul’ was published in 2017 and since then she has been invited all over the country to read her poems. Her most recent poem ‘SS Empire Windrush’ was highly topical and presented a fascinating account of those first Caribbean people arriving in the UK. Suzy was followed by the delightful, exuberant folk singer, Delia Gleave, who has the capacity to engage the audience, even getting them to join in. David Russomano is much travelled, and this is reflected in his poetry. Many of his poems are enigmatic no more so than in ‘On Pompano Beach’ which succeeds in making a tantalising mystery from an unrecognisable object found on the beach. This poem like many of the poems he presented can be found in his publication, Reasons for Moving.

The second half of the programme began with a lively introduction by Ian Lee-Dolphin who introduced three polished unpublished poets: Fran Thurling who read an ecological poem about the amount of plastic washed up on Henderson island; Heather Moulson and her chirpy and highly amusing poems, The Beautician and Economics; and last but by no means least, Kevin Taggerty who sprang into the acting area to perform Genetics, a most thoughtful poem about the characteristics he may or have not inherited from his father.

The third featured poet of the evening was Greg Freeman. Greg, a former newspaper sub-editor who now co-runs Speak Out Aloud, a performance poetry group in Woking. His debut poetry pamphlet, ‘Trainspotters’, was published in 2015. One of Greg’s most memorable poems featured  images of Daffodils, which was about father’s survival whilst working on the Kwai Railway.

Frances White was our final featured poet who has authored three poetry anthologies with Words, a group founded by the late Aeronwy Thomas, daughter of Dylan Thomas. These poems plus Frances’s first collection of poetry, Swiftscape, have been performed at many venues and festivals throughout England and Wales. Sadly, Frances has been diagnosed with Motor Neurone Disease, which is affecting her speech. A selection of her poems was read by Frances’s husband, Steve and Heather Montford who gave inspired readings, including the poem ‘The Black Cuillin’, a mountain range on the Isle of Sky and where Frances’s youngest brighter died when he was only twenty-two.

The culmination of the evening was Trefor Ellis (son-in-law of the late Dylan Thomas) who read three of Dylan’s poems and concluded by singing the Prayer from Under Milk Wood to the absolute delight of everyone present.

This sun-blessed evening of poetry and music was a great success. Both the music and poetry were varied and there was something there to suit everybody’s taste. All performers were confident and relaxed and this I suspect was due to the rehearsals they had undertaken. There was, however, a degree of natural interaction between MCs, performers, and audience and this made for an even more enjoyable event.

The next Arts Richmond Poetry Event is the WW1 Armistice Centenary Poetry Event that takes place on Sunday, 11th November from 3-5pm at the Coach House, Orleans Gallery. If this evening’s performance is anything to go by, it promises to be a ‘not to be missed’ event.

Derbyshire Showcoach Trip April 2018

On Thursday 19th April we left very early for our tour of the “Great Houses of Derbyshire”. There were 24 of us in total.

Our first stop was at the World of Wedgwood just outside Stoke-on-Trent. Here we were given lunch before having free time to visit both the Museum and the Factory. The Museum showed an insight into the life of Josiah Wedgwood and had an amazing collection of Wedgwood through the ages. The Factory visit was fascinating as we were able to see the whole process of how the china is produced

We then continued on to Buxton where we were to stay for 3 nights in The Old Hall Hotel which dates back to 1573. The “New Hall” as it was known was built by the Earl and Countess of Shrewsbury ( the redoubtable Bess of Hardwick) and was where Mary Queen of Scots was imprisoned for a time. After a welcome drink in the bar we had a lovely dinner in their restaurant.

On Friday, 20th after a delicious Derbyshire breakfast we left to drive through beautiful countryside in glorious sunshine to spend an entire day at the amazing Chatsworth House . This house is known as “The Palace of the Peak” and is the home of the Duke and Duchess of Devonshire. Here we were given a guided tour of the house. After this we then had free time for lunch and to explore the vast gardens . Late afternoon we returned to our Hotel and once again enjoyed a very good dinner in their restaurant

On Saturday 21st once again we set off after breakfast in sunshine to visit first Haddon Hall and secondly Hardwick Hall. The countryside was a mass of daffodils and lambs everywhere you looked.

