Memory Spinners: Dementia Arts Workshops

Memory Spinners Airdrie Town Hall

Light relief for those living with dementia is on offer at Airdrie Town Hall, with the Scottish Opera and CultureNL Memory Spinners art workshops, running Mondays from 29 January – 23 March (1-3pm).

Using music, movement and visual arts, the free of charge programme helps both people with dementia and their carers relax and form support networks.

Park Springs Care Home employee Rose Brennan said: “Our group – Ronnie, Betty, Margaret and myself – has been attending since the first session and I can’t tell you how much we have enjoyed it.

“When the group have been going back to the home they have been telling everyone about it, they get so excited; all their families and friends have heard about it and they all think that it is a wonderful idea.”

The Park Spring group are just three of around twenty six participants coming to the workshops on a regular basis.

CultureNL Arts Development Officer, Deborah McArthur, said: “It’s been really nice to see how large a group we have ended up having, and that shows the need and the want for something like this in North Lanarkshire; we have such a lovely bunch of people involved.”

Each session starts with a half hour lunch, where the group can get to know each other before the activities begin.

McArthur explained: “Having lunch at the beginning means that the group can bring the social aspect back into eating. I am a great believer in food bringing people together and I think that the time at the start, where we all chat, is really important.”

After lunch the group moves on to a warm up, which leads on to singing and acting activities.

McArthur said: “The exercises that we do allow everybody to take part at the same time; when you come to a session you get to see how much everybody laughs and enjoys it.”

Echoing this sentiment was visual artist Joe Gair.

He said: “When I was thinking of how to approach the project I wanted to bring a range of activities; some people enjoy colouring in and painting simple things, other people like to get a bit more creative, so I wanted to provide a bit of variety.”

He added: “The visual art aspect of the project is good, as people know what they are working toward, for example last week we did masks for the final show, and the group took a lot of care and time over them because they knew that they would be wearing them.”

All of the group’s crafted props and drama activities will be brought together at the end of the programme, in a show for their friends and family.

McArthur explained: “The Memory Spinners activities have no wrong answer, people can do whatever they want with the materials that we have. Then we make this fit into the end performance, and this creates a comfortable environment to work in.”

Beechwood Care Home worker, Emma Weir said: “The workshops are something new and something challenging, but they are very enjoyable.”

She added: “I came to bring Tommy and Jeanette, but I have been surprised how much I have enjoyed it myself. You get to meet new people; it welcomes anyone and everyone affected by dementia.”

Reflecting on the workshops, McArthur explained that no previous arts or performance experience is required.

She said: “I think sometimes people might be deterred by the idea of opera, or they might think that if a workshop is singing and dancing then it is not for them, but actually I would describe it as a group of people that are coming together to try different things and have fun.”

2017 Glasgow Theatre Throwbacks

In 2017 I consumed the most theatre, of any 12-month period of my life. Three ballets, three dramas, two pantos and one musical. This is less impressive considering I joined the marketing team of Motherwell Theatre, where assessing the competition is all part of the job. So here’s a look at my rated and slated productions, starting with the best…

Faithful Ruslan

Michael Glenny and Helena Kaut-Howson’s adaptation of Georgi Vladimov’s novel
The Citizen’s Theatre Glasgow

  • Rating: 10/10
  • Story: A Soviet guard dog’s life takes a strange turn when his prison camp is liberated and he is made redundant; a haunting tale of unhealthy love.
  • Best bit: Movement director Marcello Magni’s work with star Hunter Bishop to mimic perfectly a guard dog’s inclinations.
  • Worst bit: The second act, which was slow and left nothing to the imagination.

Blood Brothers

Bill Kenwright Production
The Kings Theatre

  • Rating: 9/10
  • Story: In depression-hit Liverpool, twin brothers are separated at birth, before being tragically reunited in a bittersweet tale of social injustice.
  • Best bit: Willy Russell’s comic writing teamed with Kelvin Towse’s musical direction makes light work a heavy topic.
  • Worst bit: The cast’s accents – particularly when playing children – were grating.

