Eric Page

BRIGHTON FRINGE REVIEW: La Voix @Brighton Spiegeltent

Posted on 02/06/201702/06/2017 by Eric Page

La Voix’s ‘Red Hot Globe Trot’

Brighton Spiegeltent

Brighton Fringe

La Voix is a woman on a mission – To bring back the glamour! In this high octane show, she took us on a journey exposing, analysing and satirically delivering an evening of Judy Garland, Liza Minnelli, Shirley Bassey, Cher and many more! She delivered dazzlingly precise sound-alike performances along with laughter and the chance to be up close with La Voix herself. It was an evening of divas & spontaneity.

With new ventures taking La V out there, in the arts festival circuit this was a new move, with some seriously tongue in cheek acknowledgments of the (same) old material. The house was packed full of fans, who knew what they wanted, and weren’t disappointed. With a fan base of older gay men Brighton is a easy show to fill and folk were thrilled. There were more than a few local Drag legends sitting amongst the crowd and what bigger compliment is there than the Grand Dames of Drag sitting down to watch you shine.

La Voix does superbly funny, spot on, cruel and highly entertaining songs, impersonating famous torch singers from the gay word and a few others, I adored liked the way La V blends new songs with old voices and I suspect with some new characters, from a new crop of singers, her act would flourish. There’s no doubt this dame can sing!

Costumes, clowning, singing, songs all top notch, although you’d need to be over 40 and gay to know some of the singers, but with a few off the cuff lines La Voix is aware of this. The crowd loves her regardless and I’ve always been a huge fan of an ability to engage, and motivate an audience leaving them (us) feeling we’ve been part of something, that we’ve done something, that something special had happened that night. It’s a massive strength of this act. Oddly enough other than a heavily ironic encore she chose not to train us up but on command the house rose to its feet for the last song. There’s not many performers who can make a British audience do exactly what they want, on command, La Voix impresses on this front.

There is no doubt that La Voix is a superb entertainer and this shift from gay bar to arts festival/cabaret circuit is always a difficult one for a (drag) performer to do; to keep your core audience you need to do the stuff they like, but to attract a new audience, you need new material, often relevant and topical.

I thought the constant butt of jokes being focused on lesbians and their sex life or hairiness a little tiresome and reflected more the development of this act in gay mostly male pubs and clubs than perhaps the heart of her humour, which is solidly about engagement and audience participation. (If i hadn’t been reviewing I’d have heckled about it). Again, (sigh) it’s transgender, not transsexual and I suspect inserting the word ‘Mormon’ or ‘Dentist’ might work in those jokes (try it…) just as well at getting a laugh as constantly referring to ‘the transsexual’s’ etc’s to get a snort or laugh. Show a bit of respect when you’re in someones town Chris, ta.

The last time I saw La Voix in a gay bar at midnight in Birmingham they were sensational, and I’m not a fan of drag, there was not a hint of puerile borderline misogynistic lesbian jokes, no transsexual sniggering, just pure, slightly threatening full-on manic entertainment, utterly entertaining on every level so I was surprised by the content of some of the material last night. However dumping some jokes is as easy way to improve a show which otherwise shone with the glamour, exhaustive energy and full on charm that this performer throws out in megawatts when they are on stage.

With a touch more polish, La Voix can own these festival circuses and circuits, keeping the candid ‘Northern blunt charm’ and continue to impress, engage and most of all, entertain a mixed audience with their astonishing talent; a talent rooted in singing, physical comedy and that ever so slightly threatening megawatt charm turning and focusing on you..…

You go girl, we need inclusive, superb LGBT entertainers all we can, but leave the dodgy Dyke jokes behind, as Cher sings… you don’t need it anymore….

Full details of the show can be found here

For more information about La Voix’s tour dates, click here:

BRIGHTON FESTIVAL REVIEW: Monteverdi: Les Talens Lyriques

Posted on 24/05/201724/05/2017 by Eric Page

Monteverdi: Combattimento – Les Talens Lyriques

Christophe Rousset

Brighton Dome.

May 21st 7.30pm

Monteverdi

Lamento d’Arianna

Il ballo delle Ingrate
Il combattimento di Tancredi e Clorinda

In a striking concert opera performance based on Pierre Audi’s production of Madrigals for Dutch National Opera, there was an exquisite fragment from the lost opera L’Arianna alongside the ‘Lamento’, the only part of L’Arianna to have survived. Il ballo delle Ingrate was a dance which shows the living what to expect if they resist the arts of Cupid, while Il combattimento di Tancredi e Clorinda told the tale of Tancredi, who, in seeking revenge on his enemy, mistakenly kills his lover, Clorinda.

