Review of Noises Off at the Repertory Theatre, Birmingham by Vidar Hjardeng

The latest audio described show at the Birmingham Rep was Michal Frayn’s popular farce, Noises Off, but unfortunately, on this occasion I was unable to attend the 2 June audio described performance with the integral touch tour 90 minutes before curtain-up. However, I was nevertheless keen to see the play and full marks to the theatre’s Selene Burn for ensuring that I, at least, had a CD with background information of cast, characters, costumes and set, ahead of the show for which I did have tickets.

The play was first produced in 1982, and this production, directed by Ian Talbot, was first staged at the National Theatre 10 years ago.

The story follows the tour of a play, backstage, through rehearsal and finally onstage into the provinces.  Thanks to Julia Grundy’s recorded pre-show notes (which would have been reprised ‘live’ on the evening of the audio described performance 2 June) we learnt that the Theatre programme contained a spoof programme for the fictional play – a farce entitled ‘Nothing On’ by the ‘author’ Robin Housemonger for one week only at the Grand Theatre, Weston-Super-Mare.  This spoof programme included academic features on the tradition of farce, as well as biographies of the fictional cast and director.  It was crucial to be told that all the characters in the story, are actors or production staff, for the play Nothing On, who we first meet in character at rehearsal.  It was also useful to know that they kept on their Nothing On costumes throughout the play, slipping in out of their stage roles as the comedy progresses.  

Similarly important to my understanding of the play, and I suggest to other visually impaired audience members understanding and appreciation of it, was knowing via the detailed CD notes, that the story itself, and also the play within the story, would both be fast-moving with characters dashing in and out of doors, hiding and reappearing in wholly unexpected places.  In the best tradition of farce, everybody was pretending to be somebody else, and no-one was where he, or she, should be, as the characters flitted from one hiding place to another.  Even with this advanced comprehensive pre-show information, the play was difficult to follow – not least because in the second half there was a lot of miming going on and inevitably, I wasn’t able to share in the hilarity enjoyed by the rest of the audience – but without it, I for one, would have been totally lost.  I am really sorry that I missed the audio described performance, not only for its own sake, but also I would have been fascinated to hear how Janet Jackson and Julia Grundy managed to keep up with, and describe so much visually frenetic onstage action.  If nothing else it was timely reminder of how much well prepared and skilfully delivered ‘live’ commentary, can undoubtedly enhance the comprehension and pleasure of visually-impaired theatre-goers.

The next audio described show at the Birmingham Rep is the musical comedy,  Little Shop of Horrors on the evening of Thursday 16 September and the details of how to book tickets, headsets and places on the touch tour can be found by ringing the Rep’s box office on 0121 236 4455.

Review of audio described production of Dancing at Lughnasa at the Birmingham repertory Theatre on Thursday 4 March 2010

Set in 1936 in a remote part of County Donegal, Brian Friel’s Dancing at Lughnasa is a tender and passionate portrayal of a rural Irish family – the 5 unmarried Monday sisters, older brother Jack (a Catholic missionary) and 7 year old Michael.  The play happens at a time of change for both the family and their native Southern Ireland.  The Birmingham Rep always offers its visually impaired patrons and their companions, a pre-show touch tour an hour and a half before each audio described performance, and on this occasion we were taken onto a larger than usual stage – the first 3 rows of the auditorium having been removed – to explore the set.  This consisted of a single storey stone cottage surrounded by grassy hillocks, which is the backdrop for the whole play.  There was no actual front wall to the cottage allowing the audience to see straight into the living area - the kitchen – where most of the action took place. However, thanks to the audio description we learnt that the characters played their roles as if there was an exterior wall there - walking in and out of imaginary doorways and looking through non-existent windows.  During our unhurried tour of the cottage and its surroundings,  we were shown a number of the homely utensils used on a daily basis in this rustic Southern Irish home. 

Understandably it’s not always possible for people to get to the theatre in time for the very informative touch tour and so the time taken by resident describers Julia Grundy and Janet Jackson in giving a detailed description of the set (available beforehand either on the theatre’s website or on a CD which can be mailed out on request) is very well spent.  These introductory notes also contain very useful information about the characters and their costumes and, not only the names of the actors taking each part, but also some of their physical characteristics.  Even if you’ve had time to digest this information in advance, I would always recommend listening to the live reprise a quarter of an hour before the start of the show, as it really helps to get you into the mood of the evening. 

The next audio described production at the Birmingham Rep is Arthur and George (based on the recent Julian Barnes novel) on Thursday 8 April at 7.30 pm. Details on how to book concessionary tickets, headsets and places on the pre-show touch tours, and also how to get on to the Theatre’s new Access Register, can be obtained by ringing the box office on 0121 236 4455.

 

 

  Review of audio described performance of RSC’s production of Arabian Nights at the Courtyard Theatre, Stratford on the afternoon of Saturday 23 Jan 2010 by Vidar Hjardeng.