Hansel and Gretel

Scottish Ballet Production
The Theatre Royal Glasgow

  • Rating: 8/10
  • Story: It’s WWII in the UK and two ration restricted kids seek sweet treats in town, unaware of the dangers; a refreshing retelling of a classic.
  • Best bit: Christopher Hampson’s dapper 1940s costumes and Caroline Palmer’s ballroom inspired choreography.
  • Worst bit: The second act when the WWII theme was abandoned and the set/ costumes reverted to 17C fairy tale.

Who’s Afraid of Virginia Woolf

Rapture Theatre Production
Motherwell Theatre

  • Rating: 8/10
  • Story: In 1960s America, couple Martha and George verbally spar during after-party drinks with their new colleagues; in this tale of everyday lies.
  • Best bit: Robin Kingsland’s comic timing (as George) enlivens Albee’s deadpan humour.
  • Worst bit: The plot is 90% dialogue, which does make it drag a bit.

Jack and the Beanstalk

Spillers Pantomimes Production
Motherwell Theatre

  • Rating: 8/10
  • Story: Merryville (17C Scottish pantoland) is plagued by an evil giant so it’s up to Jack and the gang to slay him, in this all singing all dancing panto.
  • Best bit: The vocals and moves from all the cast, particularly Jack (Craig Anthony Ralston) far surpassed other regional pantos.
  • Worst bit: The plot was, at times, over-narrated.

Ghost Dances

Rambert Production
The Theatre Royal Glasgow

  • Rating: 7/10
  • Story: A group of dances on love, life, and death, which climaxes in Ghost Dances – the tale of violence and political oppression in Central America.
  • Best bit: Miguel Altunaga’s dancing was a joy to watch.
  • Worst bit: The random combination of stories, such as a modern retelling of Macbeth, which clashed with the central theme of Ghost Dances.

The Red Shoes

Matthew Bourne Production
The Kings Theatre

  • Rating: 7/10
  • Story: A ballet about a film about a fairy tale; in which a prima ballerina chooses her lover over the musical director who dislikes him; meaning she loses out on great parts, before her redemption is offered to her in the lead part of the Red Shoes film.
  • Best bit: Lez Brotherston’s costume and set design is ingenious, working with stage borders, which spin around to indicate if the theatre audience are seeing the cast acting ‘off stage’, in studio or on the film set.
  • Worst bit: The lack of online synopsis left the audience guessing whether they were booking a ballet based around the film or the fairy tale.

A Christmas Carol

Cumbernauld Theatre Production
Cumbernauld Theatre

  • Rating: 6/10
  • Story: The Dickensian time travel tale is adapted to reflect 21C world crisis, in this touching panto.
  • Best bit: Paper puppetry used to show Scrooge the 21C problems like climate change that lay in the world’s future.
  • Worst bit: The marketing of the panto for children was inconsistent with its adult format (with few songs and jokes).

Love and Death in Govan and Hyndland

Play Pie and a Pint Production
Oran Mor Theatre

  • Rating: 5/10
  • Story: Ivan is a Scottish author suffering from writers’ block; unable to think of anything else he retells the story of his mother’s death from cancer, in this one-man play.
  • Best bit: Stephen Clyde provided a heart-warming portrayal of Ivan’s elderly mother, the typical wee Glasgow woman.
  • Worst bit: Ian Pattison’s writing lacked the dark humour that usually lifts such grim topics.

So that’s my year as a theatre goer! How was yours?

Have you seen these productions and heartily agree or think I’ve got it all wrong? Comment below and let me know…

Fools and Heroes Glasgow

LARP

  

LARP or Live Action Role Play is latest form of gaming to capture the UKs imagination. Using improv, costumes and outdoor settings, it is literally a breath of fresh air.

“It’s similar to games like Dungeons and Dragons, but instead of sitting around the table rolling dice you put on costumes and become the characters,” LARP veteran Claire Main said.

Main works as Glasgow Branch Liaison Officer to LARP group Fools and Heroes, in which she has gamed for four years.