The master of Baroque music performance, harpsichordist and conductor Christophe Rousset, and his extraordinary ensemble Les Talens Lyrique brought their rare powers of interpretation and insight to Monteverdi’s riveting masterpieces and this concert performance of Combattimento was much anticipated. The endless complex staging and action stops this piece from being staged these days -thankfully- but the music is allowed to shine in this more easy to access way. Rousset conducted from the harpsichord and kept the music fluid, sharp and with a real palpable energy throughout the evening.

Listen to a preview of the concert here

Nathanaël Tavernier big bold beautiful voice was thrilling, rolling around the dome and giving us an excellent feeling of how this could feel and look. He was a highlight of what was a lovely production. Magdalena Pluta sang Arianna’s Lament with a purity and focus that brought the heady emotional content of this piece to the fore, we felt for her and wandered out into the interval discussing what a wretch Theseus was to her.

The closing piece Combattimento di Tancredi e Clarinda was as perfect as it was balanced and resonate with these three masterworks dealing with love and loss and was a fitting flawless finial to this quality evening, it’s rare we get to hear this music and the festival celebrating Monteverdi’s 450th birthday with such style is a delight for those of us who hanker after his music. The Dome is perhaps nor the best suited venue for this style of performance but to be honest I overlooked this, sat back and with my companion allowed the lush lyrical music to flow over us.

Full details of this concert can be seen on the Brighton Festival website here:

BRIGHTON FESTIVAL REVIEW: Kneehigh : Tristan & Yseult

Posted on 24/05/201724/05/2017 by Eric Page

Kneehigh

Tristan & Yseult

Emma Rice

Sink down upon us. Night of love, make me forget I live.

Cornish King Mark is at war: he rules with his head not his heart. But he hasn’t counted on falling head over heels for his enemy’s sister, or expected the arrival of the enigmatic Tristan.

This is the original tale of forbidden desires, broken hearts and the agony of choosing one human being over another. Seen through the eyes of the ‘Unloved’, Tristan & Yseult blend of comedy, live music, grand passion and tender truths lead us into an utterly convincing, engaging and irresistible night of love. This reprieve of the delightful Emma Rice’s acclaimed staging of the Cornish legend catapulted Kneehigh onto the national stage, leading to many other memorable productions including the stunning Daphne du Maurier’s Rebecca.

Kneehigh always get it just right; this bold, flavoursome reinvention of tradition and their blend of comedy, music, physical chorography, dance and top notch performers bring a superb energy to the theatre and their take on classic situations allow us an intimate depth of connection with the action which is often missing from contemporary theatre. Tristan & Yseult is almost a cult these days with a huge fan base of people who love it and it only seems to get better with each outing.

Writers Carl Grose & Anna Maria Murphy have fleshed out this complex story with a focus on feeling and presence of mind so we are given a real insight into the development of the narrative and how that affects the protagonists, some superbly grubby prurient moments and the sensual delights of their seductive seduction. All the extra fun element of balloons, dancing, music, acrobatics clash and combine with a real verve and the suggestion of intoxicating potions and their hang over effects and a dozen other attention to daft details just thrills the audience who loved every moment of the production last night. My companion was in tears at the distress and tragedy of the final scenes and stayed moved for the rest of the evening, her first time at a Kneehigh production, she also was seduced by their heady blend of art, music and passion. Dominic Marsh gave us superb eye candy and is a real hottie in the role of Tristand, another mention must got to Kyle Lima for his gorgeous dancing and moves, Hannah Vassallo shone as Yseult and the opening at the Club of the Unloved was breathtakingly original, combinations of costume, atmosphere and music combining to set the scene perfectly. This is such a seriously good piece of theatre.

It’s always hard to get a British audience genuinely up on its feet dancing but Kneehigh have the knack of making the theatre joyful, inclusive and fun! Kneehigh are always a festival thrill & banker, they didn’t disappoint last night at the Theatre Royal. And the audience left loud, chatty and in rapture.

All in all a superb evenings’ entertainment balanced with just the right blend of music, excellent engaging performances and some food for thought also.