While the pantomime remains, for many, an integral part of the festive season’s entertainment, it is also good to have other types of seasonal family theatre, such as the RSC’s recent terrific Christmas production of Arabian Nights.  I attended one of the 2 audio described performances, on the afternoon of 23 January and, once, again my theatre visit began with the invaluable pre-show touch tour.  Accompanied by audio describers Julia Grundy and Mary Plackett, along with theatre staff, we were taken behind the scenes to inspect some of the lavish Middle Eastern costumes as well as puppets – including a couple of birds and Sinbad the sailor - which form an integral part of the show.  We were then taken to the T shaped stage where the very simple set was described.  This consisted of a circle, which for some of the action revolved, at the centre of the stage covered with white sand and surrounded by a wooden rim.  At the back of the stage was a wall with 8 five metre high panels, with the bottom section of the central 2 panels opening as double doors.  Above this shiny metal wall was a black railed minstrels’ gallery where the 6 musicians played a variety of exotic instruments, such as an oud and goblet drums, which reflected the culture of the various stories.  

Before arriving at the Courtyard Theatre, thanks to the CD with the pre-show notes that I had received at home a few days earlier (these are also available on the website), I’d been able to take in the detailed information about the characters, and not only their costumes but also their facial features.  Nevertheless the ‘live’ reprise of these notes was a useful reminder 15 minutes before the show began.  Also contained in this background briefing were some very interesting historical facts about the origin of these famous stories, also known as the 1001 Nights.  For those who are not familiar with such stories as those of Ali Baba and Sinbad, these were tales told by Scheherazade in order to save her from the executioner – following the infidelity of his first wife King Shahryar felt so betrayed that he married a new wife every day, then sent her off to be beheaded the following morning.  Each night Scheherazade would start a story which she would leave unfinished, tantalising the King to such an extent that he spared her life for another day to hear the end of it - but of course she just continued with more and more intriguing plots which increased his curiosity, and over time changed him back to his true good self.

During the 2 and a half hour performance we were treated to a prologue and 6 stories mainly introduced by Scheherazade with the characters then, telling their own stories. .  From our describers we learnt that there were 18 members of the excellent cast, many of whom played a variety of roles and even part of the scenery, such as a river when the actors lay on their backs on stage waving their arms and legs in the air to depict the flowing water.  The first-class live commentary once again certainly helped VI patrons, like me, appreciate the humorous moments, during what was a thoroughly absorbing and highly entertaining celebration of the art of story-telling.

The  next audio-described productions at the Courtyard Theatre will include Romeo and Juliet; King Lear and Anthony and Cleopatra with an evening and matinee performance of each across the summer, and details of  tickets, touch tour and how to book headsets, can be obtained from the box office on 01789 403437.

Review of audio described performance of Welsh National Opera’s La Traviata at Birmingham Hippodrome on Friday 20 November – from Vidar Hjarden

For any devotee, like me, of romantic opera, Welsh National Opera’s recent visit to the Birmingham Hippodrome served up some real treats, not only with Puccini’s ever popular Madam Butterfly but also Guiseppe Verdi’s equally loved La Traviata.  I was lucky enough to see both, and whilst I was completely absorbed by the 2 productions, the fact that La Traviata (which I know less well than Butterfly), came with audio description meant that I was able to get so much more out of it.  Based on Alexandre Dumas’ 19th century novel, The Lady of the Camelias, La Traviata is the story of the consumptive courtesan, Violetta Valery and her love for the young Alfredo – in this production brilliantly sung by the best selling tenor, Alfie Boe, in his WNO debut.

Accompanied by WNO’s assistant stage manager, Katie and our 2 describers, Julia Grundy and Margaret Spittles, visually impaired patrons and their companions were taken on to the stage for a very detailed, and leisurely pre-show touch tour, where we  shown the set and literally got a feel for some of the lavish props including champagne bottles and glasses, a period card table inlaid with black and gold, as well as some of and imitation flowers and the real roses, used throughout the production.  Violetta’s bed dominated the stage, in the early part of the opera draped in luxurious white sheets and as the opera moved to its tragic climax, these were replaced by heavy black damask.  Being on this type of touch tour certainly makes me feel a VIP, in all senses, as you get to learn so much more about the tricks of the production, such as the imitation cigarettes which when ‘smoked’ by the chorus produced talcum powder to give a very realistic smoke effect.

Philippa, from the Hippodrome’s front of house team gave us our headsets and showed us to our seats, in time for us to listen to the very informative introductory notes presented by the audio describers, 15 minutes before curtain up.  Again, at the end of each of the 2 intervals it was useful to tune in to our headsets to have the scene set for the next act, and at the end of the opera, as the audience registered its enthusiastic appreciation with rapturous applause, it was great to be told who was coming on stage to take their well deserved bow.  Once again, both Margaret and Julia ably demonstrated their audio descriptive expertise through a combination of skilful timing, which allowed us to fully enjoy the wonderful singing, and empathetic vocabulary, which perfectly complemented this beautiful opera.

