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Wolves & B'Cntry Cover .qxp_Wolves & B/Country 18/12/2014 17:51 Page 1
THE MIDLANDS ULTIMATE ENTERTAINMENT GUIDE
WOLVERHAMPTON & BLACK COUNTRY WHAT’S ON ISSUE 349 JANUARY 2015
WOLVERHAMPTON & BLACK COUNTRY
What sOn
’
www.whatsonlive.co.uk ISSUE 349 JANUARY 2015
JESSIE
SWE J
ET TALKE
IN THE MID R BACK
LANDS...
PETER CUTCHIE
theatre boss prepares
to bid a fond farewell
interview inside...
PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS
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new exhibition opens
in Walsall
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Contents Jan Region 2.qxp_Layout 1 19/12/2014 16:47 Page 1
January 2015
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Robert Webb: Peep Show star talks about playing Bertie Wooster in West
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End comedy. Read the interview on page 6
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TO GET THE VERY
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News p4 Sarah Waters
award-winning novelist
James Cameron-Wilson:
Film; Alev Dervish: Music
Eva Easthope, Jessica
INFORMATION,
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Music p13 ventures into new territory
interview p8
Aston, Patsy Moss, Jack
Rolfe, Jan Watts, Reggie
White, Simon Carter
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News January Region 2.qxp_Layout 1 19/12/2014 12:42 Page 1
News A ROUND-UP OF LOCAL AND NATIONAL ENTERTAINMENT NEWS
Hairspray to rock the
New Alex at Christmas
A major new UK touring production of
smash-hit musical Hairspray will make
Birmingham’s New Alexandra Theatre its
home for Christmas 2015/16. Winner of eight
Tony Awards and four Olivier Awards,
Hairspray is based on the 2007 film of the
same name. Set in Baltimore in 1962, the
‘big, bold and beautiful’ musical comedy fol-
lows Tracy Turnblad - a big girl with big hair
and an even bigger heart - as she sets out
on a mission to fulfill her dreams and dance
her way onto national television. Directed by
Paul Kerryson and with choreography by
Drew McOnie, Hairspray shows at New
Alexandra Theatre from 14 December to 2
January 2016.
The return of New Art West Midlands
Thirty of the region’s best emerging artists will be given the opportunity to showcase their
work when New Art West Midlands takes place at Birmingham Museum & Art Gallery, the
Barber Institute of Fine Arts, Wolverhampton Art Gallery and, new for this year, Coventry’s
Herbert Art Gallery & Museum. A Turning Point West Midlands initiative, New Art West
Midlands features an eclectic mix of artistic disciplines, including paintings, sculpture, photog-
Tickets only! for raphy, performance, installation and video works. All the participating artists have graduated
from one of the region’s undergraduate or postgraduate fine art degree courses during the
Cosford Air Show past three years.
This year’s Cosford Air Show will be an
‘advance ticket only’ event. The change in
policy comes as part of an effort to improve secured by Handsworth-born Rachel De- centre building is one of twenty conservation
traffic flow and ease access to the site. The lahay, who wrote her play Circles while on projects recognised by the Civic Trust at a
main theme for the event will be VE70 - the attachment to The REP. The play received its regional level. Winners will be announced at
seventieth anniversary of VE Day. A special premiere at the theatre in May 2014. an awards ceremony held at Shakespeare’s
‘Victory Village’ will see the look and atmos- The second award - the Mark Marvin Rent Globe Theatre in London on 8 March. The
phere of 1945 being recreated for visitors to Subsidy Award - went to Stephanie Ridings. new museum opened in April last year, after
enjoy, complete with music and vehicles A graduate of The REP’s inaugural REP a five-year restoration project was hit by
from the era. Tickets are now on sale priced Foundry artists’ development programme, delays.
£22. For further information, visit www.cosfor- Stephanie has collaborated on Unknown
dairshow.co.uk Male, which shows at the theatre on 28
January.
The third award - the West Midlands Arts,
Health And Wellbeing Award 2014 - was
given to The REP for Bedlam: A Festival Of
Mad Ideas, which showed ‘how the arts can
play an important part in reducing stigma
and promoting recovery and well being’.
Commenting on the awards, The REP’s
Artistic Director, Roxana Silbert, said: “These
awards are a testament to the brilliant young
theatre talent that exists in the West
Midlands. The REP is honoured to be work- Railway gets a helping hand
ing with such fine artists and thrilled that Plans for the makeover of a renowned model
they’re being recognised nationally.” nation- railway in Sedgley are forging ahead thanks
ally".
Awards prove a testament to to a helping hand from local builder David
Wilson Homes Mercia. The award-winning
talent in the West Midlands... builder has prepared an area of land so that
Birmingham Repertory Theatre is celebrating Museum makes it to the final the volunteers who run the railway in
after scooping an impressive three awards in Shrewsbury Museum & Art Gallery has made Baggeridge Country Park can install a new
recognition of its ongoing artist development it through to the regional finals of the Civic tunnel for the train to run through. They will
work. The first ‘gong’ - the Catherine Trust Conservation Awards. Formerly used also be extending the track and planting
Johnson Award for Best Play 2014 - was as an arts & entertainment venue, the town trees and hedges.
4 www.whatsonlive.co.uk
News January Region 2.qxp_Layout 1 19/12/2014 12:42 Page 2
Lucy Spraggan to lead Young
Voices around the country
Former X Factor finalist Lucy Spraggan is
heading the world’s largest children’s choir
on a nineteen-date arena tour that’s stop-
ping off in Birmingham this month. Young
Voices takes place at the Genting Arena
(formerly LG Arena) from 12 to 17 January.
Bringing together youngsters from across
the region, the now-annual event provides
an opportunity for primary school children
to perform all styles of music, boost their
confidence and create lifelong memories
both for themselves and their families.
Previous Young Voices tours have been
headed by Katherine Jenkins, Alexandra
Burke and Beverley Knight. For further infor-
mation, visit www.youngvoices.co.uk
West End musical set to swamp Wolverhampton
Wolverhampton’s Grand Theatre will turn decidedly green for two weeks in the autumn when
one of the West End’s most popular shows visits the venue as part of a UK and Ireland tour.