Full details of this Brighton Festival show can be seen on their website here:

BRIGHTON FESTIVAL REVIEW: Meow Meow: Souvenir

Posted on 23/05/201723/05/2017 by Eric Page

Meow Meow

Souvenir
Brighton Festival

Created by Meow Meow in collaboration with composers Jherek Bischoff and August Von Trapp (great grandson!) , musical direction Jherek Bischoff & design by Andrea Lauer this was billed as a fantastical song cycle on a half-remembered misreported history of Brighton’s Theatre Royal. The misreported part was certainly the most accurate description.

Actress, singer, dancer, Meow Meow is a cabaret diva of the highest order. Her kamikaze performance style has thrilled and inspired audiences and here, at least to start that edge of ‘I can do anything ’ threat which comes with such huge payoffs in her usual performances held delicious promise, it was soon apparent that tonight she was on best behaviour however, doing someone else’s vibe and taking herself just a touch too seriously.

Meow Meow joined forces with the Orchester der Kleinen Regiment to summon the ghosts of Brighton’s Theatre Royaland her set featured original collaborations with composers Jherek Bischoff, August von Trapp, and The Lilliputian Octet all of which sounded just fine, with the moody, ethereal edge which is Meow’s trademark style, but it was a case of the triumph of style over substance.

The songs lamented on, one slight dirge after another with snippets of what might or might not be true stories from back stage, a story of Marlana’s Dietrich obsessively scrubbing the dressing room, a small boy trapped in a flood, the sailors tending the ropes working the flying scenery but none of these were explored in the song for their emotional impact or oddness, just as the entrée to another half-baked lament. The best song of the evening, lead into by a fragile connection to the widow of Arctic explorer Franklin and the way they held a party on the ice that would kill them was lovely, but nothing really to do with the theatre royal. I think Lady F’s next door neighbour’s hairdresser’s sister’s friend’s driver had once attended a matinée or something equality as shaky…

I am a huge Meow fan, but this evening made me think about collaborations between superb fringe performers who OWN their venue and audience and take them on a journey into performance on trust and that of a Festival show which is deluged by the weight of its own expectations and slowly drowns in front of you and is starved of the proper funding that a huge thematic show like this really needs to succeed. Who struck the heart out of this show, who thought it would be a good idea to present Meow Meow as some faded reminiscent rambler, good for one song perhaps two; but to stretch that over a night was to ignore this performers great strength, her unpredictable energy and bursts of transformative madness, and the reason folk flock to see her strut her stuff. Not to facilitate her to rise to another astonishing level of daring is a loss of nerve on behalf of the festival and ultimately lead to a one off fancy which was pleasant enough but left nothing tinging long in the mind.

There was much talk of death on the stage, of dying and ironic tongue in cheek stage death, and then the kids were brought on and I switched off.

The audience seemed to be enjoying themselves although in the stalls their behaviour was appalling, the people in front of me vaping with a bright pink LED, getting up and down constantly throughout the performance, the usually merciless ushers of the Theatre Royal were nowhere to be seen.

A disappointing evening, and a missed opportunity and I came away thinking that it all must have seemed like a good idea at the time but something, something important – the Divine Wind in her sails- was lost in the translation.

See full details of the event here on the Festivals website

BRIGHTON FESTIVAL REVIEW: m¡longa: Sidi Larbi Cherkaoui

Posted on 22/05/201722/05/2017 by Eric Page

m¡longa

Sidi Larbi Cherkaoui

Fri 19 May

Brighton Dome

Deeply rooted in Argentinean culture, tango has fascinated and captivated the world with its sexuality, power and beauty this phenomenal dance event inspired by the late night milonga scene in the intimate bars of Buenos Aires (‘milonga’ is literally a tango dance party) is created by Belgian choreographer Sidi Larbi Cherkaoui who has added a contemporary twist to this traditional dance and presents a mostly wordless story of the interactions of the dancers and their emotional journeys taking place during an evening’s milonga on the sultry streets of faded Buenos Aires portrayed in dance.

Cherkaoui has made his name through his collaborations with artists like Akram Khan, Maria Pagès and the monks of the Shaolin Temple and he’s nothing if not eclectic, this interesting mix of live music, dance and multimedia projections worked well in the Dome and m¡longa, has seventeen incredible performers – Argentinean tango dancers, contemporary dancers and live musicians – who together explored a seductive exploration of tango for the 21st century.