- The next audio described performance at the Birmingham Hippodrome will be the festive panto, Sleeping Beauty - on the evening  of Tuesday 12 January 2010, and information on tickets, how to book headsets and places on the touch tour can be obtained from the box office on 0844 3385000.

 

Review of audio described production of Grapes of Wrath at the Birmingham repertory Theatre on Wednesday 28 October 2009

John Steinbeck’s epic tale of depression-hit America, The Grapes of Wrath, featured Oliver Cotton, Sorcha Cusak and Christopher Timothy, in the recent stage version at the Birmingham Rep.  The story follows the Jode family who in the 1930’s, having lost everything when their farm is repossessed following a devastating drought, decide to head west to California in search of a better life.  Before the show along with fellow visually impaired patrons and their companions I was taken onto the stage to have a closer look at the set and associated props, the chief one of which was the truck onto which a maximum of 13 people would clamber during the play with all their worldly goods - consequently the Rep’s large stage area was relatively empty so that this could be driven about.  Resident describers, Julia Grundy and Janet Jackson, had their work cut out with having to describe the best part of 3 hours of stage action.  Even with the characters’ dialogue helping with the story line I, for one, found the audio description absolutely essential to get the most out of this stage dramatisation.  In the usual way, 15 minutes before curtain up, we were given the standard introductory notes with details of the cast, characters and their costumes and, I would advise people to take advantage of the facility to have these notes before the day of the play (either via the website or on CD) as there can often be a lot of really interesting information which helps build up a picture in your mind.

A night at the theatre often includes a drink, or bite to eat and this might be a bit of a challenge to the VIP going unaccompanied, which in fact, unusually, I found myself doing on this occasion.  However it is good to be able to report that the theatre staff at the Rep were great – not only guiding me (armed with my all important headset) to and from my seat in the auditorium, helping me to get a pre-show drink and a snack from the bar, but also taking me, and another VI solo theatre goer, out onto Broad Street to find a cab afterwards.

The next 2 audio described productions at the Birmingham Rep are 2 festive favourites – A Christmas Carol on Wednesday 16 Dec’s matinee  and 2 January; and the ever popular ‘Snowman’ with an afternoon and evening show on Friday 29 January. Details on how to book concessionary tickets, headsets and places on the pre-show touch tours, can be obtained by ringing the box office on 0121 236 4455.

 

Review of audio described production of Grapes of Wrath at the Birmingham repertory Theatre on Wednesday 28 October 2009

John Steinbeck’s epic tale of depression-hit America, The Grapes of Wrath, featured Oliver Cotton, Sorcha Cusak and Christopher Timothy, in the recent stage version at the Birmingham Rep.  The story follows the Jode family who in the 1930’s, having lost everything when their farm is repossessed following a devastating drought, decide to head west to California in search of a better life.  Before the show along with fellow visually impaired patrons and their companions I was taken onto the stage to have a closer look at the set and associated props, the chief one of which was the truck onto which a maximum of 13 people would clamber during the play with all their worldly goods - consequently the Rep’s large stage area was relatively empty so that this could be driven about.  Resident describers, Julia Grundy and Janet Jackson, had their work cut out with having to describe the best part of 3 hours of stage action.  Even with the characters’ dialogue helping with the story line I, for one, found the audio description absolutely essential to get the most out of this stage dramatisation.  In the usual way, 15 minutes before curtain up, we were given the standard introductory notes with details of the cast, characters and their costumes and, I would advise people to take advantage of the facility to have these notes before the day of the play (either via the website or on CD) as there can often be a lot of really interesting information which helps build up a picture in your mind.

A night at the theatre often includes a drink, or bite to eat and this might be a bit of a challenge to the VIP going unaccompanied, which in fact, unusually, I found myself doing on this occasion.  However it is good to be able to report that the theatre staff at the Rep were great – not only guiding me (armed with my all important headset) to and from my seat in the auditorium, helping me to get a pre-show drink and a snack from the bar, but also taking me, and another VI solo theatre goer, out onto Broad Street to find a cab afterwards.

The next 2 audio described productions at the Birmingham Rep are 2 festive favourites – A Christmas Carol on Wednesday 16 Dec’s matinee and 2 January; and the ever popular ‘Snowman’ with an afternoon and evening show on Friday 29 January. Details on how to book concessionary tickets, headsets and places on the pre-show touch tours, can be obtained by ringing the box office on 0121 236 4455.

 

Review of audio described performance of East is East at Birmingham Repertory Theatre on Thursday 15 October – from Vidar Hjardeng

East is East written by Ayub Khan-Din is a very warm hearted and hilarious tale of what happens when 2 cultures clash within a single family.  The owner of a Salford fish and chip shop, George Khan, is set on bringing his family up in the traditional manner, but the other members of his family have entirely different ideas!  Although set in the early 1970’s it is arguable that almost 40 years on, questions of identity for a British Islamic family – specifically those of a religious and cultural nature – have possibly never been as relevant as they are today.