She said: LARPing has been around for quite a long time; in the eighties we spotted the first groups in the UK. In the nineties the Cuckoos Nest was set up as part of Glasgow University LARP society, but it has now become its own separate entity. Lots of LARP groups have now sprung up in Glasgow.”

Although one of many, Main explained that the Fools and Heroes group works as part of a wider network.

She said: “The society, as a whole, works by allowing members of one local branch to play in the games of others throughout the country. So you can play as your character and travel as them throughout the UK.”

Main recalled: “I had a phone call this week from a couple in the Plymouth branch of Fools and Heroes, wanting to match our LARP session dates with those of their holiday, so that they could join the game while on their break.”

She added: “I have friends all over the UK now that I wouldn’t have met otherwise; it is a wonderful social network!”

Although part of a national scene, Fools and Heroes Glasgow branch practices most in Mugdock Country Park.

Main set the scene: “The park has a lot of terrain to play with. It has an old World War II bunker that can be adapted to be a trap in the game; it also has open fields and marsh that can be farmland, battlefields or graveyards. Nature can set a wonderful backdrop to get your mind going. Some of the best games that I have had have been when the mist has come rolling in or there has been snow on the ground.”

She added: “Nature is however, only a starting point. Its up to the player to get immersed into the character and for the referees to set each situation up well, so that the game feels authentic.”

This authentic vibe is created by splitting the game and group in half; the first half sees one lot of fools and heroes assume characters on a noble quest, while the second lot will play the villains and damsels in distress. Then after lunch participants swap around, so that everyone gets a chance to play both signature and supporting characters.

Signature characters have become synonymous with LARPing, as many players use the medium to become their idols. However, Main explained that is not quite how it works in the world of Fools and Heroes.

She said: “All LARP groups are different, but Fools and Heroes sees you play one main character of your own design. You will start of as a primary character, such as a squire, then as your character grows in experience and wealth they can progress. For instance, after a while your character can join a guild, join a church, learn magic and develop into an epic hero.

“This development allows you to learn as the same time as your character, for instance the first time your character encounters a troll they won’t know what to do, so a more experienced character will need to step in and show you. Then as you learn and progress you will help those less experienced.”

This learning also expands players’ life skills.

Main explained: “It gets you exercising and encourages you to develop other skills on the side. I have learned to sew, knit, crochet all through LARPing.”

While the game is progressive, it is high contact, so not suitable for everyone.

Main cautioned: “Fools and Heroes LARP is a physical game, it involves running and combat so it would be more challenging for people with mobility restrictions, however there are all kinds of LARPing out there, so it is up to the player to find one that suits them.”

Likewise Fools and Heroes only allows full membership at the age of eighteen, due to its adult content, but Main explains that there are other groups out there that will cater to younger players.

She concluded: It is hard to describe what LARPing is, so I would say to anyone that is curious about it to just come along and give it a go. It would lend itself well to team building and an alternative day out.”

 

 

Traditions and Tales of a Victorian Christmas

 

Victorian Christmas

 

Christmas brings nostalgia, often with chocolate box images of Victorian Britain; an association immortalised in Charles Dickens’ novella A Christmas Carol. Now Edinburgh Castle is exploring the period’s festivities with celebrations running from December 19 – 23.

Launching this festive cheer is Assistant Events Manager at Historic Environment Scotland, Fran Caine.

He said: “Our Traditions and Tales of a Victorian Christmas was developed to provide visitors with a festive event that would explore history in an engaging way. It’s always a popular fixture in our events programme.”

Caine explained that the UK Victorian era, through its German royal family members, brought the tradition of decorating yew bows and eventually trees to the country. In keeping with this tradition, Edinburgh castle’s Victorian Christmas will be adorned with evergreen.

He described: “The centerpiece of the castle’s decoration is a Noble Fir tree, which usually stands at around 17-feet tall. Situated in the Great Hall, it proves to be an additional draw for our visitors over the festive season.”

Festivities will also include historically dressed performers, with tales and verses from the Victorian era.

Caine said: “Our performers source their own authentic costumes. Inspired by Charles Dickens, the event centers around a re-enactor portraying one of this period’s most iconic writers.”