The on stage band playing composer Szymon Brzóska’s music were superb, supporting, directing and shadowing the emotional tumult on stage and supplying an authentic Argentinian flavour. The bandoneon player evoking nostalgic rhythms and flowing and changing as fast as the dancers were moving.

Full details of the UK part of this world tour can be seen on their website here and if you have the slighted interest in Tango I would strongly recommend you book now.

To say the dancers were superb is an understatement and some of due and trio dances were astonishing; virtuoso performances of agility, technique and pure scalding sensuality, all contained in a stylised and ruthlessly executed Tango. There were separate stylised dances each shone with a brilliance, a trio of male dancers whirled with a frenzy of erotic passion and interlocking geometrics’ of tango’s vocabulary but expressed in a way I’d not witnessed on a stage before, some of the male female pairings hardly stopped moving for more than a half second, the whole program gripped from the moment it started and didn’t stop until the last step has been taken.

When it did stop we all breathed out and realised we’d been holding our collective breaths for the duration of the performance. My companion was in rapture and I was rather impressed myself. The audience was thunderous in their appreciation of this inspiring, thrilling production which updates technique, form, and style and re-formats Tango in an utterly accessible and electrifying way.

I was utterly transfixed by a beautiful night out watching expert heart-stopping exquisite dancers performing some sophisticated uber-stylish choreography.

See full details of this performance here:

BRIGHTON FRINGE REVIEW: The Late Show: The Warren

Posted on 22/05/201722/05/2017 by Eric Page

The Late Show

Studio 2

The Warren

Kicking off at The Warren at 11.45pm this is a slightly soiled laid back bear pit of a show with a cuddly chubby grubby host Joe Foster, who did as little as he possibly could to keep the atmosphere up and running but then with ten acts on the bill there wasn’t much space for material even if he’d had any. It was refreshing to see so many women on the bill and the booker needs a pat on the back for ensuring such a decent balance, the line-up was different to advertised ( no Madame Senorita alas…) but after a few pints who cares, bring ’em on!

Zach and Viggo were frantic , charming and pointless and although they were energetic, literally bouncing around the stage the lack of traction in their material ultimately left me with a shrug I guess the longer they have to build that up into something, the better it would get, Australian duo The Siblings did a daft and (seemingly predictable) pastiche of ‘most haunted’ TV show and I almost turned off but their beguiling and slightly creepy daftness pulled it right back into strong slow burning clowning and uncomfortable humour, fellow Auzzie – Brody Snook was seriously understated, all ruthless crafted jokes and safely polished delivery, I was very impressed by this short set from this assured performer and her cleverly crafted material left everyone laughing and ever so slightly on edge, a fringe gem! Woolly: the Morose Merino did as odd an act as his name suggests, Tracey Tracey wandered on and off clowning with bathos & depth which had little of either- perhaps not the best space for such a involved piece of work, Alice Marshall started the night with a long but wonderfully bizarre physical reworking of a Attenborough Booby Bird nature routine, nothing new, but completely committed and funny, the audience loved it and Phil Jerrod finished with some well-polished local material.

The Late Show profiles a selection of acts from the fringe, some more polished than others and we had a range of quality from the performances, the charm of these night is partly the slight look of worn-out desperation on the hosts face as the night grinds on and the chop and change of pace as the acts swiftly wind on. Certainly worth a look in and a great place to wind up at the end of a festival night out, it’s engaging, fun and you get plenty of value in a gently rowdy nights entertainment.

Running every Thu, Fri and Sat night until 4^th June, book now & go!

For more info or to book tickets see The Warren website here:

BRIGHTON FRINGE REVIEW: Etherwave: Adventures With The Theremin: Hypnotique

Posted on 21/05/201721/05/2017 by Eric Page

Etherwave:

Adventures With The Theremin

Hypnotique

Dukebox Theatre

This is a curious hybrid of music, fascinating educational lecture and semi auto-biography of performer Hypnotique who regales us with her personal story about how she came to fall in love with and learn to play the world’s first electronic instrument – the Theremin invented in 1920s Russia. After some less than serious history mingled in with some very interesting information and history on how electronic music developed and it’s influence on music today – including Led Zeppelin, Kraftwerk and Portishead, which Hypnotique clearly linked back in the Thermin and it’s inventory. It all leads back to him, but in this case her as well, id have liked some more of the personal story, as she struck a enigmatic chord, elegant, dressed as a disciple of the Anna May Wong school of mystery, evidently world traveled and yet somehow, curiously nervous of being in Hove and sharing her passion with us.

