Rhythm & Muse Festival: Poetry Breakout – review by Martin Cater

Location: Kingston University (Penrhyn Road campus)

Date: Friday 28 October

Organisers: Alison Hill (founder of Rhythm & Muse)

Laura Bottomley

  

Tucked away at the fringe of the bustling courtyard at Kingston University’s Penrhyn Road campus stood the sheepish ‘Pop-up Festival Poetry Tent’. As a general rule, the poets were more timid and unassuming than the miniature polyester structure under which they mumbled their poetic verse. Had the passing world paused a few moments though, it may have noticed the snippets of wit and wonder produced by members of the ‘Creative Juices’ team and other more accomplished poets.     

The interchangeable populace of the concrete quad resumed their usual laughter and smoking before edging off to lectures in the John Galsworthy building. A small proportion of unsuspecting students that happened to pass through the doors nearest the tent produced nervous smiles, before circling the small throng of arty folks, and striding away at pace.

Towards the opening of ‘Poetry Breakout’, the meagre audience consisted only of writers waiting to read and a handful of English literature students. The first participants from the ‘Creative Juices’ group – led by Sam Coles-Rogers – lined up to take a turn on the microphone. However, with the overbearing clamour of uninterested passers-by and little volume on the PA, further mixed with lack of conviction, meant that the words were instantly lost from the readers’ mouth.

As lectures commenced, the atmosphere became sedate and gave chance for a particular extravagant personality to take the stand. Martin Daw’s opened with a brief introduction of his life growing up in a London suburb and broke in to a rhythmic rap about boyhood and his journeys to school. The descriptive array of smells, sights, and sounds along with Daws’ fast paced rhetoric combined to epitomise the life of a pre-pubescent child – the boy’s everyday trip detailed as an epic expedition. One particularly evocative notion repeated throughout the poem concerned the child’s absolute focus of not stepping on “the cracks of the pavement”. On a later and even more lyrical number, Daw’s incorporated an African Kalimba (thumb piano) which accompanied his jazzy Hip-Hop poetic style to a piece on the “wonder drug” that is music. The ability this poet displayed of isolating an emotion and applying it as a universal experience had the small audience captivated. Ears were opened and minds defrosted by the cockney-lyricist on this bitter October morning.

Following such an enigmatic performance proved difficult. Although, the return of more ‘Creative Juices’ acts came with increased vigour and variety. Julian Way proved a witty and amusing character. His depressing demeanour contrasted with the comedic content of his work, made even more humorous as he read straight from his mobile phone. Is the future of poetry? Dominic Bury impressed with verses that referenced current affairs and critiqued modern society. Further in the proceedings came a passionate piece from Maria-Faith Mendoza concerning a love affair with the city of Manchester which was enjoyed all round; however, her enthusiastic display seemed more for the video camera than her audience.             

For the few hours I spent at the ‘Poetry Breakout’ – part of the first ever Rhythm & Muse festival – there were some encouraging signs for the future of poetry. And those that braved the cold, strained their ears, and simply had patience were granted with some reward. However, I am not convinced that this event did enough to rip the prehistoric form that is poetry from its roots to make it fresh and invigorating for a contemporary audience. Perhaps I expected a bigger tent and a livelier crowd, or fire-breathing poets riding unicycles whilst reciting verse, or maybe I am a product of a generation that is seemingly too preoccupied to have patience with poetics.

http://www.rhythmandmuse.org

Work Wonders-Review

CALLING ALL WRITERS.

As the first half of the 2011 semester comes to an end, a series of optional (yet vital) lectures on academic writing have been offered to students and lecturers alike.

Week four’s Work Wonders event was hosted by lecturer Matthew Birchwood, held on 21^st October 2011 from 4-6 pm at the Clattern lecture theatre, Penrhyn road. The talk explained essential tips on how to prepare an essay, with a friendly, casual atmosphere. ‘Feel free to interject,’ Birchwood invited, as he introduced the topic: Writing essays-Common mistakes.

A slideshow acted as the backdrop of the lecture, framing the audience’s view, whilst used as a teaching tool for the lecture. With various grammatical errors scattered throughout the PowerPoint, Birchwood joked that these mistakes were deliberate. The jury is still out, but premeditated or not, the intended lesson for the audience to notice subtle errors in English language was clear.

Adding to the welcoming atmosphere, a box of biscuits circulated the room as the lecture proceeded. The importance of language as a form of communication in society and culture was enforced as Birchwood described English as the ever-evolving dialect. As the fluidity of language and its structure challenges the structure of formal writing, it is vital that we, as professional writers, commonly agree conventions of written communication. Differentiating speech and written word, Birchwood pointed out that grammar cannot spoken- thus stressing the importance of a clearly structured essay.

Many attended Work Wonders to build confidence in themselves as writers. It was a relief to all when the audience learned that the Romantic myth claiming that only The Poet can produce an excellent piece of prose was in fact, only a myth. ‘There is no formula to a good piece of writing,’ Birchwood clarified, encouraging the audience to embrace all things essay.