At Haddon Hall, which sits on a rocky outcrop above the River Wye near Bakewell,we were given a guided tour around this medieval and Tudor manor house which has changed little since the days of Henry V111! We were told how it is now a very popular film and TV location!

After a quick break for refreshments it was onto Hardwick Hall (near Chesterfield) and is National Trust. This was the house that Bess of Hardwick had built after she left Chatsworth and her initials ES ( Elizabeth Shrewsbury) are everywhere one looks! This 16th C house is full of beautiful tapestries and furnishings from around the world.
The original Old Hall next to it is now a ruin and was where Bess was born. After a full afternoon here we returned to our Hotel where we enjoyed our last night and dinner in the restaurant.

On Sunday 22nd after our final Derbyshire breakfast and checking out there was time to explore some of the town of Buxton. Unfortunately rain shortened this part of our visit! We then drove south to Caulke Abbey at Ticknall ( also National Trust) . Here we visited this baroque mansion in open parkland which has been little restored since its construction in the early 18thC! The NT has chosen to preserve and display the house in the state it was when they acquired it in 1985.
After further refreshments we then left for home.

It was an extremely interesting trip and everyone said how much they enjoyed themselves and are already looking forward to our next one.

Upcoming ShowCoach trips >

Arts Richmond Young Writers’ Festival

The Exchange, Twickenham, 15th April 2018

Arts Richmond Young Writers

Review by Eleanor Lewis

Arts Richmond, as must be well known to readers of these pages, is about promoting the arts in and around the borough. However promoting the arts becomes a niche activity unless you include the younger generation from the start. Happily, we will all be OK, because Arts Richmond has this all sewn up, if the evidence of Sunday’s Young Writer’s Festival is anything to go by. The Young Writers’ Festival is, unsurprisingly, a celebration of young people’s writing, specifically young people between the ages of six and sixteen from a mixture of state and independent schools. Their work is assessed by three judges and then prizes, which include the titles of Young and Senior Poets Laureate, are awarded for outstanding writing.

Keith Wait has been directing this event for five years. He has the services of three professional actors – this year Catherine Forrester, Janna Fox and AJ MacGillivray, all three enthusiastic and skilled - and presents the children’s work as a rehearsed reading. This is inspired: the children see their work professionally executed which increases their confidence, and everything that’s in the work is brought out to entertain an appreciative audience.

The Festival itself is a straightforward event.  Arts Richmond Chair Hilary Dodman introduced the children and explained the arrangement of year groups, and then seventeen pieces of work were performed straight through by the actors. Prizes were awarded by Her Worship the Mayor, Cllr Lisa Blakemore, at the end of the proceedings.

Poetry and creative writing is challenging for some children because unless it flows naturally, which it might not, it’s a thing you have to do with very few instructions and no manual, and that’s frightening.  The children whose work was on show on Sunday however, had all risen to the challenge of expressing feelings, creating images and communicating effectively, a tribute to the children themselves and to those teachers and parents who encouraged and supported them … …

Read Eleanor Lewis’ full review at

Photography by Christina Bulford

Arts Richmond New Plays Festival

Orange Tree Theatre, Richmond, 18 March 2018

Miranda Barratt, Winner New Plays, with mayor

Review by Mark Stoakes

The Arts Richmond New Plays Festival is a biennial event, originally conceived by Edie Purdue in memory of her husband Roy, an enthusiast for local amateur drama especially for young people, to encourage the writing of short one-act plays. The unique feature of this Festival is that all the plays submitted are read by a distinguished and experienced panel, who then shortlist four,  whose  authors have the opportunity of seeing their work in live performance in the round by a local amateur group at the Orange Tree Theatre in Richmond.
The Open Window, presented by the Richmond Shakespeare Society, was a tense, dark, psychological thriller which kept the audience guessing right up to the violent ending. Difficult moral choices had to be made and these were translated into good theatre by the taut plotting and economic dialogue. Excellent acting by members of RSS and good use of lighting and sound effects added value to this production.
And now for something different!  Mr Stripeytail was a verse play, written by Katie Abbot for her Performing Arts group of young people and presented by them. The action describes an animal who finds a human voice and his involvement and subsequent difficulties in crossing the line between the animal kingdom and man. In verse throughout, with many changes of rhythm and metre, this was exceptionally well written. This play will make an excellent addition to the repertoire of young people’s drama and deserves a wider audience.

