In August it’s off to the Edinburgh Fringe, where VERITY takes to the stage at the Space on the Mile (Space Three) from Mon 12 to Sat 17 August. Grab your tickets now from https://tickets.edfringe.com/whats-on/verity (Tue—Fri shows); or, for Monday’s venue preview, direct from the venue by emailing email@example.com or phoning 0131 510 2382.
My resolution for 2019 is to do more multi-tasking … so I’ll be combining the roles of keyboard-player and musical director for a number of shows during the year. As well as continuing the role of MD/accompanist for Opera Anywhere’s touring shows, including new productions of Patience and Hansel & Gretel, I’ll be taking turns as AMD for MAC Theatre’s production of ‘Made in Dagenham’, Musical Youth Oxford Company’s spring show, ‘The Wedding Singer’, and AMD/scriptwriter for OxOps’ medley of music, ‘Trials of Love’. Altogether, now—ready, AND …!
A magic tree, a wicked stepmother, the prince who pretends to be a beggar, the drudge who turns into a princess … all the ingredients of a perfect fairytale are here. Add to those the Sergei Prokofiev’s uniquely sublime score and Christopher Wheeldon’s refreshing new plot and choreography, and you have a feast for all the senses. ENB’s exciting new production of Cinderella in the round at the Royal Albert Hall is the basis for our summer term of Dance for Parkinson’s workshops, which I co-lead in Oxford as an ENB Associate Artist. Plenty of food for imagination, dance and creativity from our wonderful participants, whose work on the DfP programme can be glimpsed along with our other hubs and the ENB’s company dancers in this short film.
I recently teamed up with talented dance practitioner Danielle Teale, creator of the DfP programme, to lead a weekend of workshops in Glasgow for Scottish Ballet, who plan to run similar sessions; as well as an introductory course for DfP teachers at the People Dancing conference in De Montfort University, Leicester. The physical and psychological benefits of music, movement and imagination are increasingly recognised by the medical profession, and their effects on our participants in every session are an absolute joy to see.
My latest novel , published by Gurning Gnome, is the story of Nathan Hill, a man who collects fragile and beautiful works of art, and the chance encounter with a former lover which threatens to break everything apart. Available on Amazon and Kindle. If you enjoy it—and even if you don’t—please contribute to the Amazon reviews. Writing is a two-way process, and I’d love to hear your side of the conversation. Here’s some of the feedback received from readers so far:
‘An enjoyable and thought-provoking read.’
‘Loved it. Interesting how dangerous revisiting the past can be.’
‘Heartbreaking. Compelling. Acutely observed. Effortlessly and subtly witty. The writing as beautifully and skilfully crafted as Nathan’s glass collection.’
I’ve written six novels and many short stories. The most recent novels—Birdcage, Hidden Gems and Breakage—are published by Gurning Gnome. Click here for the Facebook page, and here to see my Amazon page—or click on any of the book covers at the foot of the homepage. For more information, including reviews, go to the Words menu on my homepage, and select Fiction.
Singer Rebecca Allison (Martin) has been my musical partner in a bewildering range and number of projects. As Mezzopiano we performed opera, musical theatre, recitals, concerts and shows, including my verse play Smoke & Mirrors, based on the music of one of our favourite composers, Kurt Weill. Becca’s portrayal of twin sisters across four decades—singing in several languages—was a tour de force. She was an inspiration and a very dear friend. Becca died suddenly on 21st March 2016 after contracting sepsis. I’m immensely grateful to have known and worked with this lovely woman, and to have many recorded memories of her beautiful voice.
Here are two tracks of us performing together: Lost, from my new musical Melody; and No-one Is Alone, by Stephen Sondheim, a song with particular meaning for Becca and her family.
One of the best things about being a pianist is getting to play the role of ‘orchestra’ for smaller-scale productions and performances. As well as enjoying the rich and exciting operas of Mozart, Puccini and others in my regular work as MD and pianist for Opera Anywhere, I’ve had the opportunity to accompany some thrilling close-up opera at the Arcola Theatre in London, where Paula Chitty’s company Irrantional Theatre presented a dramatic double bill of ‘Gianni Schicchi’ and ‘Pagliacci’ as part of the annual Grimeborn opera festival. ‘O Mio Babbino Caro’ is the best-known aria in Puccini’s witty tale, in which Gianni Schicchi uses his impersonating skills to take revenge on his snobbish family; and in Leoncavallo’s highly emotional melodrama, based on a real murder case, professional clown Pagliacci lets reality break into performance, with violent and terrible consequences. Two original and involving productions, and two nights of excellent and accessible opera.
I also had the pleasure of helping Stuart Pendred’s brand new company Oxford Opera bring opera to a new audience in a concert performance of Puccini’s sinister tale of political intrigue, rape and torture, ‘Tosca’. Oxford Opera’s aim is to introduce a new generation of singers to a genre they may not otherwise encounter, and I had a great time helping out at rehearsals with students at Cherwell School in the lead-up to the final event—which featured superb professional soloists, including international soprano Lee Bisset, as well as a wonderful chorus of singers ranging from 5 to 18 years old. For 2019, the company breaks into new territory with a fully staged production of ‘Carmen’—another tale of high drama and fiery passions—at the Oxford Playhouse, featuring highly renowned mezzo Hannah Pedley.
The African savannah was re-created in Didcot’s Cornerstone arts centre, at the latest Musical In A Day children’s workshop. Joining me for a day exploring ‘The Lion King’ was dancer Rhonda Sparrey, and together we led fifteen 6- to 9-year-olds through the story, songs, dialogue and movement of the hit musical, even making good use of break-times to draw characters and events for our pop-up gallery. At the end of a busy and creative day our hard-working cast presented a potted version of the musical for their parents. This workshop followed several others in the same series: ‘Discover Annie’, ‘Discover Oliver!’, and ‘Discover Joseph and the Amazing Technicolour Dreamcoat’.
Pictured below are the children’s technicolour illustrations for ‘Joseph’ and some of the home-made masks we used to create the Lion Kingdom.
One of the most rewarding aspects of my job is involvement in projects that take music and movement to sectors of the community who might not otherwise have that access. As well as co-leading the ENB’s Dance for Parkinson’s programme, I’ve joined forces with a number of dance artists to create live music sessions in hospitals and homes around the area. In 2017 I started a project at Witney Community Hospital with the arts development officer, Angela Conlan, and together we visit the wards and day room to bring some song and dance into the daily routine.
In 2016, dancer Rhonda Sparrey and I were among 12 practitioners accepted on to the FLOURISH programme to encourage the use of arts among people with dementia. We led a course of eight Dance for Dementia workshops at the Christchurch Centre in Henley, featuring themes such as A Night At The Theatre and A Day At The Seaside. Here’s a short film about our work, which gives some idea of the extraordinary power of music to revive and reconnect.
For 2019 I’m working with dance artist Roosa Leimu-Brown, who co-leads the ENB programme in Oxford, on a series of Dance to Health workshops run by the University of Reading and drawing on the collection held in its Museum of English Rural Life. We’ll be working on the theme of rural life, past, present and future, and will showcase the class in May as part of National Dementia Week.