Dickens’ depiction of festivities in A Christmas Carol showcases many Victorian conventions that have prevailed.

Caine recalled: “This particular period in time can be seen by many as the origin of the Christmas that we know and celebrate today. It was the start of a number of festive traditions that continued over a century and a half later.”

Among these traditions are annual leave from work and gift exchanging, both made possible by Victorian industrialisation.

Industrial boom in the 19th Century brought newfound wealth that allowed middle class families to take time off work, over December 25 and 26. December 26 then became known as Boxing Day, when lower class people would open the parcels of money gifted to them by employers or benefactors.

Other gifts made popular by the 19th Century were those of toys that, with the introduction of factory production, were made more affordable to the middle classes.

Just as toys became associated with Christmas in the Victorian era, so did games.

Caine said: “We might have swapped festive parlour games for more contemporary versions, but the traditions of Christmases past can still be recognised today.”

Today’s Christmas dinner also has its roots in Victorian custom.

Caine explained: “During Victorian times turkey became the popular meat dish on the Christmas table. Previously goose or beef were the preferred choices. The Victorians were also responsible for the development of the mincemeat filled mince pies that are still enjoyed at this time of year.”

He added: “Many of the festive traditions such as decorating the home, pulling crackers, sending Christmas cards and even the popularisation of the Christmas tree can be traced back to the Victorians.”

To trace these traditions in person, revellers can visit Edinburgh castle from December 19- 23, at 11.15, 12.15, 14.00 and 15.00; during this time Traditions and Tales of a Victorian Christmas is included in the cost of admission to the castle.

Caine concluded: The event will offer a real insight into the festive traditions and customs and how Christmas might once have been celebrated over 160 years ago. It is definitely one for all the family to enjoy.”

STAND

STAND

Promising to elevate audiences, STAND has been revealed as the Traverse Theatre’s final Spring Production. The critically acclaimed drama sees Chris Goode & Company return to the stage (from June 4 – 6) with stories of everyday heroism.

Leading this narrative are six actors, recounting tales of real people’s rebellions. Among these actors will be director Chris Goode himself, who joins the cast in its Edinburgh bill.

A veteran of the Traverse stage, Goode previously collaborated with the theatre during his 2014 Fringe production Men in the Cities, and his 2012 production Monkey Bars.

Heralding his return, Traverse Theatre Artistic Director, Orla O’Loughlin, said: “After the great success of Monkey Bars and Men in the Cities, it’s wonderful to welcome Chris Goode back to the Traverse with STAND. It’s really exciting to see his latest project come to Edinburgh, and to have Chris back in the building.

“The show is about the power of standing up for what you believe in, and I can’t think of a more appropriate venue than the Traverse to do that.”

From its bold beginnings (in a disused brothel) the Traverse theatre has staged productions that brake taboo; an ethos fitting with the plot of STAND, as Chris Goode & Company Critic in Residence, Maddy Costa, explained.

She said: “One of the women in Stand talks about super-gluing her hands to an office chair at a protest. Another recalls walking on the motorway when she was a teenager, to demonstrate her belief that the world belongs to all.

“One of the men describes denouncing BP’s sponsorship of the Royal Shakespeare Company, by rushing on to the stage and calling on people to rip its logo out of their programme.”

With this heady action it is no surprise critics have praised STAND. Lyn Gardner of the Guardian said the drama acted as ‘reminder that small gestures matter.’

While Matt Trueman of What’s On Stage said: “Goode does this better than anyone. He takes an ostensibly simple idea – taking a stand – and reveals all its hidden depths.”

Conceived and directed by Chris Goode, STAND features the stage design of Naomi Dawson; Lighting design of Anna Watson; and stars Spencer Brown, Michael Fenton Stevens, Kelda Holmes, Gwyneth Strong, Cathy Tyson and Lawrence Werber.

STAND will be shown in in T1; with tickets £16 full price, £13 standard concession and £8 other concession.

Image copyright of Richard Davenport.

