Lights, music, curtains...

Frome Festive Poetry Cafe on Monday evening had a focus on the community aspect of these bi-monthly-ish get-togethers at the Garden Cafe: we've enjoyed some fantastic guest poets at these events, and will continue to do so, but this time the metaphorical mic was given over entirely to the floor - or rather to the creative people who come as audience. Here's me somewhat randomly allocating the gifts donated by Hunting Raven Books and Merlin Theatre but the prize for everyone was a really lovely night, rich in imagery with poems ranging from poignant memories to witty word-play. Several 'debut poets' took the plunge, including a touching 'thankyou letter to Frome' from Chloe Rayburn, joining popular regulars like Mike Grenville (with a piece inspired by the current Black Swan exhibition you can read here) humorists Moira Andrew and John Christopher Wood, and John Payne, who read and distributed a moving poem from his current research on the workhouse in Bath, consulting leather ledgers in the Guildhall basement: They list the money spent, the figures, / but not the suffering / of children, elders, the mad, the sick./ We must hold them in remembrance ourselves.  Thanks David Goodman for the photos.

Next night's illuminating imagery was the literal kind, with an evening walk over the Wiltshire border into neighbouring Longleat Festival of Lights rewarded by an awesome scene of myths and legends in massive scale filling the park right down to, and including, the lake. This extraordinary spectacle is on until Jan 5th and it really is, also literally, fabulous: I've been critical of this costly 'spectacular' in the past for tacky cartoon figures and badly re-envisaged storybook characters, but this year's theme-envisaging is truly awesome - every mythic monster and hero from legends around the world is here, aesthetically beautiful as well as posed in thrilling story-telling moments - the illuminated tags beside each were being extensively used by visitors, I noticed, to succinctly fill the sad omissions in our 'education' system. There are hundreds of beautiful images there to enthral and photograph - I picked two that chime currently for me.


For the rest of the week Frome seems to have been wall-to-wall music. Raggedy Men at the Cornerhouse were a perfect choice for Friday, with dancing from the start and lots of shout-along moments to great songs from Jonny Rotten and The Clash - classic smashing punk, but with riffs! Andy, Bugsy, Carl, and drumming dervish Pat - you were just what we all needed.


Dancing-from-the-start at Cornerhouse again next night for amazing Bristol band Flash Harry, who claim to be a folk rock-balkan-cajun band but it's not that simple (!) to describe them - they can sing&play at fast-forward, make a sea-shanty sound like Deep Purple, make a hoe-down song jazzy or the other way around, and have a penchant for hamsters. I can't find their wonderful Get Out Of Bed song online but here's a sample of their style from a Bristol gig.

Sunday afternoon Acoustic Club in the Three Swans, co-ordinated by Paul Kirtley, was a pleasantly casual affair, with a series of enjoyable performances including a great set from Mountain Speaks Fire who were joined for their version of Where Did You Sleep Last Night by guest singer Anna Callan making an early debut. (I always thought this was a Nirvana original, but it's actually traditional, first recorded in 1939 by Lead Belly)

And the tempo stayed relaxed back at the Cornerhouse for Graham Dent's Sunday jazz night, this time with Caroline Radcliffe as guest singer with Graham's regular Piano Trio and John Plaxton on trumpet.

As this is primarily an arts blog, there will be no comment about what also happened last week and I'll leave you with a seasonal poem from William Yeats: The Second Coming
Turning and turning in the widening gyre
The falcon cannot hear the falconer
Things fall apart; the centre cannot hold
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spirtus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man
 A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
 Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
 That twenty centuries of stony sleep
 Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