As something to take home, Work Wonders reminded the audience that the origin of ‘essay’ was the French word Essai, i.e. ‘attempt.’ The message was clear: perseverance will prevail. Work Wonders was a pleasure to attend, and as a reviewer or otherwise, I will be attending to enhance my own writing skills.

Almass Badat

'The Woman in Black' review - by Martin Cater

Playwright: Steven Mallatratt

Author: Susan Hill

Director: Robin Herford

Actors: David Acton (Arthur Kipps)

Ben Deery (The Actor)

As the second longest serving theatre production in the West End, ‘The Woman in Black’ should by now be considered old hat. However, the play has sustained astonishing longevity on merit alone as it is utterly gripping. What separates ‘The Woman in Black’ from other behemoths of the West End is a reliance on intelligent plot without the need for spontaneous song and dance.

Praise is due to Stephen Mallatratt for encapsulating the essence of Susan Hill’s novel and wrenching the horror of Eel Marsh House on to the stage of a London theatre. The story focuses on a timid man, Arthur Kipps, who is incessant on retelling his “real” ghost story whilst another character - playing the role of an actor - attempts to persuade him to perform the yarn as a theatrical display. After agreeing the actor assigns himself the role of a solicitor sent to assess the finances of the recently deceased Alice Drablow. As the script gathers momentum the actor and audience learn more of the haunting presence, its reason for being, and its curse.

The cast is meagrely comprised of two actors - currently David Acton and Ben Deery - and of course the woman in black herself; this more than suffices though, adding intimacy into an eerie story which roots lay with a lone woman and her possessed house.  

Common elements of generic horror tales such as: the haunted house, ghosts, and dramatic pauses are all applied to perfection. Although such genre traits are often overused and have been obliterated in various examples of modern film and literature, none can produce the same effect on its audience – reducing even the staunchest thriller enthusiast to quivering sweats.      

On the night I attended, viewers squealed in fright and gasped in disgust; people were edging off their seats to get a closer glimpse of the woman in black only to be repelled back in terror. The fortune theatre is a small venue with dark cramped hallways and makes the perfect setting for this eerie tale to unfold.  Do not be dissuaded from entering those who are fearful or doubt the horror genre otherwise you will miss one of the finest thrillers possible to witness.   

      

Higher praise could not be given to the script, cast and production but refrain from buying me another ticket for I fear my nerves would not sustain another viewing… 

www.thewomaninblack.com

Review: The Woman in Black by Almass Badat

                                                                                                                                                                          


Steve Mallatratt- Playwright
Robin Herford- Director
Micheal Holt- Desginer
David Acton- Arthur Kipps
Ben Deery- The Actor (young Arthur Kipps)

Since its opening night at the Fortune theatre in 1989, Stephen Mallatratt’s adaptation ofThe Woman in Black has firmly taken up residence in the heart of London’s West End. Over 5000 performances later, David Acton dons the role of Arthur Kipps in the latest run of performances based on Susan Hill’s 1983 ghost novel.

The story follows Arthur Kipps, who travels to the small, isolated town of Crythin Gifford to be present at the funeral of his senior solicitor’s client, Mrs Drablow. Whilst attending the funeral, Kipps sees a young woman dressed in black with a wasted face, standing amongst the graves.
Arthur goes to Mrs Drablow’s former residence, Eel Marsh House despite the obvious discomfort expressed by the town’s people. Situated in the middle of a marsh, the house is cut off at high tide. Stuck in the Drablow residence, Arthur begins his task of sorting through Mrs Drablow's papers. As he finds a box of personal letters, he discovers the ghastly secret of the Woman in Black – as his own terrible price. 

Mallatratt’s adaptation remains true to the novel’s plot, with the added element of a play within a play. Cleverly, this framing device excuses the need for elaborate set design and special effects. Simplicity is the key, as the actors urge the audience to engage in their imagination as Herford presents sound clips to create a sense of time, space and atmosphere. As Mallatratt himself said, “It takes so little to create a whole world!” As the production has very little real violence, it can be a little disappointing for the younger viewer, who may be expecting the play to rival the terrifically interactive London Dungeons.  

Being a novel before any other medium, The Woman in Black exercises the use of language as a stimulant and the core of the production. As the curtain goes up, the audience sit in suspense as Kipps’ opening lines encourage a few nervous chuckles. His unease mirrors ours. Ben Deery who plays the young Arthur Kipps enters, seemingly oblivious to the horror beneath Kipps’ anxiety, and as the light conversation develops, so does the sense of foreboding. 

The Woman of the title is a little disappointing as only once she glides through the theatre, and this is before she has been introduced to the audience.  On numerous occasions the auditorium fills with smoke, but the expected climax is non-existent.  However, both Acton and Deery’s techniques do not disappoint. Acton’s transformation into Kipps is delightful, whilst Deery’s thirst for the effective storytelling works perfectly with Herford’s intentions to produce a play with an impact.

If the play doesn’t satisfy your need to be scared witless, Hammer Film Productions bring The Woman in Black starring Daniel Radcliffe and written by Jane Goldman (Kick Ass, X-Men: First Class) to your nearest cinema in 2012.

For more information on the play and tickets, follow the link below:

http://www.thewomaninblack.com/