West End Festival

West end festival

Celebrating its 20th year in business, the West End Festival has returned to Glasgow with bigger acts than ever before.

Festival Founder Michael Dale said:“The 2015 WEF has a lot of big names, including comedian Elaine C Smith, choir composer Mark Carroll, and (the Gruffalo) author Julia Donaldson.

“There is a real mix of activities scheduled: music, shows, food and drink stalls, galas and guided walks through the city.”

Over 100 Glasgow-based organisations have joined the festival, which showcases arts groups and local talent. The festival does this by presenting national treasures alongside hidden gems.

Dale said: “One of the most exciting local acts at the West End Festival will be a collective of Samba players (from across Scotland). The Samba players will be performing at the end of the parade, on the steps of the Kelvingrove Art Gallery, and again at the Kelvingrove bandstand.”

He added: “The bandstand will also be hosting lots of local bands (of different genres) on the last day of the festival.”

Another musical must-sees, Dale said, is the WEF Festival of Choirs. This concert unites Glasgow Phoenix, Govan Gaelic, Dublin Airport, Glasgow Philharmonic Male Voice, and the Govan Schools Combined Choirs, at the Govan Old Parish Church.

He said: “Govan used to be in the same borough as Partick, till about 1914, so the choir concert celebrates this connection to the West End.”

Connecting the West End to the international music scene is Elaine C Smith and Christina Dunwoodie’s show, Torch Song Divas. The show (running at Websters Theatre) will examine eternal themes of love, loss, betrayal in a variety of genres.

Dale added: “Torch Song Divas should be great; it promises lots of big song numbers.”

While the adults are bound to love the gigs, Dale explained there is more to the festival than music.

He said: “The festival appeals to people of all ages, for kids there is a series of children’s author talks, both in and outside of schools.”

Among these talks is Julia and Malcolm Donaldson’s appearance at Maryhill Central Community Hall. Here the authors will be joined by illustrator Nick Sharratt, to recount tales from their books.

Books may not appeal to all kids, and so Dale explained interactive family workshops are also sprinkled through the festival.

He said: “There will be lots of workshops, including those ran by the Children’s Wood group (in North Kelvinside). This group offers nature based workshops exploring things like bugs in the habitat.”

For the less green fingered, there will also be workshops ran by professional artists, making  costumes for the parade.

The parade, Dale explained, was one of the founding principles of the festival.

He said: “The first festival was in June 1995 and it occurred to me then that we needed a way to promote the event; so I came up with the idea of having a parade, not that I had a one to hand, but I didn’t think it would be too hard to make.

“I met some people who wanted to start a parade in Glasgow, and make the costumes, so between ourselves we created the first West End Festival.”

Although it is an iconic part of the festival, Dale stressed that there is more to the event than the procession.

He said: “The West End comes alive in a special way during the festival. There are events throughout each day, including: exhibitions, concerts, food and drink. Those who have never been to the area before will be surprised just how much there is to do.”

He concluded: “A lot of the festival is free, with many people taking part on a voluntary basis.

“The West End Festival Website has a search function that you can use to find free events each day.”

 

 

Merchant City Festival

Merchant City Festival

Preparations have begun for this year’s Merchant City festival and it promises to be the biggest yet. Running twice the length of previous events, the 2015 bill will span July 25 – August 2.

Festival Executive Producer, Lorenzo Mele, said: “The 2014 Festival was exceptional because it supported the Commonwealth Games, acting as the cultural centre for the programme. Last year’s festival brought the city alive with outdoor content and that will continue this year.”

The outdoor content is expected to include acting, circus performances, and of course music.

Mele said: “The festival will include lots of different art forms, but its central element will be music. We have two outdoor stages every year and this year they will host a variety of artists, playing everything from rock, to RnB, and dance music.”

The Brunswick Street Stage will have a marquee with large screen and bar area; while the Emerging Talent Stage will showcase new bands.

Indoors, the Blackfriars Stage will once again feature music acts, but this year it will also become a comedy hub.

Headline comedy and music events will be cost ticketed, however Mele explained the majority of festival events will be free.