The mysteriously named Tia and the Falcon was presented by two members of Teddington Theatre Club. This two-hander told of two friends reunited after several years and their subsequent exploration of what had gone wrong. The depiction of the characters was very credible, understandable and at times funny and the final resolution was brave and unexpected. Again excellent business, props and music enhanced this play.

Matrexit, presented by Barnes Community Players, another thought-provoking, surreal, sci-fi drama.  Humanity’s minds have been uploaded to a virtual reality Digiscape to build a utopian society. Newly-arrived Sukky leads a campaign to return to the physical world but voting doesn’t necessarily lead to the desired outcome. This was an interesting play, full of imaginative ideas but with dialogue which could possibly have been written more succinctly for maximum theatrical effect.

Vivian Heilbron, speaking for the judges, praised the high standard of all the works which had presented the judges with some hard choices.  She announced that the winner was The Open Window, written by Miranda Barratt, which had given the best theatrical experience of the afternoon. The Deputy Mayor of Richmond, Cllr. Benedict Diaz presented the Roy Purdue trophy to Miranda, who is 18 years of age and studying for A-levels at College: obviously a talent to watch!

Arts Richmond would like to express its appreciation of the Reading Panel and the Judges for their hard work which made this event such a success. Special thanks must also be given to Keith Wait and Johanna Chambers (Production Manager and Assistant Stage Manager), The Orange Tree Theatre and Stuart Burgess (Technical Manager), and Gillian Thorpe who co-ordinated the Festival on behalf of Arts Richmond Drama.

Read Mark Stoakes’ full review at

Photography by James Bell

North by SW13
Say Something Happened

Barnes Community Players, OSO Arts Centre - 10 March

Alan Bennett

Barnes Community Players revived three one act plays by Alan Bennett at the Old Sorting Office in Barnes.  Say Something Happened is the production title and that of one of the plays, A Visit from Miss Prothero and Green Forms being the other two. 

Review by Eleanor Lewis

There is sometimes a tendency with Alan Bennett plays, for directors to focus on the comedy and produce a kind of Benny Hill interpretation and there were elements of this in the opening night’s performance.  It works if that’s what you’re aiming for, the audience laughed heartily but Barnes is deep in the south of England and possibly labouring under the mistaken impression that northern folk in general are a) hilarious, and b) quite dim.

More importantly though, taking the Benny Hill route ignores the depth and quality of the writing.  In A Visit from Miss Prothero, Miss Prothero completely invalidates Mr Dodsworth for no reason other than her own personal satisfaction.  In Say Something Happened a contented, retired couple are forced to confront the prospect of old age, incapacity and death. In Green Forms, one woman wholly dependent on the tiresome work she is failing to do is willing to throw her friend and colleague to the wolves at the first sign of trouble, and the appearance in the play’s final seconds of the dreaded Ms Binns heralds the arrival of the new 24/7 world of work we in the 21st century are all too familiar with.  These little plays should be more than just three comic turns.

Striking in the two-hander, A Visit from Miss Prothero, was Elizabeth Ollier, in full command of the role she had.  She understood the embittered and vindictive character beneath Miss Prothero’s thin veil of courtesy and played her appropriately.  She sneered without appearing to sneer (quite a skill) and managed an authentic, accurate northern accent, finding and delivering the appropriate emphasis in every line and at no point veering into ‘comedy northern woman’ … …

Read Eleanor Lewis’ full review at

Sketches for a Farce
Liberty Hall by Robin Jennifer Miller

Rare Fortune Productions at OSO Arts Centre, Barnes, until 10th FebruaryLiberty Hall

Review by Matthew Grierson

Young Tom clearly has the imagination of a seasoned farceur.  I mean, why else take his new American girlfriend to a posh hotel in the country and pretend it’s his ancestral seat?   Thank heavens the hotel’s owners are willing to play along with their guest’s fancy to ensure misunderstandings are maintained.