Having listened to the pre-show notes on the CD sent out beforehand ( also available on the website) I had a good idea of what to expect when describers Julia Grundy and Janet Jackson, along with Community Engagement Officer, Selene Burn, took us on stage for the pre-show touch tour. We were shown the 2 principle locations of the Khans’ home with its outdoor coal bunker, as well as their fish and chip shop which was slid in when required.  We also learned of a 3rd location for a canal scene with a metal bridge and the use of lighting to simulate the rippling water.  I’m happy to report that there were a large number of VIPs with their companions and all of us had the great pleasure of meeting some of the cast who joined the describers in telling us about the set.  Actors including Belinda Lang (who plays Mrs Khan) mingled with our group showing us their costumes and generally talking about their roles in the play.  All credit to Selene and the team at the Rep for encouraging cast members to take part in these touch tours especially when they happen between a matinee and an evening performance.  Meeting some of the actors certainly made us feel like VIPs in every way.

Although there was a lot of dialogue, with some very strong language,  Julia and Janet still had a lot to describe in terms of onstage action – which included quite a lot of violence – and their timing was as perfect as ever!  The show I saw played to a full house and, having been premiered at the rep in 1996 it was obviously a popular choice to bring back this autumn.

The next audio-described productions  at the Birmingham Rep will be Steinbeck’s powerful drama The Grapes of Wrath ,  on the evening  of Wednesday 28 October, and information on tickets, how to book headsets and places on the touch tours, can be obtained from the box office on 0121 236 4455. 

Review of audio described performance of Little Shop of Horrors at Birmingham Hippodrome Saturday 20 September matinee – from Vidar Hjardeng

Direct from a highly successful West End season, Little Shop of Horrors was open for business at the Birmingham Hippodrome a couple of weeks go. This wickedly funny musical featuring an incredible man-eating plant, was written by Alan Menkin and Howard Ashman, and this new stage production is enhanced by great songs with laugh-out-loud lyrics.

 Down and out Skid Row florist’s assistant, Seymour, becomes an overnight sensation when he discovers an exotic plant with a mysterious craving for fresh blood.  It doesn’t take long for the plant to grow into an ill-tempered, foulmouthed R and B singing carnivore offering Seymour fame and fortune in exchange for feeding its growing appetite.

 

Resident Hippodrome describer, Jonathan Nash, welcomed visually impaired patrons and their companions onto the pre-show touch tour, taking us to one of the show’s principal locations, Mr Mushnik’s flower shop in a very impoverished and seedy part of New York.  We also visited Orin Scrivello’s dental surgery for hands on exploration of some of  his gruesome surgical instruments -  after which we were all mightily relieved not to be one of his patients!  We were even able to touch the carnivorous plant itself – Audrey II – which when fully grown resembled a Venus Fly Trap and was very much the star of the show, voiced by Clive Rowe.

Back in the foyer, Philippa, one of the ever helpful front of house team, handed out our all-important headsets along with large print and/or Braille cast lists, and we then took our seats for Jonathan’s pre-show notes 15 minutes before curtain-up.  It was nice to meet a couple of first timers for a Hippodrome audio described matinee and I was once again struck by how attentive Jonathan and the theatre staff were in making sure that they got the most out of their first touch tour and also the dynamics of their headsets.  Not knowing anything about the play (or indeed the eponymous film), I found Jonathan’s ‘live’ pre-show introduction to the characters and their costumes, invaluable.  Having taken advantage of the touch tour and having actually been on stage, his reminder of the set and some of the  props meant so much more.  Although a somewhat gruesome tale, it was nevertheless good fun and Jonathan’s professionally timed commentary, guaranteed that I, and fellow VIPs, appreciated the humour at precisely the same time, as our sighted audience counterparts.

The Birmingham Hippodrome’s next audio-described production will be another musical, Andrew Lloyd Webber’s perennial favourite, Evita - on the evening  of Wednesday 14 October, and information on tickets, how to book headsets and places on the 6 pm touch tour, can be obtained from the box

 

Review of audio described performance of Julius Caesar at the Courtyard Theatre, on Saturday afternoon of 29 August – from Vidar Hjardeng

At school we had the choice of studying either Shakespeare’s Romeo and Juliet or Julius Caesar, for what was then our English Literature  O Level, sadly – at least from my point of view – the teacher opted for Romeo and Juliet.  Having just seen the excellent RSC production of Julius Caesar, with  Greg Hicks giving real stature to the title role,  I am even more sure that I would have preferred studying this historical drama, some 30 years ago, instead of the Bard’s romantic tragedy.

Of course, the Bank Holiday’s Saturday matinee had the added bonus of audio description, provided on this occasion by Julia Grundy and Mary Plackett who brought to life the visual aspects of the absorbing, sometimes bloody, onstage action.  For anyone new to audio description, it really is important to be familiar with how to use the headset, and I was reminded of this when I had to regularly adjust the volume controls to be able to hear the commentary above the sometimes very loud scenes, such as the opening Bacchanalian orgy and the later violent fighting.  