Voting open for favourite Shrek The Musical is based on the popular William Steig book Shrek! and the Academy
teen book Award-winning DreamWorks Animations feature film. It’s directed by former EastEnders star
Nigel Harman, who also won an Olivier Award for his portrayal of Lord Farquaad in the West
Staff at Dudley’s libraries have been work-
End version of the show.
ing with youngsters across the region to
Shrek The Musical stops off in Wolverhampton from 30 September to 11 October.
select six books for entry into the annual
Teenage Book Award, an initiative designed
to encourage youngsters to read more.
Nominated books include: Dragon Shield, IN BRIEF Library’s Origins Season announced...
The Library of Birmingham has committed to continuing its suc-
by Charlie Fletcher; Half Bad, by Sally Project explores cessful cultural programme, which explores the theme of origins
Green; Taken, by David Massey; A Soldier’s
Friend, by Megan Rix; Dandelion Clocks, by
sexuality through and how the past, present and future are inextricably linked. An
Rebecca Westcott; and A Boy Called Hope, the centuries... exhibition of micro sculptures by world-renowned artist Willard
This month sees Wigan MBE opens the season on 11 January and offers a rare
by Lara Williamson. Young people can vote
Birmingham-based opportunity to see the Birmingham-born artist’s work on display
for their favourite at
Rutherford Dance in his home city. Other season highlights include Stones And
www.dudley.gov.uk/libraries until 31 March.
Company Youth (RDC Bones: Discovering 600 Million Years Of Midlands History (13
Youth) begin a project February to 17 May) and Chinese Lives In Birmingham (2 - 15
Fundraising success for researching how com- April).
Ironbridge Gorge Museum munities throughout
the West Midlands
An innovative crowdfunding campaign by have reacted to homo-
Shropshire’s Ironbridge Gorge Museum sexuality over the past
Trust and the Art Fund has successfully five centuries.
raised £25,000 to redesign the Museum of Supported by a
The Gorge and create a new community Heritage Lottery Fund
space. Members of the public were invited grant of £28,000, the
to donate online and, in return, were offered company will explore
a number of bespoke rewards, including a the political, social and New foodie event for the Midlands...
book of historical photographs and a hand- personal context of Birmingham’s Cannon Hill Park features amongst six new venues
blown glass bowl created by local artist coming out. Gathering across the UK to host Foodies Festival in 2015. A three day affair
Nikki Williams. The donated cash will be stories from the older which started as a small food and drink event in an Edinburgh
used to completely redesign the gallery and LGBT generation, RDC hotel ten years ago, Foodies is now regarded as one of the UK’s
upgrade its existing auditorium. The project Youth will then inter- biggest events of its kind and has welcomed more than two mil-
will create a multi-purpose space that can pret their findings via a lion food lovers to date.
be used for both community and museum large-scale dance per- Foodie Festival takes place at Cannon Hill Park from 15 to 17 May
events. formance in the sum- and includes a Wine and Champagne Theatre with Charles
mer. The entire project Metcalfe and Neil Philips, a Craft Beer, Cider and Spirits Theatre
will be filmed for DVD hosted by Melissa Cole. A Chef’s Theatre, Cake & Bake Theatre,
and archive purposes. Producers Market with local artisan producers, Street Food
Recorded personal Avenue and Children’s Cookery School, also feature.
interviews will be
made available
through the
Birmingham LGBT
Centre.
RDC Youth was set up
by artistic director
Adam Rutherford in
January 2013.
www.whatsonlive.co.uk 5
Robert Webb.qxp_Layout 1 19/12/2014 12:44 Page 1
“ He’s just this galumphing
twit, but a loveable one.
It’s against type because
I’m not that cheerful most
of the time. That said, it
does put me in a good
mood playing Bertie.
”
Robert Webb
Peep Show star glad to be back playing Bertie...
Robert Webb is best known as one half of comedy double act Mitchell and Webb. Lighting up TV
screens with their portrayal of flatmates Jez and Mark in Channel Four’s longest running comedy
series, Peep Show, the duo have won an army of fans and a clutch of awards. As a solo
performer, Robert has appeared in numerous sitcoms and films. In 2009 he showed off his
dancing skills to excellent effect when he won Let’s Dance For Comic Relief. Next month sees
him star in the first UK tour of Jeeves & Wooster: Perfect Nonsense. What’s On recently caught
up with him to find out more...
Regarding playing Bertie Wooster, Robert, show. My Bertie won’t look like the Bertie someone in the Telegraph expressed
are you at all daunted by following in the from film or TV. It’s on stage and you can’t surprise that I wasn’t playing Bertie the way I
footsteps of well-known names like David get something that enormous on a camera - played Jeremy in Peep Show. I mean, a
Niven, Ian Carmichael and Hugh Laurie - you’d look insane - but as a stage show, it’s petulant, sarcastic Bertie really isn’t going to
all three of whom, for different in a league of its own. I had a quick look at work, is it? He’s absolutely delightful; charms
generations, have made a real splash in what Hugh Laurie was doing in the 1980s the audience immediately. He’s just this
the role? and, again, it was a much more natural style. galumphing twit, but a loveable one. It’s
It’s certainly got a very impressive pedigree against type because I’m not that cheerful
but I’ve played the part before. I did it at the Is playing Wooster a real acting challenge most of the time. That said, it does put me in
Duke of Yorks for three months. As for for you, or are there elements of your own a good mood playing Bertie.
feeling daunted, not really. It’s like carrying a personality you can bring to your
precious child across a hard floor. You don’t characterisation? Do you see the role as maybe signposting
want to drop it because it’s a marvellous He’s permanently either delighted or terrified the direction your career might take, or
thing and it’s very special to lots of people. - there isn’t really much in between - so it’s don’t you have any clearly defined plan
There again, the adaptation is so in its own about doing those things with as much for your future on a professional level?
world that it felt like creating something conviction as possible. I saw one review, I don’t have anything that you could call a
completely different. It’s a huge, energetic when we did The Duke of Yorks, where strategy. I recently starred in Neville’s Island,
6 www.whatsonlive.co.uk
Robert Webb.qxp_Layout 1 19/12/2014 12:44 Page 2
interview...
where I played a much more introverted, they won’t go off the edge of a cliff in a bus. You’re working with David less and less. Is
darker, sadder character called Roy. Lots of They’re not going to die and they’re also not it a worry for a comedy duo that one
parts come along, and sometimes there’s an going to win the lottery. The show will end partner might make a bigger solo splash
absolute corker that you can’t say no to. As more or less as it began, with Sam Baine than the other?
for Jeeves & Wooster, I soon realised that I and Jessie Armstrong, the writers, taking the Not particularly, no. I like watching David on
hadn’t got the part out of my system, so a characters up a tree and then throwing rocks Would I Lie To You and when he turns up on
ten-week tour seemed like a good idea. at them. There isn’t going to be a happy other shows. I’m pretty sanguine about it,
I’m certainly enjoying being in the theatre. ending. It’s Peep Show. There again, really. I’m very happy doing what I’m doing.