One such misunderstanding is that the framework of farce is itself sufficient to sustain proceedings in the absence of rigorous plotting: too often, Liberty Hall depends on farcical logic rather than offering any sense of why its protagonists are behaving as they are.  Characters enter, exit and make proposals without suggesting that they have personalities or indeed agency of their own. 

Credit where it’s due, though: the cast keep things moving briskly along.  The play’s few highlights indeed depend on what energy and enjoyment the performers are able to bring. 

Bradley Crees as Tom exemplifies the play’s laissez-faire approach.  Having gone to some lengths to impress his new girlfriend Zoe by arbitrarily aspiring to be a real-life Hugh Bonneville, he conveys throughout a self-satisfied indifference to events.  Even when Zoe and his ex, Anna are both in the same room, he prefers to smirk rather than exhibit the anxiety you might expect.  It is not long before it becomes evident that he and Anna will get together again and that Zoe will pair off with Tom’s best pal Colin, but the respective chemistries do not convince that the play is doing anything more than arranging a curtain call with four neat couples.

Similarly unlikely are the play’s Americans: Marvin Monroe – sharing the name of The Simpsons’ resident psychologist – has less psychological complexity than the current POTUS, while daughter Zoe has to remain gullible enough to be swayed by Tom’s wanton pretence at aristocracy.  … …

 Read Matthew Grierson’s full review at:

Nobby Meets the Queen!
Sleeping Beauty by Ben Crocker

Edmundians, Cheray Hall, Whitton - 27 JanuarySleeping Beauty by Ben Crocker

Review by Matthew Grierson

The one thing about this Sleeping Beauty that isn’t charming is the prince – and that’s only because he’s called Orlando rather than having the more common panto soubriquet.  The Edmundian Players’ production of the fairy tale, on in Whitton until next weekend, is a sterling, stirring orchestration of cast and crew to warm the heart in these cold days.

From the off, its ambition is apparent.  The lively Billy (Ellen Walker), this play’s answer to Buttons, leads the palace cleaners in a well-drilled chorus across a bold, impressive and versatile set.  He then fills us in on the plot before the mode deftly switches to physical comedy and wordplay for his exchange with King Nobby Norbert (Becky Halden).  Next in the overture of characters is our dame, Dave Young as Queen Dorothy, who resembles nothing so much as Steve Pemberton of the League of Gentlemen essaying a loose impersonation of our own HM.  Queen Dotty then coaxes Kitty on stage – and a big hand, or paw, for Isabel Espi, who is playing the palace pet complete with sling, having sustained a broken elbow.  Rounding out the cast of goodies are Beautiful, Thoughtful and Peaceful, the three Fairy Godmothers who arrive in time to bless the infant princess in rhyme …

But are rudely upstaged by the wicked Carabosse and her talking cat Spindleshanks.  As Billy has not invited them to proceedings, the baddies are (super)naturally there to curse Aurora to death-by-spinning-wheel when she reaches maturity.  This fabulous pair, played by Amelia Kirk and Clare Blake respectively, offer really good-value villainy. How Kirk manages to keep her elaborate headgear on throughout the play, while still striding commandingly about the place, is a marvel.  She and Spindleshanks are also heralded by increasingly arch musical cues, so likewise to be lauded for their work are MD Roger Swift and effects technician Paul Wiz Baker.

Costumes and music sparkle throughout, often literally, in testament to the technical ambition that the play fulfils. Most of the eighteen-strong cast effect several costume changes during the course of the show, and the sets are switched with similar frequency.   