 

Before taking our seats to listen to details of the cast, characters and costumes - ably assisted by RSC friend Angela Bowman - Julia and Mary took me and my friends, along with other visually impaired patrons and their companions, on the ever helpful touch tour - which is on offer for most of the RSC audio described performances.  Whilst waiting to be allowed on stage as technicians performed a last minute lighting check, we went into the wardrobe area behind the set to be shown some of the costumes and props - including Julius Caesar’s helmet and some of the, surprisingly heavy, swords used in the battle scenes.  Once onstage we were told about the stylised set, starting with a description of the battle scarred ‘blood stained’ marble floor which we were standing on.  Mary and Julia then described the actual backdrop, made up of 3 levels with the top level being where musicians played during the show.  The middle section comprised a large screen on which, during the play, different images were projected, effectively creating the appearance of crowd and battle scenes with equally realistic sound effects.  At floor level covering the bottom of the screen were a number of metal looking panels which swivelled to create colonnades and walk ways, through which characters could enter and exit.  Some of this information was also imparted in the live pre-show notes given , as usual, about 15 minutes before the start of the play and I certainly found it very useful hearing it again, having been on stage to give it a context.

Having enjoyed this powerful production at Stratford’s Courtyard Theatre, it’s good to know that other visually impaired people in Newcastle and London, will also have the opportunity to go to an audio described performance over the next few months.

The next audio described production at the Courtyard Theatre is The Drunks - a Russian play - on the afternoon of Thursday 24 September and information on tickets, headsets and touch tours can be obtained by ringing the box office on 0870 6091110. 

Review of audio described performance of AS YOU LIKE IT at the Courtyard Theatre, on Friday evening 29 July – from Vidar Hjardeng

As last Wednesday was one of this summer’s wettest days, being inside a theatre was a good place to be.  Arriving with friends at Stratford’s Courtyard Theatre at 5.45 pm we – along with fellow visually impaired patrons and their companions – met the describers, Ellie Packer and Carolyn Smith for the pre-show touch tour of Shakespeare’s comedy, As You Like It.  Our leisurely tour began backstage where the wardrobe mistress let us have a hands on feel of some of the costumes.  In the cd containing the pre-show notes, which I had received in the post a couple of days earlier, it was useful to learn that the characters begin the play clad in formal Elizabethan court attire and as the play progresses their 16th century costumes are gradually discarded in favour of more casual, contemporary dress.  We were also shown a number of the props such as a wicker horse, and a cart which Rosalind  has to drag onstage – no mean feat as it contained Celia (her cousin) hidden under various garments. 

Walking onto the stage, which was made up of one metre square  lime-washed panels set in a diagonal pattern, I was struck by the relatively minimal set.  Set into the floor were 2 sets of trap doors through which characters appear and disappear, and one these also served as a sort of cooking pit.  The back wall was also made up of some of these Jacobean-like panels, in which were 2 sets of double doors.  The doors on ground level, when opened, revealed aspects of Duke Frederick’s home, whilst the second set, on an upper level, provided both a platform area and a view into the Forest of Arden.  Again thanks to the pre-show notes which, as ever, were reprised ‘live’ 15 minutes before curtain-up, it was helpful to be told that at one point Orlando places an A3 card to the right of one of the upper doors, on which was written his love poem.

As a rule I prefer Shakespeare’s tragedies to his comedies, but I was really impressed by this production directed by Michael Boyd.  My enjoyment of this popular comedy was also due, in no small measure, to Ellie and Carolyn’s well-delivered and skilfully timed commentary which helped me to get the most out of the humorous moments.

For many VIPs the success of an audio-described theatre visit owes almost as much to the welcome and the general attitude of the theatre staff, as it does to the actual audio description.   I was once again reminded of this when, having foolishly forgotten my disabled parking badge, the front of house staff assured me there would be no problem in parking in one of the theatre’s disabled spaces if we just put a note on the dashboard confirming that we had their permission to do so. 

The next RSC audio described productions at the Courtyard Theatre are The Winter’s Tale on the evening of Friday 14 August, and Julius Caesar on the afternoon of Saturday 29 August, and information on tickets, headsets and touch tours can be obtained by ringing the box office on 0870 6091110.

 

Review of audio-described production of ‘Joseph and the Amazing Technicolor Dreamcoat’ at the Wolverhampton Grand Theatre on 30 June by Vidar Hjardeng.

It is incredible to think that it is almost 40 years since Andrew Lloyd-Webber and Tim Rice wrote the music and lyrics for ‘Joseph and the Amazing Technicolour Dreamcoat’ which remains as popular as ever.  True, this enduring popularity obviously owes much to the many memorable tunes but, no doubt the BBC’s recent talent show, Any Dream Will Do has attracted a new generation of Joseph fans, many of whom were in the audience at the Wolverhampton Grand Theatre on 30 June, no doubt to enjoy the performance one of the series’ finalists Craig Chalmers, in the title role.