Bumper Festival picture book

This was the sunshine festival, and perfect for all outdoor events like walks, picnics, markets, art trails & 'Open Gardens', also ensuring evenings could extend naturally - usually ending late under the twinkly bar lights of the pop-up cantina in Silk Mill yard. If this sounds idyllic, you are getting the vibe: there was far too much on for this report to be comprehensive but it should give you a glimpse.
So, not in any particular order of chronology, we'll start with performance, and if you're wanting to know how the Nevertheless/Frome Actors Network production Where The Fault Lies was received, the happy answer is: rapturously. The event sold out so early we put on a second showing later the same evening and that sold out too. Cornerhouse Upstairs was transformed into a tiny intimate theatre and feedback forms throbbed with comments like "Fantastic... great plays, superb acting and a fabulous evening of entertainment!"... "Wonderful plays! I loved the humour and the depth of understanding of the human soul and relationships"... "Clever, funny, surprising, thought-provoking, satisfying"... "hilarious and inspired!" - you can see them all here, and there's a full review online on the Fine Times Recorder. Thanks David Goodman for production photos, and Martin Earley for the venue, with special appreciation to Tom for support throughout the run-up and transformation of the gin-bar into an intimate theatre.
Over at the Town Hall, a  new comedy drama by Frome writer Nikki Lloyd gained massive commendation and audiences grew throughout the run. Turtle Doves, with the focus a dysfunctional young couple and their troubled therapist (the ever-excellent Laurence Parnell), looks at a range of relationships - siblings, strangers, long-term or brief encounters - in a clever series of time-slip segments (think Tim Crouch rather than Alan Ayckbourn) with much to laugh at, perhaps with wry recognition, as well as unexpectedly moving moments. Geoff Hunt was producer of this exciting and memorable play, well acted by all ten cast members, and superbly directed in the round by Keely Beresford.
Still with words-&-performance: the Festival Poetry Cafe, always fun to host in the eponymous garden of the Garden Cafe on a sunny night, was a total delight. Guest poet Henry Madd absolutely captivated the crowded audience with his intimate yet accessible reflections on childhood, loss, and life.
Open Mic is especially important at this event, because the coveted title Frome Festival Poet Laureate is awarded on a single poem offered on that night, written on the theme of the festival. Despite difficulties from this year's dedication to JW Singer's foundry, several of our 15 readers braved the challenge, with five runner-up book prizes and Jo Butts scooping the title! Congratulations everyone who came to participate and to listen, making this relaxed and lovely evening a highlight of the week for me. Thanks Wendy Perry for the picture of Jo with Henry & me, Hunting Raven for the books, Garden Cafe for the bubbly and venue transformation.

Hip Yak Poetry Slam at the Archangel by contrast has a hi-energy vibe and is immensely competitve as the prize here is no less than a spot in the Poetry Tent at Womad. Liv Torc, Chris Redmond and Jonny Fluffypunk run this with proper sound and professional skill, and random audience members choose the winners in the tradition slam way - by holding up score cards. As with football rulings, opinions are bound to vary, but everyone seemed to agree that Stewart Taylor, self-professed 'slave to rhythm and unpaid lackey to rhyme' well deserved to take top spot with his defence of the clog -yeah, I know it doesn't sound likely, but you should have seen the repeat prestissimo... also notable was the first nudist performance in Frome!

Historical talks with a focus are hot favourites in Frome, and this festival has offered weaving, foundry work, war, buildings, and more. My contribution, along with David Lassman, to this oeuvre was 'Rogues Rebels and Renegades' - a town centre tour of hot spots in our unruly and dissenting past. David has far more experience and a louder voice so he took the main role, and our exposition was enhanced by the attentions of a 19th Century pickpocket who was eventually apprehended by traditional 'hue and cry' and confined to the Blind House - many thanks Ollie, and to Joao Diniz Sanches for the images.

For Frome Writers Collective, a busy week that began with a Publishers Fair ends with the prize-giving for the winner of the Short Story Competition, another very popular feature. After a morning of workshops and the awards for the 'writers in residence' last Saturday, judge Tyler Keevil announced this year's First Prize winner is Clare Reddaway - an absolute delight for me, as I am friends with both these  great writers & lovely people. I couldn't be there for the big reveal, so thanks Gill Harry for the picture.

Moving on from words,  the visual arts were strongly reflected, with 23 Open Studios and exhibitions showing the town's tradition of textile work is still thriving - masterly work in both creating and decorating fabric evident in exhibitions by Weavers Spinners & Dyers,and Embroiderer's Guild. The town opened its 'hidden' gardens too, but sadly I only had time for a smattering of visits. Here's one of the tiny Paul Street gardens, and part of a Dan Morley piece I covet...