As she talks and links up with some faux live connections with fellow Thermenists around the world, Hypnotique managed an impressive tour through the history of the instrument – with some intentionally dodgy photo-shopping- its effect and how to play it and even why. She then did some clever duets and music performances, one of ‘don’t you want me baby’ very funny indeed and then continued to weave tall tales of espionage, spooky soundtracks, and her encounters with Amazonians, Bob Moog and Simon Cowell. It all hung together fairly well but as this is not the first time this show has had an outing, I expected it to be a little tighter, although the lack of a sound technician at the music venue might have caused the less than perfect accompanying sound which all but obliterated a self penned song. When she returned to the Theremin, she shone, it’s the most curious of things to listen to but also to watch played and her technique harks back to one of the most accomplished players of this difficult instrument Clare Rockmore with the clawed hand vibrato teasing subtle tones and sounds from the ether.

Hypnotique studied the theremin with Lydia Kavina, grand-niece of its inventor Leon Theremin. She’s performed with The Heliocentrics, Gong and TV’s James May’s 20th Century her pedigree is impressive as is her skills and this is an educational show which is also musically innovative and leads us back to the start of music shifting from an analogue only world to the endless electronic, digital possibilities of today.

There was no time for questions, which was a pity as the attentive and engaged audience were brimming with them, I wanted to know if her emotional state changed the way the music sounded and also why after so much development, investment and seriously technical advancement that her theremin looked like a travel-lodge trouser press.

Full details of the event can be found on the fringe website here:

BRIGHTON FRINGE REVIEW: CIRCUS’SISSION: Bosco Tent

Posted on 15/05/201716/05/2017 by Eric Page

CIRCUS’SISSION: THOSE THAT MADE THE CUT!

Bosco Tent: Spiegeltent

Presented by Head First Acrobats.

A variety mashup of circus superstars, Brighton Spiegeltent legends and the hottest acts of this year’s Brighton Fringe, presented by your favourite Aussies, the boys from Head First Acrobats.

With a rotating cast, each night different fringe artist guests get to showcase their best, weirdest and most hilarious talents, backed up by the incredible acrobatics and comedy of the Head First Acrobats. A little bit raunchy, a little bit weird and a whole lot of fun!

The endlessly lovely boys keep us occupied with their saucy antics and their endless high octane performance mesh well with the lower key singing and hoop work. With a wide range of physical performers from across the fringe this is five shows in one, with the added pleasure (and tasty eye candy) of the Aussie trio (who’s own show Elixir is currently running at the Bosco tent too), we had superb saucy hula hooping Chelsea Angell, dark card magician Tony Roberts with only one card and some beautiful filthy jokes, extreme and utterly disarming clowning, some charming naughty singing from a local Brighton singer Mark Hodge and then Rowan Thomas – one the boys – on his giant steel ring, with some new and very funny montages of their own gymnastic and tongue in cheek acrobatics.

Superb cross section of performers, the tent is fun, the atmosphere electric and we left having been entertained, a little bit of this, some of that and plenty of the other host Cal Harris ( from head first) certainly knows how to keep the audience hyped up and the participants all have their own engaging traits. It all felt a little unsafe, unhinged and bonkers and that’s just what a decent montage show should feel like.

Recommended as an excellent start to the weekend festivals, they’ve a different show each weekend, same hosts, cross section of the best fringe physical and comical acts and it’s worth a punt as you can’t go wrong with that wide a spread.

9.30pm Friday & Saturday through the Fringe

All photo’s copyright of Sussex photographer photosbydavid.org

BRIGHTON FESTIVAL REVIEW: Five short blasts

Posted on 15/05/201716/05/2017 by Eric Page

Five Shorts Blasts

Madeleine Flynn and Tim Humphrey

Brighton Festival

The authentic nature of the swelling waves, the sun glinting on the bright green sea and the gulls wheeling up above all conspired, along with the chugging engine, wafts of diesel and frantically chopping blades of the propellers to add their own elements to the soundtrack and it’s repetitive, soothing drone soon became a descant to the rising and fall of the boat we rode in.