It’s sharpening me up as an actor, which is a because they’re not going to die, they’ve left There are ideas for other shows. We’ll see
good thing to do every now and again. the door open for David and I - should we be which, if any, end up being developed or
so blessed as to make it to our sixties - to made.
You have a young family, so how do you have some sort of ‘whatever happened to?’
feel about going out on tour? look back. That might be amusing, but we’ll What’s your greatest professional
That’s the aspect that I’m not looking forward have to wait and see. ambition?
to. Some of the venues are commutable and I don’t really have one particular consuming
it’s possible to get a late train back into When you met David at Cambridge, was it thing. I’d quite like to do a Shakespeare play,
London; some of them, not so much. In love at first sight? something I’ve never tried. I’ve got my eye
those cases I’ll always be back at the I wouldn’t call it love but he certainly on a couple of parts. Angelo in Measure For
weekend. I did four weeks’ filming in South attracted my attention. He was very funny Measure is a real bastard and I’d like to play
Africa once and that was my limit. More than when I auditioned him for a panto which the him. And then, perhaps when I’m a little bit
four weeks away from the children and I comedy drama society were doing. He was older, Iago, who I’ve always found deeply
begin to get a bit funny. very good in that, and I sort of kept an eye attractive in a horrible kind of way. He’s sort
on him. He did another show with his first- of everyone’s friend. I would want to make
Do you have a criteria for accepting stage year mates - I was the year above - and I the audience laugh - and then make them
roles? watched him even when he wasn’t talking. feel sick about what they’ve just laughed
If it’s supposed to be funny then it has to be He slightly reminded me of myself. By the about. A sitcom, too - I should definitely write
funny. If it’s not supposed to be, then it has end of the year I’d asked him if he wanted to a sitcom. I’m underachieving, not having
to be something I think I can do - and do a two-man show with me, which we written one.
something I haven’t done before. One of the performed the following year - his second
joys of this job is the variety of it, but and my third. It started from there, really - We’ve also seen that you’ve got a
generally it’s about the quality of the script. writing these big stories where we played all penchant for dance. Would you like to
Sometimes I’m quite interested in who the of the characters. The joke was that there display those skills again on the stage?
other actors are going to be. For example, in weren’t enough actors to play all of the You know what, I only recently noticed that
Neville’s Island I was on stage with Ade characters, which is actually a similar idea to Let’s Dance For Comic Relief was quietly
Edmondson, Neil Morrissey and Miles Jupp, Jeeves & Wooster in this show. The premise cancelled, so all my daydreaming about
and that was a huge joy. is that this is Bertie’s show and Jeeves is being the king under the water returning in
helping him put it on. triumph has been dashed. However, there is
You seem to be a ‘happy dabbler’ career- a dance in Jeeves & Wooster. It’s a four-
wise. Has that been by choice or is it a Have you and David ever hit a period in minute Charleston. It’s part of my keep-fit
way of working out how to move forward your relationship where it’s come under routine, so I’m looking forward to doing that.
post-Peep Show? strain?
I like variety but guess I’m easily bored. I Yeah, the busier we were, the worse it got. You wrote an article in the New Statesman
occasionally write for the New Statesman It’s never been awful, but there have been saying you thought people should become
and I’ve also got a book in mind. Then times, say in 2006/2007, when we were more engaged in party politics...
there’s the theatre, and I pop up in various doing a series of Peep Show and a series of Not quite. I wasn’t telling people they should
shows and bits and bobs. It’s really what the sketch show. At the same time, we made become involved in party politics, I was
comes along and what pays the bills. I’m not the film Magicians, did the Mac ads and had simply challenging Russell Brand saying that
sitting in a huge ‘evil villain’ control room a national tour. We were spending so much they actively shouldn’t. I was just trying to
planning my career down to the last detail. time together it was bound to lead to the odd get it back to neutral. I wasn’t telling people
It’s just whatever happens. tetchy silence - but that’s about as bad as it they should join parties but I was suggesting
ever got. Now I see him every now and again that, for young people who’re discriminated
Regarding Peep Show, do you feel you’ll socially. Last year we got back together to against because they don’t vote, it’s not
ever be able to distance yourself from do another series of the radio show. It’s very particulary helpful for someone who has a lot
Jez? easy these days. of young fans to say ‘that’s a great idea,
I wouldn’t want to. I’ve had an absolute ball don’t vote!’. I was saying: actually, the more
playing Jez. He’s so incredibly rude and Peep Show benefits from great writing and you don’t vote, the more safely politicians
horrible. It’s been great fun. We’re doing the acting, plus believable if slightly can ignore you, so maybe Russell’s idea isn’t
ninth and final series in the summer and it exaggerated characters - but then there such a great one. But it’s not my place to get
will go out later in the year. I’m incredibly are lots of shows which could claim the involved. I’m hardly involved myself. Russell
proud of it and wouldn’t want to put any same. What’s the key reason it’s become does a lot more campaigning, turning up at
distance between me and Peep Show. C4’s longest running comedy series? protests and rallies, than I do. I was just
I think it’s that Mark and Jeremy are showing that the minimum requirement is
Are you looking ahead to your Peep outsiders, and we all feel like that a lot of the that you turn up every four or five years and
Show-free future? time. They don’t feel that they’re part of the stick a cross somewhere.