Before resident describer, Anne Hornsby along with Access Officer, Janine Graeme, took fellow visually impaired patrons and their companions onto the stage for the pre-audio described performance touch tour, we were shown a number of the key props, including of course Joseph’s famous coat of many colours itself.  Having completed last minute rehearsals for what was, in fact, the first night in Wolverhampton the company deputy manager welcomed us on stage where he and Anne described the set.  Returning to the foyer, audience members were beginning to arrive in their droves and so it was very useful that, once again, Janine was able to sort out the all important headsets so that the VIPs amongst us could comfortably take our seats to listen to Anne’s ‘live’ pre-show notes reminding us of the set we had just seen, the characters, their costumes along with some of the props of which we literally got a feel..  Although I have seen the show many times and the songs tell the story, it was really good to have Anne’s skilfully timed commentary highlighting some of the more visual elements such as Potipher’s flirtatious wife’s antics and reminding us who of Joseph’s many brothers was performing at that moment.  Having seen the show so many times I am of course familiar with the songs, but this time having the ‘live’ audio description undoubtedly enhanced my enjoyment of this terrific family musical.

The next audio described production at the Wolverhampton Grand will be the Tart and the Vicar’s Wife on the evening of Friday 17 July and details of ticket prices/concessions, headsets and the touch tour can be obtained from the box office on 01902 429212.

 

Review of audio described performance of Once on This Island at the Birmingham Repertory Theatre, on Friday 19 June 

Back in 1994 ‘Once on This Island,’ the highly acclaimed Broadway musical adaptation of the fairytale The Little Mermaid, won the Olivier Award for Best New Musical having had its European premiere at Birmingham Repertory Theatre.  I didn’t see it then so was delighted to have the chance to enjoy last Friday evening’s audio described performance during its current run back at the Rep.  Based on the novel by Rosa Guy, this is a vibrant and passionate story enhanced by infectious reggae and calypso rhythms. It tells the story of a beautiful peasant girl who falls in love with a wealthy Creole planter. However, the course of true love is put to the test as the young girl must prove to the island’s mythical gods that the power of love is stronger than death.

As ever I found the CD containing pre-show notes very useful and having received it a couple of days before the performance I had time to digest information about the stage, characters and costumes.  In fact this was just as well as I didn’t hear the first few minutes of the ‘live’ reprise of these introductory notes as we were grabbing a quick bite to eat after a really fascinating and much longer than usual touch tour on stage.  In my experience this was perhaps one of the best laid on by the Rep to date, with so many of the cast and musicians taking the trouble to come onto the stage to meet and talk with fellow visually impaired patrons and their companions.  The actors talked about their characters and allowed us to feel their costumes and wigs – even though some of them were wearing them!  Indeed nothing was too much trouble for them - the band even struck up a rendition of the show’s final song.  We also had time to explore the set of a Caribbean island complete with a shanty shop, which the Rep’s resident describers, Julia Grundy and Janet Jackson, talked us through.

Once again Selene Burn (the Theatre’s Access officer) and her front of house colleagues, gave us all a terrific welcome, and Julia and Janet did their utmost to provide some well-timed ‘live’ commentary during the one and a half hours of energetic and thoroughly enjoyable onstage action.

The next audio described show at the Rep is a welcome return of the ever popular musical Cabaret on the afternoon of Saturday 19 September and information on tickets, the touch tour and head sets can be obtained from the box office on 0121 236 4455.

 

Review of audio-described production of Puccini’s La Boheme at the Birmingham Hippodrome on 30 May by Vidar Hjardeng.

Opera lovers in the West Midlands are very fortunate in having Welsh National Opera perform at Birmingham Hippodrome for a week each Spring, Summer and Autumn.  For blind and partially sighted patrons like me, the recently introduced audio description for one performance during each of these visits is, undoubtedly, a huge bonus.  Last Saturday afternoon I was lucky enough to enjoy one of my favourite operas, namely Puccini’s La Boheme, and this was the first time at the Hippodrome I’d been able to see it with ‘live’ commentary.  I had thought that I knew this popular classic pretty well and whilst I’m certainly very familiar with the beautiful music and poignant arias, this was the first time I realised just how much of the onstage activity I’d been missing - not least in Act 2, set in the café and with the backdrop of a busy Parisian street on Christmas eve.  Jonathan Nash and Margaret Spittles’ well crafted and timely description brought this to life – complementing and skilfully not intruding on the actual singing. 