In international maritime language the sound signal of five short blasts means “I am not sure of your intentions and am concerned we are going to collide”. Vessels use the audible signal of five short blasts to communicate this alarm, using a horn, a whistle, or whatever is to hand. 5 Short Blasts is inspired and deeply informed by this maritime expression of uncertainty, drawing attention to the shared act of navigating the unknown.

I’d suggest you stand and hold on, turn your back on the boat and look out to sea, gaze to the horizon you’ll never reach, or watch the city slowly shrinking to become a smear of tower and brick work along the coast. It’s far more fun than sitting under a blanket and listening in.

Madeleine Flynn and Tim Humphrey are artists who create unexpected situations for listening and here it’s compromised by the change of location but still manages to convey our island life and the way people’s lives are still intimately connected to the sea. The text from Tony Birch and Tim and Julia Crouch written specifically for the estuary at Shoreham but having moved at the last moment still managed to convey some jolts of soul-searching reflective depth. The festival mysteriously claiming ‘tidal complications’ as the reason for its move, although anyone familiar with tide tables, estuaries and alternative facts might deduce otherwise. However, its site specific departure didn’t detract much, all rivers lead to the ocean after all and it was easy to imagine the various elements being discussed by the voices silently slipping by underneath us and the waves.

The boat stopped at one point, we drifted along with the tide and narrative, tea and a flap jack came out, a wonderful moment of sweet British island life and all felt well. The narrative murmured about types of mud, slurp, slop ,slurry, slough, giving us the definitions of each, like a land forecast from Dr. Seuss while out to sea, slush, slag, silt, it was evocative and faintly twee but huddled under blankets in the seriously powerful pitching sea my fellow festivalers looked vulnerable, small and fragile and its possibly one of the very few festival shows I’ve attended which has such a direct connection to the sea that makes this city so special.

An interesting boat trip, some food for thought, a moment feeling free of the land and riding the wild white breakers of the churning sea, safe in a boat, with a few moments of delightful silliness which I won’t spoil but contain more than one trombone it all adds up to something delightful, ethereal and touching. Not quite graspable, certainly not profound, but authentic and palpable none the less. I felt free for an hour it even made the return to the wretched marina bearable.

I went and had a smoked mackerel bun afterwards from the award-winning Jack and Linda at the Fishing Museum, and looked out over the sea and thought of the men and women who fish and work in, on and under that great sparkling apparent wilderness.

Recommended.

Saturday May 6 – Sunday May 28, around high tide (Everyday except 8, 9, 15 – 17, 24 & 25 May)

Time slots dependent on the tides

BRIGHTON FESTIVAL REVIEW: If I could I would: Mimbre

Posted on 15/05/201715/05/2017 by Eric Page

If I could I would…

Mimbre

All Saints Church

Brighton Festival

If I Could I Would was a fast-paced piece of physical theatre featuring virtuoso acrobatics, imagination and humour that recognised it sometimes takes a superhuman effort to rise above the relentless demands of everyday urban life.

The all-female cast perform an array of familiar characters in a day where coffee is spilled, the commute is a trial, street-life is a threat and office politics get under the skin. From every woman to superwoman, the show delivered a heart-warming message to everyone about resilience in the face of the everyday grind.

For more info on Mimbre, click here:

The trio quickly won over the audience with their superb acrobatics and breath-taking balancing, all done with a gentle every-day casual edge. There are some superb quick changes which are seriously impressive and the set is constantly morphing as the piece progresses. The second part of the show having an extended narrative concerning two rather spry and cheeky older lades, who had appeared in the first part, this time they were more active delivering a wonderfully engaging and cheeky performance of giving the third acrobat, who’s day had not been going quite so well, a taste of being a super heroine. With wonderful echoes of Supergran they were delightful. The agility and strength paired superbly with the accomplished physical theatre to combine into a fun, thrilling and entertaining show.

Mimbre don’t challenge; they change and provide a healthy counter narrative to the usual edge-of-danger acrobatics and physical theatre and ‘If I could I would’ allows them to convince us that we’ve all got capacity to fly, have pools of resilience and sometimes you just need two cheeky old ladies at a bus stop to give you a push.

I left All Saints grinning and delighted by the warmth of the performers and the quality of their compelling optimistic physical narrative, it’s so lovely to see older women held up and celebrated in such a beautifully subversive way.

See the full show details here