It’s been nearly two years since the last mainstream. There’s always a party going on
series, so I’m sort of there already. It’s a next door where they could be having the Finally, post-Jeeves & Wooster, what’s
pretty nice place to be. Because the show greatest time of their lives but they haven’t next?
was well liked, and because of the sketch been invited. That constant feeling of not There’ll be a gap that I’ll fill with whatever
show I did with David on BBC Two, I’m sort being in the right place at the right time, I comes along, or by just sitting in the pub.
of associated with nice things. That gives think that’s the key thing about it. Also, it’s a Then there’ll be a summer holiday with the
you a momentum that probably isn’t going to classic sitcom set-up - two people who family, followed by recording Peep Show in
go away now. If you’re in a sitcom for ten shouldn’t be living together stuck together, late July/August. After that, who knows?
years, you’re part of the furniture, but I’m which goes right back to The Odd Couple.
certainly not panicking. Then there’s the filming style. Because we
hear their thoughts, you get double the Jeeves & Wooster in Perfect Nonsense
All good things have to come to an end, jokes, where people think things they’d never shows at Theatre Severn, Shrewsbury,
but do you feel there’s more mileage in dream of saying - some of which are quite from Wed 4 to Sat 7 February, and
the show? rude, of course. Birmingham Repertory Theatre,
Yes and no. This will be the last series but from Mon 9 to Sat 14 March
www.whatsonlive.co.uk 7
Sarah Waters interview.qxp_Layout 1 19/12/2014 12:29 Page 1
Sarah
Waters
award-winning novelist
talks about The Frozen
Scream...
A well-established writer of lesbian
fiction, Sarah Waters has six award-
winning novels to her name, including
Tipping The Velvet and Fingersmith. With
a penchant for research, she likes to give
her books an historical slant, very much
favouring the Victorian era and the 1920s
as settings for her novels. Venturing into
new territory, Sarah recently joined forces
with writer and performer Christopher
Green to adapt a little-known mystery
story for the stage. The Frozen Scream
shows at Birmingham Hippodrome this
month. What’s On caught up with Sarah
to find out more...
How did your partnership with Christopher Green come
“
about?
We don’t want to I’d known him as a performer for many years and had seen
frighten people off him in many productions. I’d always admired him because he’s
got a great stage presence. He approached me a few years
and we don’t want ago with the idea for The Frozen Scream. He wanted someone
people to be anxious who’d collaborate with him on ‘a spooky show’. He’d read a
book of mine called The Little Stranger, which is a ghost story.
about it, but it’s He’d liked that and felt I might be a good fit with him. I thought
it was a brilliant idea, but we both had different projects on the
definitely an element go and I’d just started a new novel. We only came back to it
of the show.
”
again in 2014, when he’d got the Birmingham Hippodrome
and Millennium Theatre in Cardiff on board. Only then did it
really take off.
This is your first venture into playwriting. Did you have any
preconceived idea of what it would be like?
I was quite trepidatious. As a novelist, you’re in complete
control of every detail. I take a long time to write a book. I
really enjoy having space to make mistakes and try things out,
so I wondered if a collaboration would suit me. On the whole I
don’t like writing to a deadline, but I knew that we really
needed to commit to it and come up with a play. I was
nervous, but everything’s worked well. The collaboration has
been really interesting and a real pleasure. Chris has been
great to work with and I think we’ve got a lot in common. Right
from the very beginning we had a very clear, shared vision of
what we wanted the play to be, so there haven’t been any
upsets or disagreements. It’s all been very smooth. It’s been
great seeing the different stages of it: from writing the script
through to casting it, workshopping it, then through to the
rehearsal stage we’re at now. Each of those stages has
brought something extra to the original text.
8 www.whatsonlive.co.uk
Sarah Waters interview.qxp_Layout 1 19/12/2014 12:29 Page 2
interview...
What’s the main consideration when curse. I was worried at first and thought ‘Oh It’s a real credit to you that two of your
thinking about an audience as opposed to my God, we’re going to create a curse best-known works, Tipping The Velvet and
a reader? ourselves!’. Touch wood, though, it’s all gone Fingersmith, are being adapted for the
I’m very much a storyteller, which is what to plan so far and we’re brazing the curse out. stage. Have you been asked to contribute
Chris liked and wanted. So for me it was a I don’t know whether that’s sensible or not, anything to the process?
case of working out how to tell a story in a but that’s what we’re doing. We don’t want to Not creatively - which is fine by me, because I
completely different way to how I’d tell it in a frighten people off and we don’t want people didn’t really want that role - but I’ve definitely
novel, where it’s just words on a page. In a to be anxious about it, but it’s definitely an been involved in the process and I’ve seen
novel you’re evoking everything and can element of the show. drafts of the plays. With Tipping The Velvet, I
guide your readers along a very particular sat in on an early workshop. It was really
path. In the theatre you’ve got lots of people Much of your work has been adapted for interesting and really exciting seeing the book
who might all be looking in different the screen. Do you feel an urge to give come to life in a completely different form.
directions. You want a story to unfold but it’s consideration to this when writing new
got to be done in a very visual way. It was a work? Did you have the same level of involvement
big challenge - but I’m a great theatre-goer, so I suppose I’d be lying if I said it didn’t occur to when it was adapted for TV?