Although, this time, we were not actually able to go onto the stage for the pre-show touch tour – the Company had to change the entire set following the previous evening’s performance of Tchaikovsky’s Queen of Spades – fellow VIPs (visually impaired patrons) and their companions, were shown some of the props by Margaret and Jonathan, before the Company Manager had to return them to the set in time for ‘curtain up’.  The Sightlines describing team also outlined the story and gave us a detailed description of the sets and backdrops for each of the 4 acts, and once we had taken our seats 15 minutes before the start of the performance, they gave us further helpful details about the cast, characters and their costumes – an integral part of the audio description experience at the Hippodrome.

Following the hands on exploration of the props, Liz Leck, the Education and Access Officer and her colleague Philippa, along with Margaret and Jonathan, handed out the all important headsets making sure that everybody knew how to work them, especially those who were having their first taste of ‘live’ audio description.  In addition to this characteristically warm welcome from the theatre staff, the Welsh National Opera’s Laura Varden (who oversees their audio description) spent time meeting and greeting us – making us feel like real VIPs!  Chatting with people afterwards, it was soon apparent that thanks to a wonderfully staged opera and some superbly delivered description, everybody had had a truly memorable afternoon and we all look forward to Welsh National Opera’s next audio described performance which will be Verdi’s La Traviata on the evening of Friday 20 November.  In the meantime the theatre’s next audio described show, will be another musical favourite, Chicago, on the evening of Friday 12 June, and information on tickets and the touch tour, as well as how to book headsets, can be obtained from the box office on 0870 7301234.

 

Review of audio-described production of Caryl Churchill’s Serious Money at the Birmingham Hippodrome on 21 May by Vidar Hjardeng.

When, unfortunately, many of us are experiencing difficult economic circumstances, it is perhaps timely for the Birmingham Rep to have staged Caryl Churchill’s comedy, Serious Money, which takes a look at the ruthless world of corporate finance and city greed.   It was first produced at the Royal Court in 1987 at the height of the financial boom, when getting rich quickly was suddenly a real possibility for clever young people from all backgrounds.  In the Rep’s production, directed by Jonathan Mumby, the stylised set was minimal with only a few props moved quickly on and off stage, denoting the various locations.  In the preshow notes for this audio described performance - also available some days ahead of the show both on the Rep’s website and on CD - Julia Grundy described how the scenes change as quickly as the dialogue and the frenetic pace of life in the financial markets.   She went on to describe the set with the stage enclosed at the back, sides and across the top, by a metal box-like structure reminiscent of some of the architecture which began to appear in London 25 years ago, like the Lloyds building. 

The back of the stage was filled by a large screen, which was itself divided into smaller square panels. On which from time to time appeared the dizzyingly fast-changing red, green and white numbers that dominate the dealing rooms of the Stock markets around the world.  At other times images of landscapes or buildings would appear combined with a few props to suggest a different location, and occasionally the screens were filled with swirling red and gold colours like champagne bubbling in a glass.   

It was interesting to be told that the performance was prefaced by an extract from Thomas Shadwell’s play ‘The Volunteers’ or ‘The Stockjobbers’ written in 1692, in which 4 characters appeared in period costumes standing in front of a sepia print.  The scene then switched to a 1980’s office, with contemporary props such as desks, computers and telephones.  Julia and her fellow describer Janet Jackson’s pre-show notes also gave details of the cast and characters, some of who were dressed in the sharp power dressing suits of that time. 

It was a thoroughly enjoyable show in which the many of the cast played several roles and, whilst a few may have been offended by some of the language, it was a very entertaining 2 and a half hours.

The next audio described show at the Birmingham Rep will be the jubilant Caribbean musical, Once Upon This Island, on the evening of Friday 19 June and details of tickets, touch tours and headsets can be obtained from the Rep’s box office on 0121 236 4455 or of course the Rep’s website.

Review of audio-described production of The Thorn Birds at the Wolverhampton Grand Theatre on 16 May by Vidar Hjardeng.

 

 

Like many, I still remember the television dramatisation of Colleen McCullough’s steamy epic of forbidden love, The Thorn Birds, starring Richard Chamberlain as the Catholic priest, Father Ralph - destined for the Vatican - who falls in love with the much younger Australian heiress, Meggie Cleary, played by Rachel Ward.   I was  therefore intrigued to see how, along with composer Gloria Bruni and director Michael Bogdanov, the author had turned her romantic drama into a musical. The Wales Theatre Company certainly put everything into the 2 and three quarter hour show, and I was really sorry to learn that, sadly, this will be the Company’s very last production.  Normally, Anne Hornsby from Mind’s Eye provides the excellent audio description at the Grand, but her colleague, Chris Berry, did the honours for last Saturday’s matinee.  Along with Access and Marketing Officer, Janine Graeme, Chris took visually impaired patron, their families and friends on to the stage for the ever helpful, pre-show Touch Tour where we warmly welcomed by Jenny the Stage Manager.  As the musicians tuned up at the back of the stage, we were shown some of the sets which were to feature in the show, such as the kitchen of the Cleary family’s sheep station, and the palatial mansion of Meggie’s aunt, Mary Carson with its sweeping staircase and lavish furniture.