Music seemed everywhere this week - in streets and beer gardens by day, in churches and halls and of course the usual pubs each evening.
Independent Market busking stage featured favourites The Raggedy Men followed by Crossing the Rockies while The Decades entertained outside the Grain Bar as Comic Con characters roamed the hot streets (thanks, man in the street, for the snap of me and Helen Pearse.)  Daytime music too at the Saturday Sofa Session promoted by Humans of Frome, this time Feral Beryl and friends entertained the crowd on Catherine Hill.

On Sunday afternoon, not strictly in the festival schedule but a highlight of the weekend, was the launch of a new sound on the scene as Ed Green's Pagan Gospel Groove Machine introduced its unique Brooklyn style of 'nature-based spirituality and funky grooves' to the world at the Red Shed in Chesterblade. With Vicki Burke on sax,  Dermot West on bass, Nick 'the potter' on drums and Tim Maryon on keyboard, this is definitely a band to look out for!

And finally, the evening sessions... as you'd expect, too many for any one person to hear all, and the only 'classical' concert for me was John Law's late-evening Renaissance, piano improvisations over electronic backing tracks, with projections by Patrick Dunn, in Christ Church where the setting sun glowed spectacularly through the famous stained glass windows.  Cornerhouse cornered the festival market for popular bands at the weekend, with three fantastic nights of dance-orgy.  Purple Fish on Friday, probably the band Carling would make if it branded bands, brought their own lights which looked fantastic but caused a quandary, to bop or to snap? No such problem next night with Flash Harry - too dark for snaps but lovely Ann Harrison-Broninski has been assiduous in her festival sketching so, from her viewpoint on the floor, here's wonderful Vicki Burke on her sax. (I couldn't find a youtube of their incredible hamster song, but this is a sample of their energy & style.) Sunday's spectacular was local band Blue Midnight, tagline 'unlike anything you've ever heard.' You might add 'or seen' as the lads barge into the pub already playing, led by the trombonist, and their set ends in darkness with everyone softly crooning la la la... 

And another fabulous Frome Festival ends. Thanks for reading!

Our revels now are ended... for a while

And now the carnival is over... the 2018 Frome Festival enjoyed sunny days and warm evenings throughout and ECOS amphitheatre packed for Illyria Theatre's visit on the final night. The Merchant of Venice is considered one of the bard's 'problem' plays for its unmitigated antisemiticism, and some productions now present Shylock's crazed revenge demand of 'a pound of flesh' from his principle tormenter with more sympathy, but this gloating Shylock was a boo-hiss villain, allowing Antonio to emerge an untarnished hero. Director Oliver Gray always aims to stay close to Shakespeare's intentions, and the elements of fate and chance are emphasised in this complex tale of fortune and misfortunes. The best part, as always, was the clever way the tiny cast created every character with rapid costume-change and a few other tricks - I was particularly impressed by the mercurial personality shifts of Beau Jeavons-White whether merchant or wench.

Moving backwards, as you can in a review, the focus was on words throughout Sunday:  During the morning Frome Writers Collective hosted an interesting panel discussion with crime writers David Lassman, Nikki Copleston and Sandy Osbourne responding to audience questions on their genre and writing generally.
The library was also the venue for the Frome Short Story Contest finale, with a prize-giving ceremony for the winners and keynote speech frome writer Rosie Jackson who stepped in to replace indisposed judge Margaret Graham and provide appraisals for the winners and remind us 'We need stories that will anchor us in real human values.' First prize winner Julie Evans read her story The Artist's Last Model, inspired by Manet's famous painting of A Bar at the Folies Bergère. Prizes were also presented for the winning stories written in shops and cafes on the opening day of the festival, when the 'Writers in Residence' had four hours to invent and complete a tale inspired by the line 'Everything must have a beginning'...  (The FWC page  has more details on results, with names and photos.)
This was also the day of the Frome Half Marathon, so applauding contestants hurtling past the Boyle Cross became a fun filling in the sandwich of these two events.  Runners were near the finish once they reached the town centre, and widely scattered after 13 miles of hills under a scorching sun.  Results aren't out yet but here's one of those only-in-Frome moments as a couple of gypsy traps shared the car-free road with the runners.
Saturday night the Cornerhouse became a crowded dance floor for Flash Harry, one of Frome's favourite bands and a terrific way to end a day spent wandering around Mells reciting the words of war poets: In the footsteps of Siegfried Sassoon was the event name and I was privileged to partipate along with Martin Bax and John Payne, who devised a script of 18 poems for our nine stops on a really lovely circular walk around the lanes and footpaths of this atmospheric little village, from the war memorial to the poet's grave.