I suppose I just thought about what I want me that a novel I’m writing might be adapted, Yeah, same sort of thing. I didn’t want to be
from a night at the theatre. but it doesn’t affect what I write. I tend to write involved creatively but it was fascinating to
very visually anyway, so maybe my books see the process that a book undergoes when
Theatre is very defined and laid out in front naturally lend themselves to adaptation. When it’s adapted. That was especially true with
of an audience. In a novel there’s so much I was writing The Nightwatch, for example - Tipping The Velvet, because that was the first
left to the imagination... which was a couple of books ago now - it was time it had happened and I was still quite a
They’re both about creating worlds, though. quite a melancholy book. I didn’t think young author at the time. It was terribly
That’s what I like about writing novels; you anybody would want to adapt it for TV - exciting, and I’ve been very happy with the
create this whole, complex world, invite the eventually somebody did - but that didn’t adaptations. They’ve been very positive
audience in and they go on a journey through mean that I didn’t want to write it. I still wanted experiences.
it. The theatre, the stage, is just like a 3D to write the book that was in my heart. It
version of that. And, in a way, there’s doesn’t change the way I write a book but it’s There’s a lot of erotica in your works. How
something extra exciting about it because it’s definitely a consideration. much does that contribute to the
in 3D. It’s a bit like opening up the door of a production’s success?
doll’s house and finding this rich world inside. You referred to The Paying Guest as a very With Tipping The Velvet, it was certainly a
intense project. Why was this more so than selling point. Andrew Davies, who adapted it,
The play is very character-based. How far previous works? did more than anybody to big it up as a rather
do you take the prose before the actor I’ve written six novels now and you’d think raunchy show. I don’t think it did any harm
comes in and takes over? that the process would get easier, but every and it certainly got lots of attention.
Again, I like to create the characters from the book has its own issues and challenges. My
point of telling a story. Chris and I worked on last book, The Little Stranger, was a very Your first four novels centre on lesbian
the characters; what we wanted them to be straightforward book to write, whereas The relationships. You then move away from
and what their back-stories were. Bringing in Paying Guest was very character-driven, so I this in The Little Stranger but return to the
an actor does bring another layer of richness needed to get to know my characters. It took format in The Paying Guests. Was this a
to it, but you do need the characters to be me a long time to figure out the tone of the conscious decision?
quite strong in the original text. That’s most book. It’s quite emotional, so I felt very It’s just the way it came out. I’d missed it but
definitely what we were aiming for. attached to my two main characters. They go felt it didn’t have a place in The Little Stranger,
through quite an emotional time, so it was an which was a Gothic story. But I did miss
The Frozen Scream and your latest novel, inevitably draining book to write. Perhaps ‘desire’, which is a really good driver of a plot.
The Paying Guests, are both set in the because of those reasons I’ve ended up I kind of wanted to get back to it and tell a
1920s. What intrigues you most about that fonder of it than any of my other books. I feel story of domestic passions, so it seemed the
particular era? more attached to it. It was definitely a labour most natural thing to write a lesbian story
I started work on The Frozen Scream after I’d of love. again.
finished The Paying Guests, so it was great
because I had all that grounding in the 1920s. When you’re writing a book, you have Looking to future novels, is there an era in
In The Paying Guests, I very deliberately didn’t complete ownership. Do you ever feel like history on which you’d really like to focus?
look at the roaring ’20s - flappers and the jazz you’re giving away part of yourself when I’m really not sure where I’m going to go for
age and that sort of thing. It was far more you present it to your readers? the next novel, and it’s really quite nice not
suburban than that. The Frozen Scream is I don’t know, but I pour so much into my knowing. I’ve thought for a while that the
more in the realm of flappers and bright novels. What I want is for readers to respond 1950s seem quite appealing. We tend to think
young things, so it was a very nice emotionally to the book, and it’s always of that time as being rather conservative, but I
counterpart to The Paying Guest. I felt like I wonderful when they do. I think everyone who think there was probably a lot more interesting
got to tell a slightly different ’20s story. reads a book slightly re-writes it when they’re stuff going on than our stereotypes suggest.
reading it - and certainly when a book is
Is the research into different historical adapted for the screen, it goes through a Has your current experience with Chris and
periods part of the joy of such a project? translation process and becomes somebody The Frozen Scream given you an appetite
I love the research purely in terms of what I else’s book in a way. For me, the heart of for more of the same in the future?
can discover about a period. But then the next writing is that initial work - having a vision, Possibly. It certainly feels like it’s liberated in
phase, which I love just as much, is turning then doing the work so that I can realise that me a slightly different way of writing, which is
that into something for a reader. Usually at vision on the page. As long as I’ve produced very nice. I think I’ve been very lucky with the
that point you have to abandon most of your the book that I’ve set out to produce, I’m project, and Chris and I have worked well
research - because you have too much - but happy. together. It’s a project that’s really suited me,
you have to do a lot in order to really get to so if I find another that also suits me, I’ll
know a period. Then it’s about the details Are any of your characters based on certainly be happy to do another theatre
which actually feel right for the story that people in the present, transported back in piece. I also feel a slight stirring to write
you’re telling. Ultimately you’re just using your time? another novel, so as soon as The Frozen
research as a springboard, and then it’s about No, not really. My characters may have their Scream is finished that’s probably where I’ll
your characters and your plots. For me, they basis in somebody I know but I find that they go next. Who knows, though? I’ve so enjoyed
need to belong to their period but should undergo a change. So although I’ve maybe writing for the theatre, I wouldn’t want to think
have a life of their own too. done that once or twice, I hope they haven’t I’d never do it again.
ended up recognisable to anybody in the real
The Frozen Scream is based on a little- world. But you do have to take your
known mystery which is said to be cursed. inspiration from real life, so it’s inevitable that The Frozen Scream shows at Birmingham
Are you at all superstitious? you take little traits from various people and Hippodrome, from Wed 7 to Sat 17 January
Christopher is being very blase about the weave them into your characters.
www.whatsonlive.co.uk 9
Peter Cutchie interview.qxp_Layout 1 19/12/2014 12:43 Page 1
“ Some people think they
can’t work in theatre
because they can’t sing,
they can’t dance and
they can’t act. But there’s
other work they can do.
”
Peter Cutchie
prepares to bid a fond farewell to Wolverhampton Grand...
The Chief Executive of one of the region’s biggest entertainment venues, Peter Cutchie is a
familiar face to many visitors to Wolverhampton’s Grand Theatre. Having stamped his mark on
the venue during the past ten years, Peter this month hangs up his theatrical cloak and embarks
on the next venture in his life - retirement. What’s On recently met up with him to reflect on his
career and his time in the Black Country.