Bargain-seekers can enjoy a variety of performances and workshops throughout the day.

Mele said: “We want the festival’s daytime schedule to appeal to as much as the night; so we are hosting a weekday family zone, in Merchant City Square, from 27 –31 July.

“The festival will have interactive workshops for toddlers and parents; music for adults; and this year – for the first time – a programme for those 55 and older.”

Mele welcomed guests from all ages and walks of life.

He said: “The Merchant City Festival is good at bringing the focus on art, but also at attracting members of the public who wouldn’t usually go to gigs.”

He described plans to attract shoppers with interactive fashion and beauty events.

Mele said: “The team are examining ways to make the fashion element of the festival interactive, with things like upcycling and accessorising workshops.”

He added: “We have a Barcelonan act coming to the festival, called Osadia. This group create fantasy makeovers, taking people from the audience and transforming their look with hair and make- up sculpture.

“Osadia performed at the festival last year and they were hugely popular, so we look forward to having them back.”

Another international act Mele anticipates being a hit, is Dutch musician-come- chef: The Screaming, Cooking Prince; whose act does what it says on the tin.

As well as international acts, the festival will showcase home-grown talent.

Mele explained: “One of the highlights will be a UK dance performance called Fragile; a world Premier show from the Motionhouse dance company. It will involve around 25 performers dancing in, on and around JCB diggers. It should be quite spectacular.”

He concluded: “The Merchant City Festival really does have something for everyone. As well as great acts there will be stalls selling food from around the world.”

The festival’s themes include: Scotland’s Year of Food and Drink, and Glasgow’s Year of Green; these themes provide inspiration for organisations hoping to participate.

Organisations hoping to participate in Merchant City Festival can apply for grants of up to £500, through the Get Involved Fund.

Proposals should include specially planned activities that incorporate city space.

Galoshans Festival

GALOSHANS PIC

There’s a new UK arts festival and it’s called the Galoshans. With the Scots name for ‘guising’ it’s unsurprisingly scheduled North of the border. The exact location is however, more surprising. Unlike most Scottish festivals, it isn’t going to Glasgow or Edinburgh, rather Inverclyde.

Bringing the festival to Inverclyde is Scottish charity UZ Arts. The group works to commission, produce and distribute art in all its forms.

UZ Arts Executive producer, Jo McLean, said: “The Community Trust had been organising events as part of the Inverclyde Space programme and, in 2014, they spoke to UZ Arts about growing a festival.

“The Galoshans was an idea that the Community Trust had introduced to us. They told us it was a traditional folk play about George and the dragon. The original custom was to perform the play in spring;  but Inverclyde adapted it to take place around Halloween [alongside guising]. ”

Now UZ Arts are expanding the custom into an arts festival. The festival will still nclude the Galoshans play, as well as music, performances, and installations throughout Inverclyde.

Galoshans will run from 30 October to 1 November, with a complimentary fringe programme that ends in  Inverclyde’s firework display (November 7).

As well as this, the festival will launch with a symposium entitled Moving Out, which pushes artists and audiences outside of their comfort zones.

Using the European network IN SITU, UZ Arts will bring artists across seas to engage with the people of Inverclyde. The artists will create work outside conventional venues, reimagining iconic landmarks.

McLean said: “UZ Arts are part of IN SITU, a 19 country network, which funds international arts projects, and enables collaberations. IN SITU artists will be coming to the Galoshans festival to showcase their work.”

As well as artists, the public can get involved with the Galoshans.

McLean explained: “UZ Arts will be looking for volunteers to assist at the festival. We will also be running internships and opportunities, especially aimed at young jobseekers.

“Whenever UZ Arts run a festival we always try to make it benefit the local community.”

All visitors will benefit from the Galoshan’s reasonably priced and free events (ticket details to be confirmed).

McLean concluded: “We hope the festival will celebrate the international community, while reflecting the Inverclyde’s local pride.”

Galoshans may continue to be an annual source of pride, as UZ Arts have provisionally planned to roll it out in future years.

To get involved with the 2015 festival, visit the UZ Arts Website or email the team.