Words of women poets were included too: my favourite of these, I think, was this one by Sara Teasdale: ‘There will come soft rains:’
There will come soft rains and the smell of the ground, 
And swallows calling with their shimmering sound 
And frogs in the pools singing at night, 
And wild-plum trees in tremulous white; 
Robins will wear their feathery fire 
Whistling their whims on a low fence-wire; 
nd not one will know of the war, not one 
Will care at last when it is done. 
Not one would mind, neither bird nor tree,
 If mankind perished utterly; 
And Spring herself, she she woke at dawn 
Would scarcely notice that we were gone.

(Thanks Mike Grenville for the image)

And now we've arrived back to Friday, where in Bristol there was a new show at Wardrobe Theatre,always a delight to visit: For Parlour Games they're teamed up with Sharp Teeth Theatre ;to create a historical romp with a serious undertone.  Set in 1848 when democratic revolutions were springing up all over Europe, on a stage that puts all its trust in audience imagination, Victoria and Albert have fled to their Isle of Wight hideout to avoid Chartist protest in the capital. The queen (6 ft 3 Peter Baker) is petulant, belligerent, demanding and imperious. Her perky moustachioed spouse Prince Albert (Lucy Horrington) prances around her with magic tricks and parlour games in attempt to calm her as they cavort the scary night away. The glue that holds this absurd situation together is provided by the piano-playing servant. Like all Wardrobe productions, it’s ridiculous, clever, and very very funny, but there’s real poignancy in the unexpected darker moments: Victoria remembering her lonely childhood, Albert knowing from boyhood he must marry his powerful cousin and forever be her lesser. Even sharper is the resonance with democracy’s continuing struggle against the wealthy and privileged. Watching this play on the day thousands of protesters had made their way to London - my  brother was one of them and I'd spent the day tracking his images - it was poignant to realise that protest prevails with the powerful no more now than when the Year of Revolution ended in failure, repression & disillusion.

Three books, four bands, & lashings of poetry & song

"I am because you are, and we are community - this is Ubuntu."
Hazel Carey's book 'Ubuntu - My life in Other People' is an amazing memoir of a lifetime of creativity through drama, dance and song, including spearheading the South African cultural renaissance in the 1980s. Ubuntu is an African term meaning 'we are who we are because of other people,' and as Hazel's friend for over twenty years, I was privileged to edit her story, learning in the process more about this fearless, free-spirited, inspirational woman.

Last week saw Hazel's book launch in London at St Ethelburga's Centre in Bishopsgate, with a party where scores of Hazel's colleagues and friends converged to celebrate, including a posse from Skyros sessions ~ here surrounding the queen of the scene in an impromtu photobombing opportunity. An unforgettably marvellous event, and a great day out in London too as I chose to make my way to the venue via South Bank to watch the city's twilight scenes turn into glamorous nightscapes of magical illuminations as the shard spiralled and sparkled over the dark water and bright-lit bridge arches.

Words & Ears, Bradford-on-Avon's monthly Poetry Cafe run by Dawn Gorman, is always enjoyable though I don't go as often as I'd like. This week I did, and was rewarded by an excellent evening with strong readings from guests Elizabeth Palmer and haiku master John Hawkhead from his collection Small Shadows published by Alba, and outstanding poetry on the open mic. Moods ranged from Chaucer Cameron's subtle and powerful protest at the censorship of Iranian poet Sepideh Jodeyri to Kate Escher's poem composed entirely of lipstick names, and it was great to hear favourite poets like Stephen Payne, Jinny Fisher and Dawn herself, as well as discovering new voices like Pey Oh Colborne.