What was your first position in theatre, meant I got to know the people there. When Tynedale in rural Northumberland. I worked
Peter? a job came up, I applied for it - and the rest, in a seaside theatre too. You draw all that
I was assistant house manager in Darlington as they say, is history. experience together and decide what it is
Civic Theatre in the 1970s. I came in via that you really want to do. The Grand is a
amateur theatre, where I was the honorary Could you have envisaged that this was good job on the theatre circuit. It’s a number
ticket secretary for my local amateur operatic where you’d end up? one theatre in the centre of the country with
society. I sort of made a nuisance of myself Not really. You never know where you’re a loyal audience and a lovely venue. Who
around the theatre and was constantly there. going to go. I have friends and colleagues wouldn’t want to work here?
It wasn’t easy getting into theatre, but it was who joined a theatre in their twenties and
easier than it is now. I’d worked in a bank retired from there. I’ve never seen it like that. What are you going to miss most about
prior to that, so I had accounting, finance, I had this bizarre career pattern. I wanted to the Grand?
things like that behind me. Selling hundreds experience different sorts of theatre. I Certainly, it’s the people. Not only the staff,
of tickets for amateur shows for the society I worked for Scottish Opera and then West who’ve been incredibly supportive and
was with, which performed at the Civic, Yorkshire Playhouse. I was arts officer for who’re wonderful, but also, without a word of
10 www.whatsonlive.co.ukPeter Cutchie interview.qxp_Layout 1 19/12/2014 12:43 Page 2
interview...
a lie, the Wolverhampton people - the Black explored more later, as an Arts Officer She came to the University of Warwick when
Country people - who’re our audience. You working in Tynedale. Working in eight I was working there. Talk about groupies, I
tend to say that about every venue you work hundred square miles of rural Tynedale, up was accosting catering staff and saying, ‘I’ll
in - and I’ve worked in eight - but in this one, around the Roman Wall, was a great place to take that in, I’ll do that’!
I’ve really found the warmth; from the do outreach work. We took shows into all
welcome I received when I first arrived sorts of weird and wonderful places - from Is there a show you’d have liked to bring
through to the support that we continuously infant schools with six pupils through to to the Grand but couldn’t?
receive. And that’s not just how I see it, it’s places like Holtwhistle, where we worked I wouldn’t want to say ‘no, there isn’t’,
also what actors say. They often comment with the community doing circus skills. So because I’m sure there’s something. The
that we have a listening audience; an outreach is vital. Wolverhampton has areas thing that’s been really enjoyable over these
audience who’re serious about theatre, who of deprivation but it’s also got a rich diversity. last few years is getting the shows that I
listen to what’s happening on the stage. You have to become relevant to people. didn’t think we’d get. I didn’t think we’d get
Sometimes that can unnerve an actor, Unfortunately, and sad as it may be, some the Midlands premiere of Ghost, for
because a whole evening goes on in near people still see the theatre as ‘that rich place instance. And Hairspray was one I’d been
silence. Obviously the audience laugh in the on Lichfield Street’. chasing for ages. There are much bigger
right places, and at the end of the shows that I would’ve liked to bring here,
performance always give a great reception. So is theatre accessible to all? but we couldn’t accommodate them. I don’t
Yes! Some people think they can’t work in want to replicate what’s on in the West End,
What’s your fondest memory in the ten theatre because they can’t sing, they can’t but I do want people in Wolverhampton to
years you’ve worked at the Grand? dance and they can’t act. But there’s other think ‘that was of West End quality’. So it’s
It’s not so much a memory, more of an work they can do. We need to get them to all about chasing that.
achievement that I go back to every time. look at it in a different way - so we go out to
When I came here ten years ago, we were schools and talk to them at careers fairs. We Come the end of January, will you be
looking at the programme and wondering go out to universities and talk to students at completely cutting your strings with
what we should do. My predecessor had freshers fairs. It’s not about saying ‘you must theatre?
done an amazing job. We were on the map come to the theatre’, because the more you You never know. Maybe you can, maybe you
and people knew who we were, but we try to force them, the more they won’t want can’t. A lot of my friends in theatre are of a
couldn’t get the really big shows because we to. similar age and have done so. One retired
were considered too small and too close to I think there’s another element there, too. I’m three years ago and hasn’t been back inside
Birmingham. Our breakthrough came when a firm believer that everyone has a ‘theatre a theatre since. He doesn’t miss it and he’s
we presented Chitty Chitty Bang Bang. It had switch’ in their head. At forty-five, that switch absolutely fine. One or two others, I have to
about a ten-centimetre clearance around the switches to ‘on’ and many people start going say, are like Banquo’s Ghost and must drive
stage but it basically broke the mould and to the theatre. I think what you need to do their successors mad. I’ve got to find a
said, ‘actually, Wolverhampton Grand can do with people prior to that - from a young age balance between those two extremes. I will
a big show, and it can take a show for three until they’re in their teens and you’ve got go to the theatre and will hopefully become
weeks’. I remember when the car was some kind of control over them - is build the a better theatre-goer than I am at this
unloaded in the back lane thinking, ‘oh my mechanisms that the switch is connected to. moment in time. And I hope my wife will
God, where are we going to put that?’. But That means getting children into theatre from come to the theatre with me, even though
Chitty set us off, and I was then able to say a very early age. I’m a lousy theatre companion.
to producers, ‘actually, yes, I know
Birmingham’s down the road, but we can’t How have the challenges which face you Would you ever consider keeping your
allow ourselves to be defined by that’. as a Chief Exec changed over the years? hand in with maybe a consultancy role?
Birmingham does a fantastic job, and we It’s always been about finance, which has I think for next year, if someone’s off sick or
know that we’re not big enough to take got tighter and harder. It’s more about health on maternity leave, or the Chief Executive
shows like War Horse and Wicked - either & safety as well. I’m not saying that’s wrong; has left and the new one can’t start for three
stage-wise or capacity-wise - but we can take it’s absolutely right. When you’re living with months, and I was asked to come in and
Ghost and shows like Barnum. We can take change, you don’t notice it so much. You help, in those circumstances I’d probably
big shows into the theatre, we can take them have to really think about how different it say yes. We’ll see, but as far as anything
first, and we can sell tickets for them. Those actually is. The audiences are more rowdy else goes, I don’t know. I don’t think I’ll be
shows can then come back to Birmingham than they used to be. In some cases they’re selling tickets for an amateur operatic
six months later and partially benefit from more badly behaved, and I think they expect society again!
having been in Wolverhampton, because more. I don’t want it to be stuffy, but in any
we’ve given them a showcase. Birmingham shared experience you’ve got to have What’s the most important piece of advice
has got its own machine. It doesn’t matter empathy for the people sitting around you. you’d like to pass on to your successor?
that we’ve previously had a show. We Listen to the audience. Listen to the people.
provide a different experience. For me, each Do you have an all-time favourite They’re not always right but they’re rarely
show is a memory and it’s a different production? wrong. Engage with them - and with
memory, but it’s knowing that we’ve broken The longer you work in a theatre, the harder anybody else who comes into the theatre.
that barrier which is the most important it is to lose yourself in a piece of work, but You are the host and, to a certain extent, this
thing. there’s one play called Frankie And Johnny is your home. This is your front parlour.