In the usual way armed with headsets which Janine had fetched from front of house for us, fellow VIPs took their seats for the pre-show notes quarter of an hour before curtain up.  Although Chris has a fine voice and his ‘live’ commentary ensured that we were able to get the most out of the action that took place on stage, my one reservation was that when he wasn’t actually speaking, his microphone seemed to be left on, and as a result, I, for one, was often aware of background noises from the commentary area under the stage - and the sound of pages turning and people walking by was sometimes distracting.  That said I nevertheless enjoyed another absorbing afternoon at the Grand, which was once again enhanced by the theatre staff’s characteristic attentiveness.

The next audio described show at the Grand will be the ever popular musical, Cabaret, on the evening of Friday 5 June and information on concessionary tickets, the touch tour and how to book headsets can be obtained from the box office on 01902 429212.

 

Review of audio described production of His Dark Materials by Philip Pullman at the Birmingham repertory Theatre on 2 April.

Fans of Philip Pullman’s 3 famous fantasy novels – Northern Lights, The Supple Knife and The Amber Spy Glass – will no doubt have been interested in this trilogy adapted for the stage in two 3 hour parts by Nicholas Wright.  Directed by Rachel Kavanaugh and Sarah Esdaile, this was a co-production between the Birmingham Repertory Theatre Company and the West Yorkshire Playhouse, and the audio described shows were staged at the Rep on the afternoon and evening of Thursday 2 April, each preceded by a touch tour.  As it turned out I was unable to attend the matinee, and so had to see Part 1 without the luxury of ‘live’ commentary, but thankfully I was able to listen to the CD containing almost half an hour of very detailed and informative pre-show notes, which was, as ever, a great help.  Presented by one of the 2 resident describers, Julia Grundy, this CD mailed out to me by the Rep gave some very comprehensive information about what was a simple, stylised set and the all-important use of lighting during the show.  I also learnt a lot about the many characters and their ‘demons’ and how, these ‘demons’ (which were in fact puppets) were operated.  I also found out a lot about the different locations, including the Oxford College, with its refectory tables and benches, which is where the play opens.  Julia also explained how a number of the characters appeared to fly across the stage – thanks to some ingenious set construction.

Fortunately, I was able to arrive in time for the touch tour for the evening’s  audio described Part 2, so was able to go on stage to get a first hand impression of the 2 metal towers on either side with the linking walkway.  I was also able to ‘meet’ some of the puppets, such as the Marten and the Snow Goose and get a hands on feel for some of the other props.  Most of the cast played more than one character, and so it was extremely helpful to have both Julia and her colleague, Janet Jackson, subtly telling us that although it was the same voice, the actor was now playing a different role.

For me, I found this action packed 2 part dramatisation much more absorbing than the original books. Moreover, being able to see the second part with the bonus of audio description was a useful reminder – as if I needed it! – about how much more, certainly I, and I suspect fellow visually impaired theatre goers, gain  from any production enhanced by this invaluable service.  

The next audio described production at the Birmingham Rep is Caryl Churchill’s ‘Serious Money’ on Thursday 21 May at 7.30 pm, and details on how to book concessionary tickets, headsets and places on the pre-show touch tour, can be obtained by ringing the box office on 0121 236 4455.

Review of Audio Described production of The Tempest at the Courtyard Stratford matinee 14 March 2009.

 

In recent weeks you may well have seen, or heard, Sir Anthony Sher and John Kani interviewed about a new production of Shakespeare’s The Tempest, currently being staged at the Courtyard Theatre in Stratford.  Directed by Janice Honeyman, this excellent production was courtesy of The Baxter Theatre Company of Cape Town, South Africa, in  association with the RSC.

 
I was lucky enough to attend the audio described matinee on Saturday 14 March, when 2 of the RSC’s regular describers, Ellie and Ridanne, certainly did justice to this exhilarating performance.  Unusually there was no pre-show touch tour on this occasion, or any pre-recorded introductory notes so the ‘live’ pre-show scene setting information – giving details of the set, characters and costumes – was especially important, even if it did tax my concentration as there was so much to take in, in one go!  The tropical island to which the rightful Duke of Milan, Prospero (played by Anthony Sher) had been exiled, was the setting for the entire play.   The rocky backdrop was expertly described, including the cave which was the home of the indigenous Caliban (played by John Kani).  Our professional describers also brought to life the fearsome serpent, and giant hand that captured the luckless Ariel ( energetically played by Atandwa Kani), as well as the impressive Zulu costumes and brightly coloured masks.  In their usual way the helpful theatre staff were on hand to check that headsets were working, and all in all, thanks to Ellie and Ridanne, fellow visually impaired patrons had no difficulty in getting the most out of  this very memorable, fast moving and colourful production.
 
The Royal Shakespeare Company’s next audio described Saturday matinee at the Courtyard Theatre, will be As You Like It on 30 May and information on tickets, touch tours and how to book headsets, etc can be obtained from the Box Office on 0870 6091110