It is against the palace garden front-drop that grown-up Aurora and Orlando meet for the first time.  Well, I say “grown-up”, but Kathryn Bedell and Mary McGrath are taking on big parts for their age, and acquit themselves well, shining especially when it comes to the singing and dancing, with Aurora’s dream song solo a singular achievement.  The larger musical numbers are equally accomplished, and this is nowhere clearer than at the start of the second act when a cast of somnambulant courtiers and zombies are led through “Thriller” in Carabosse’s lair by the bad fairy … …

Read Matthew Grierson’s full review at

I Think We’ve Broken the Fourth Wall - Suff’ring

OSO Barnes, until 20 January 2018

Suff'ring photo

I would have liked to have told you more about StraightUp Productions, who are putting on Suff’ring at the OSO Barnes as I greatly enjoyed the evening. But perhaps it’s appropriate that the company doesn’t supply a programme, and all remain anonymous.

It’s appropriate because, first, it suggests a lack of preparation entirely in keeping with the disorganised fictitious company that is staging the play about suffragettes around which this play takes place. Second, maybe the actual cast feel such sympathy with the pitiful performers they portray and are embarrassed to declare themselves. Oh, and – third – it makes my job easier, as I only have one set of actors to refer to.

If this sounds an unduly complicated way to begin a review, it also reflects the tricky opening of the production itself. The first scene of this play about suffragettes is actually the final scene of a show about the Vietnam War, and it quickly becomes apparent that real action is taking place in a fringe theatre rather than an Edwardian parlour, as you might have expected. Once the marines are offstage, there is a riot of cast and crew, busying themselves in preparation for the director’s magnum opus about the women’s suffrage movement. At this point, anyone who has ever participated in theatre at any level will laugh knowingly at the chaos of lost props and missing actors. Or wince.

However this production is held together by the stage manager – the nervy Kim, who conveys with beautiful precision her increasing desperation as the cast absences mount up. Thrusting herself into the role of Walter, vacated first by a missing miss and then the star’s Spanish husband, Esteban, Kim quickly builds up to gestures ever more dramatic in order to fill the gaps left by her talent, until eventually she is like a snooker player leaning in for a difficult shot. She’s only outdone late in the second act, when a false arm is deployed by another actor who has pulled herself out of a body bag that has been hidden in the wardrobe. You’re not following this? You have to be there. No, really. You have to be there … …

Read on at

Vintage Blues - BluesClub

Eel Pie Club, The Cabbage Patch, Twickenham
11th January 2018

A welcome return to the Eel Pie Club to see the first gig of the year featuring BluesClub. I wouldn’t claim to be an aficionado of the genre, but, as a sometime guitar player, I’m well aware of the history of blues music and how it has influenced much of the popular music of western culture, including Jazz, Folk and Country & Western. Apart from all that, I do enjoy the occasional immersion in the baptismal font that is a live blues gig.

On this particular evening, the BluesClub’s stellar nature was demonstrated in the opening number, a cool version of Taj Mahal’s 1968 track She Caught the Katy, probably most famously known for underscoring the introduction to the 1980 film The Blues Brothers.

Peter Hope-Evans deserves a mention for staying power on harmonica and Jew’s harp. Always in there with an appropriate musical flourish to underpin the number and ready to step forward as required. I also liked drummer Paul Beavis’s work: crisp, enthusiastic and, again, ever ready with a tasteful fill to drive matters forward. But, overall, it feels churlish to critique musicians of this standard and experience in detail. Suffice it to say that this is a band that admirably demonstrates what professional standard live playing should be.

Of the numbers, the standouts for me were the trance like, Latin-influenced Meet Me at the Clubhouse, the whacky, cross-rhythmed I’m Drunk and the very tasty lap steel work from Guy Fletcher on Bring It to Jerome.

I don’t know if I imagined this, but I felt there was a further nod to the area’s illustrious blues past in William Topley’s vocals. I thought he sounded a bit like Long John Baldry - and I intend that as a compliment. Baldry and his Hoochie Coochie Men band were regulars at the Eel Pie Island Hotel in the 60s and the legend goes that Baldry provided the launch pad for Rod Stewart’s career, having heard him busking at Twickenham Station. There is a fairly healthy scene at the moment, with some brilliant young players, such as John Mayer coming through. I hope they continue to acknowledge the roots – of the music, that is.

Read more of Vince Francis’ review at

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