In The Clair de Lune which has really stayed You’re inviting people in, you’re giving them
Would you say that the shift in the way the with me. It starred Kelly McGillis and Rolf hospitality, and you want to be there to say
theatre operates, and its subsequent Saxon. It was just the two of them on the hello and to bid them goodbye. I think that’s
different standing amongst other theatres, stage. Suddenly, nothing else mattered. It important, even though I can’t be there all
is your lasting legacy to Wolverhampton? was a strange sensation. I felt there was just the time. That’s why the ethos of everyone
Yes, but I think the thing I’m most proud of is them and me in the theatre. I just sat there being special is engendered with all the staff
moving forward Creative Learning & and thought, this is what the theatre is all here.
Outreach with Louise Walker, our Educational about. It doesn’t happen very often but it was
Officer and Creative Learning Manager. a moment of total absorption. I remember Have you achieved everything you set out
Taking theatre into the community is thinking ‘damn the interval!’ That was to achieve ten years ago?
something that I’m really passionate about. probably the most memorable time, where I wouldn’t say that we’ve achieved
When I was at West Yorkshire Playhouse in nothing else mattered to me - and that is everything we wanted to, but we’ve come
Leeds, Jude Kelly, who’s now at the very, very rare. pretty close.
Southbank, was passionate about bringing
people into the theatre from disparate Have you ever been star-struck working in So a job well done, then?
communities and reaching out to people the theatre? That’s for the people to judge, but yes, I
who wouldn’t normally see the theatre as an Yes, by Cleo Laine. I had a huge crush on think so.
area in which they would work. I learned an her. Although I’m not a huge jazz fan, she
awful lot from Jude. It was something that I really could make me listen to jazz all night.
www.whatsonlive.co.uk 11Music Jan Region 2.qxp_Layout 1 19/12/2014 16:48 Page 1
Music Jan Region 2.qxp_Layout 1 19/12/2014 16:48 Page 2
Music
First Aid Kit
Symphony Hall, Birmingham, Fri 16 January
It was their 2008 YouTube video cover of Fleet
Foxes’ Tiger Mountain Peasant Song which got
sisters Johanna and Klara Söderberg noticed.
Their harmonious singing and folk-influenced
songs have since propelled them to worldwide
fame. The Swedish duo have released three al-
bums; The Big Black & The Blue (2010), The Lion’s
Roar (2012) and Stay Gold (2014).
If you enjoy listening to stunning vocals presented
in an exquisite venue, this show is for you.
King Pleasure And Queen + Adam Lambert
The Biscuit Boys Barclaycard Arena (formerly NIA), Birmingham, Fri 23 January
Artrix, Bromsgrove, Sat 3 January; Replacing the irreplaceable, Queen have filled their Freddie Mercury-sized hole with first
The Robin, Bilston, Thurs 29 January Paul Rodgers and now Adam Lambert. By all accounts great fun was had with Rodgers,
The KPs are past masters at creating an evening of but the boys are of the opinion that Lambert’s probably a more natural fit for them. “Adam
frenzied fun, boasting a trademark mix of nutty on- is really like us,” said Brian May in a recent interview. “He has so many colours, which al-
stage antics and accessible musicianship. What lows us to head off on some of those strange excursions that Queen enjoy."
they lack in innovation they make up for with their
authenticity, and have an impressive feel for the
music which ensures they do justice to the stan-
Slipknot Barclaycard Arena (formerly NIA), Birmingham, Tues 27 January
dards. But the vast majority of their audience Slipknot are an American heavy metal band well known for their attention-grabbing
couldn’t care less about their authenticity - they image, aggressive style of music and energetic and chaotic live shows. The band rose to
just enjoy the messing about and the furious fame in 1999 with the release of their first and self-titled album. Readers of Metal Hammer
dance rhythms. magazine have since voted it the best debut offering of the last twenty-five years. Four al-
bums and sixteen years later, the band stop off in the Midlands as part of their ten-date
Prepare For Hell UK tour. They bring with them new drummer Jay Weinberg and new
Craig Charles bassist Alex Venturella. Korn and King 810 support.
Hare & Hounds, Birmingham, Sat 24 January
Coronation Street, Robot Wars and Red Dwarf -
not to mention successful DJing and writing ca-
reers - have ensured Craig Charles is pretty well
known to the great British public. His music career
started in 1980 when he formed his first band, Watt
4. He went on to produce three further bands and
write lyrics for Suzanne Rhatigan’s album, To Hell
With Love. More recently he’s toured the UK and
beyond with his hugely popular Craig Charles
Funk & Soul Club, playing a mixture of tracks
which have usually been covered and remixed by
current leading bands and DJs.