Back in Frome, it's been a sensational week for live music. The newly-rouged bar of The Cornerhouse was crammed on last two Saturday nights for fantastic bands: marvellous Captain Cactus and the Screaming Harlots (Jane, you broke my heart with that rendition of Just Somebody I Used to Know) and another must-dance-to band, Bristol's rootsy Flash Harry.
Back Wood Redeemers, another awesome band, treated us to their 'twisted blues & religious fervour' at Silk Mill last Sunday and then did it all over again, even better, at Grain Bar Roots Session on Wednesday with our Mr mayor astounding on mouth-organ.
And Bonne Nouvelle gave a sublime performance at the 'Friends of Frome Festival' party at the newly refurbished Granary venue, a fun event which confirmed the fact I'm rubbish at quizzes.

Final music note~  for me, though there's always more music in Frome than days in the week ~  Nunney Acoustic Cafe, featuring Emi McDade and with an excitingly eclectic open-mic including original songs along with covers of Undertones, Manics, Green Day, and Company of Thieves. I contributed three of me pomes which while not exactly child-friendly were at least not scurrilous, which neatly segues into the frankly self-indulgent footnote for this post (about which, as Jane Austen said of Emma, no-one but myself will care...) viz: that Amazon now has two reviews of my collection Crumbs from a Spinning World:
"... Funny, touching and beautiful collection. It is a rare book of poetry that takes you on so many journeys." "My favourite book of 2016. Crysse is a genius with words and these poems make me smile even on their umpteenth reading."  Thank you, lovely people, and for all the facebook comments and emails too. 

Right here, 'Right Now' - February fusion of art, music, and drama.

It was the Frome Tattoo Convention last weekend and Cheese & Grain was filled with ink artists and their human canvasses, all demonstrating the dedication and skill as well as the creativity of their craft. Here's Ghis Melou at work, and Dean Oatley showing the developing work of tattoo artist Jerry Burchill from True Gent Tattoos. Fascinating to watch, and a great group of friendly people.

Hunting Raven Books opened its doors on Monday night for the Frome launch of Debby Holt's 'wickedly funny' new novel The Soulmate.  Debby is always a class act at these events ~ theatrical experience as well as seven novels now ~ and we were entertained by quotes from JB Priestley and Shakespeare as well as wit, anecdotes, and a short reading. I look forward to a longer one now.

Right Now is the first of a French-Canadian season at the Ustinov Studio theatre in Bath, a surreal dark comedy from Catherine-Anne Toupin translated by Chris Campbell. By turns hilarious, erotic, macabre, scary, and sad, it's the tale of a couple who find they've got neighbours like some flats get mice. After an opening glimpse of their struggling relationship, this bizarre trio bursts into their lives led by Juliette - Maureen Beattie awesome in a role that makes TV's predatory Dorien seem a girl guide. Together with her seductively genial partner Gilles (Guy Williams) and their enigmatic son Francoise (Dyfan Dwfor, shape-shifting from gauche to dominating) they upend the lives of Ben and Alice - Sean Biggerstaff and Lindsey Campbell hugely empathetic as the hapless couple hooked into psychological games. An outrageous play directed with dazzling precision by Michael Boyd, with great set & lighting from designers Madelaine Girling and Oliver Fenwick enhancing the capriciously changeable moods. Highly recommended, on till 19th March. (Oh, and you'll never, ever, guess what happens right at the end....)

Every week is live music week in Frome: on Sunday we had bluesy duo Nobody's Business at the Archangel in the afternoon, and the vibrantly funky Flash Harry at the Cornerhouse in the evening.

Roots Grain Bar on Wednesday had two great acts - Irish rock-bluesy solos for  Ian O'Regan and 'darkly sensuous' duo Bonne Nouvelle. And River House Cafe offered something a little different from their usual cocktails on Thursday - an entire supper based on vodka. How did that turn out then? Under the care of 'Tender Loving Kitchen's Jo Harrington, the Vodka Infusions pop-up supper club was a great success: superb food and great ambience, and vodka shots between every course.


I'm off to the Isle of Wight now for a weekend talking about writing at Skyros Holistic Holidays close-to-home retreat The Grange.  The programme notes for that excellent play Right Now identified the perfect situation for a writer as resentment and resilience, defensiveness and defiance but sometimes a break is good too. Weather forecast promises sun..