www.whatsonlive.co.uk 133Music Jan Region 2.qxp_Layout 1 19/12/2014 16:48 Page 3
SPRING & SUMMER
PARTY NIGHTS 2015
FRI 24 JAN
£32.50
BRIEFCASE BLUES
SOUL BROTHERS
with The Soul Man
SAT 31 Jan
LENNON AND £32.50
McCARTNEY
with The Lennon & McCartney
Experience
Sat 14 Feb
£35.00 MOTOWN
LEGENDS PARTY
with Soul Legend
Sat 21 Feb
SWINGING 60’S £37.50
MOTOWN PARTY
with The Krysalettes
Fri 6 Mar
£32.50 OLLY MURS &
BRUNO MARS
with Robbie Glenn
Sat 14 Mar
BACK TO THE £37.50
80’S PARTY
with The 80’s Experience
Fri 20 Mar
£32.50 MICHAEL BUBLE
TRIBUTE
with Jamie Flanagan
Fri 27 Mar
MAMMA MIA £37.50
PARTY
with Bootleg Abba
An Abba Tribute
Fri 10 Apr
£32.50
SUPREME
MOTOWN & SOUL
DIVA PARTY
with The The Montellas
Fri 24 Apr
THE ULTIMATE £37.50
SOUL PARTY
with The Soul Suvivors
and Mel Day
DOWNLOAD THE BROCHURE FROM OUR WEBSITE
TICKET PRICES INCLUDE 4 COURSE MEAL
WE WILL CATER FOR ANY SPECIAL DIETARY NEEDS BY PRIOR ARRANGMENT
BOOKING HOTLINE 02476 466174
www.nailcotehall.co.uk
Nailcote Hall Hotel, Nailcote Lane, Berkswell, Warwickshire CV7 7DE
12 www.whatsonlive.co.ukMusic Jan Region 2.qxp_Layout 1 19/12/2014 16:48 Page 4
Music PREVIEWS
Nils Lofgren
Birmingham Town Hall, Mon 19 January
Nils Lofgren was inducted into the Rock and
Roll Hall of Fame in 2014 as a member of
Bruce Springsteen’s E Street Band, with
whom he first performed some thirty years
ago. Joining in time for The Boss’s now-leg-
endary Born In The USA tour, Lofgren played
with E Street until Springsteen called time on
the band in the late 1980s. He's appeared
with them on numerous tours since their ref-
ormation in 1999. A world-class guitarist
hailed by the likes of Sting and Neil Young
(as well as Springsteen, obviously), he’s here
visiting an impressive back-catalogue that
includes such favourites as Shine Silently, I
Came To Dance and Keith Don’t Go.
Paul Carrack
Victoria Hall, Stoke-on-Trent, Fri 16 January; Symphony Hall, Birmingham, Sat 24 January
Sheffield-born singer, songwriter and musician Paul Carrack has enjoyed a long and distin-
guished career, performing in his fair share of bands down the years, including such heavy-
weight ensembles as Ace, Squeeze, Mike And The Mechanics and Roxy Music. He’s also
paid his dues as a session and touring musician, and can point to his fair share of solo suc-
cess too. Oh, and he’s no slouch when it comes to songwriting either, with Tom Jones, The
Eagles and Jools Holland all having benefitted from his remarkable talent.
Funeral For A Friend
The Institute, Birmingham, Fri 16 January
Funeral For A Friend are a five-piece post- Julian Cope The Sleaze Brothers
hardcore band from Wales. They’ve released Glee Club, Birmingham, Sun 25 January Lichfield Guildhall, Sat 10 January
six studio albums, including Casually He’s a singer, a poet, a photographer and an Hugely talented and widely admired they
Dressed & Deep In Conversation (2003) and occultist. Or, as his book publishers would may be, but never let it be said that the
Tales Don’t Tell Themselves (2007). At the have it, he’s a ‘visionary rock musician and Sleaze Brothers run the risk of taking them-
time of going to press, seventh offering musicologist, a hip archaeologist and the selves too seriously. They’re happy to be
Chapter And Verse is awaiting release, but one-time front man of the Teardrop Ex- known as the band who play the most dan-
has been described by promoters as ‘a raw plodes’. gerous blues, soul and rock’n’roll music this
and energetic effort that propels the band to No matter how he’s best described, the ab- side of, er, Bloxwich! As long as their audi-
a whole new level, whilst simultaneously rais- solute, undeniable truth about Julian Cope is ence is having a good time, which they in-
ing the bar for everyone else’. that he’s a massive talent at pretty much any variably are, the band are happy. They’re
Expect a fast-paced and high-energy show art form to which he turns his hand. He plays appearing here having previously wowed the
from these boys. Birmingham this month in support of his new locals at the Lichfield Fuse Festival 2014.
'Best Of' compilation, Trip Advizor. The album
follows hot on the heels of debut novel One
Three One, which has been described by Jessie J
The Irish Times as an experience akin to O2 Academy, Birmingham, Tues, 27 January
‘Samuel Beckett on a bender’. After her career breakthrough girl-power an-
them Do It Like A Dude stormed the charts in
2010, Jessie J followed up with worldwide
Blair Dunlop hits like Price Tag and Domino. In so doing,
she secured her status as one of the twenty-
Stafford Gatehouse, Mon 12 January
first century’s major music stars.
Singer, songwriter and guitarist Blair is part of
Her appearance as a judge on
a musical dynasty, his father being Ashley
BBC One Saturday night tal-
Hutchings, the famed co-founder of Fairport
ent show The Voice, allied to
Convention. Ashley joined his son on the lat-
Hayseed Dixie ter’s debut offering, Blight And Blossom, a re-
her contribution to The
Warwick Arts Centre, Coventry, Queen’s Jubilee celebra-
lease which was hailed as one of the most
Tues 20 January tions, offered further
well-crafted folk albums of 2013. Second
Although they’ve produced some pretty un- evidence that she’s
album House Of Jacks saw Blair evolve his
forgettable and comically crude songs, in- got what it takes
music further, creating a more contemporary
cluding I'm Keeping Your Poop In A Jar and to stay in the
sound and once again scoring a hit with both
She Was Skinny When I Met Her, Hayseed limelight for
critics and public alike.
Dixie are probably best known for their rol- a long time
licking rockgrass covers. Co-founder, gui- to come.
tarist and frontman John Wheeler names She’s re-
Motorhead’s Ace Of Spades as his favourite, cently re-
but it’s the music of AC/DC with which they’re leased her
most closely associated. Kiss, Led Zeppelin, third studio album,
The Beatles and Queen are others to have re- Sweet Talker, which
ceived the Hayseed Dixie treatment. Having peaked at number five
played over one thousand gigs in thirty-plus in the UK.
countries, it’s fair to say they’re a much-loved
act, so bag yourself a ticket asap.
www.whatsonlive.co.uk 15You can also read
