Tag Archives: Frost Magazine

Frost Editor Catherine Balavage Writes Poetry Book

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poetry, poetry book, poems, women authors, Scottish writers, poetry book, female writers, Frost editor Catherine Balavage has released her new book, What Do You Think?: A collection of poems. This is Catherine’s fourth book. She has previously written three non-fiction books on acting, wedding planning and blogging. 

In her fourth book Catherine Balavage turns to poetry. A collection of poems that speak from the heart and tell the truth about the world. You will be left nodding your head in agreement and relating to these poems about love, loss and life. The book features poems over the course of Catherine’s life. The first one was published when she was just 12-years-old. The poems cover every aspect of life, from love, motherhood, loss and even mean girls.
Best-selling author Margaret Graham wrote the foreword. 

I’ve long thought Catherine Balavage is an extraordinarily accomplished young women: author, writer, editor and actor, mother, wife, and she can add poet to that roll of honour.

In What do you think? a collection of her poems written throughout her still young life, she connects with the vast majority of the human race, as she writes of the struggle to achieve a sense of who a person is, the efforts to release oneself from early angst and stand tall; finally achieving confidence potential and contentment.
In her introduction Catherine says that As an artist it sometimes feels like you are born without skin, yet spend your life rolling around on razor blades. Well, quite.

In What do you think? Catherine has written poems that could be songs – I could hear music. She has written poems beating time with the rhythm in her head, poems hauled up from experience, observation and unflinching, sensitive thought.

A triumph.

What do you think?: A collection of poems by Catherine Balavage is available on Kindle and in print.

 

Chichester’s summer musical is a top dollar delight

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Half a Sixpence
Chichester Festival Theatre
Until 3 September. www.cft.org.uk 01243 781312

Photo credit: Manuel Harlan

(ArthurKipps)inCFT'sHALFASIXPENCEPhotobyManuelHarlan-289
Taking David Heneker’s original musical and giving it an almighty kick up the behind, the result is a slick, stylish and fabulously feel-good show.

Set in Edwardian England and based on a story by H.G. Wells, Arthur Kipps is a young lad with dreams beyond selling curtain fabric to the well-to-do. Bidding farewell to childhood sweetheart Ann (Devon-Elise Johnson) to take up an apprenticeship as a draper in Folkston, Kipps splits a sixpence in half so they will each have a memento of the other. Alas, our hero has his head turned by the genteel Helen Walsingham (Emma Williams) and, following a stroke of good fortune that transforms him into a man of means, he promptly proposes to her. But getting to grips with etiquette is a minefield that he struggles to navigate and makes him wonder if becoming a gentleman is all it’s cracked up to be.

sterFestivalTheatre'sHALFASIXPENCE.PhotobyManuelHarlan43Chichester’s sixpence is definitely all the richer for having been overhauled. Thanks to Julian Fellowes new book and George Stiles and Anthony Drew’s additional songs, and their arrangements of the original score, the simple story is now fluidly told to sparkling effect.

Under the direction of Rachel Kavanaugh a superb and energetic cast give their all, with no shortage of oomph, flash, bang and wallop. But it is to newcomer Charlie Stemp as Kipps that the big applause belongs. The full triple threat, with buckets of charm and a beaming grin that warms right up to the back row and beyond, this young man is surely destined for a career that is going to give him plenty to keep smiling about.

A co-production between Chichester Festival Theatre and Cameron Mackintosh Productions, there’s simply not a  duff element. A musical gem that shines as brightly as a newly minted coin, the title may be low budget but Chichester’s big summer musical is a top dollar delight.

Review: Ross at Chichester Festival Theatre

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ROSS by Rattigan, , Writer - Terence Rattigan, Director - Adrian Noble, Designer - William Dudley, Lighting - Paul Pyant, Chichester Festival Theatre, 2016, Credit: Johan Persson/ayiinROSSatChichesterFestivalTheatrePhotobyJohanPersson.

Joseph Fiennes leads the cast in in Terence Rattigan’s bio-drama about TE Lawrence

Photographs: Johan Persson

When it comes to writing repressed and complex characters Rattigan is something of a dab hand. The life of TE Lawrence, therefore, gives him plenty to work with.

The story is well known, not least thanks to David Lean’s epic (if not strictly accurate) movie, Lawrence of Arabia. But while the play is light on Hollywood glitz, the writing is pure class. Rattigan’s account of how Lawrence (who was routinely beaten as a child and was a repressed homosexual) rose from being a civilian in the Map Office to a celebrity who led the unconventional but effective 1916-18 Arab Revolt against the Turks is both compelling and disturbing.

The play opens in a far less exotic setting than the Middle East. Having chosen to hide himself away from public scrutiny by assuming a false name and joining the lowly ranks of the RAF, at a base in Uxbridge Aircraftman ‘Ross’ is being charged with insubordination.

Asked to explain his unauthorised absence of the previous night, his insistence that he was dining with Lord and Lady Astor, The Arch Bishop of Canterbury and Mr and Mrs George Bernard Shaw is deemed outrageous cheek. But while his superiors don’t believe him, one of his fellows does. Having assured himself of Ross’s real identity, the opportunity for blackmail is too easy to resist. Cue the beginning of Lawrence’s Arabian story, told through a malaria-induced flashback.

Designer William Dudley uses every inch of Chichester’s thrust stage to evoke the sense of desert expanse, with occasional black and white film footage aiding historical context.

There is much to admire in Adrian Noble’s polished production, but one of the greatest joys is the casting. Without a single ‘slightly less than’ contribution, the overall result is absolutely cohesive and effortlessly fluid.

Joseph Fiennes is superb. Perfectly judging Lawrence’s complexities and contradictions, every nuance is beautifully captured.

Michael Feast is terrifyingly brilliant as the Turkish Military Governor (his vile orders being audibly carried out make for uncomfortable listening and saw theatre-goers shifting awkwardly in their seats), while Paul Freeman as General Allenby and Peter Polycarpou Sheik Auda Abu Tayi also achieve gear changes between light and shade with dexterity and conviction. But it is undeniably a magnificent Team Effort.

A maverick, the conquering hero, an intellectual who was profoundly driven, what is perhaps most interesting about the Lawrence story is the essence of the man himself; someone plagued by demons who waged their own war on him. And someone who longed, more than anything, to fit in and belong.

Highly recommended and with a short run, this ticket looks likely to be as hot as desert sand. Get in quick.

Until 25 June. Box Office: 01243 781312 www.cft.org.uk

True: Lee’s scrumptious! Vicky Edwards talks to Lee Mead

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Starring in one of the most famous musicals of all time, Lee Mead tells Vicky Edwards why he’s so happy to be in the driving seat…

Pictures: Alastair Muir

At the wheel of the most fantasmagorical car in history, Lee Mead freely admits that when the offer to play Caractacus Potts in the stage musical Chitty Chitty Bang Bang was made, he didn’t have to think twice. It is debatable, however, who was more excited: Lee, or five-year-old daughter Betsy.

“I took her to see the show in Southampton and watching her get so involved was really special. She knows all the songs and sings them all the time,” grinned Lee, who is clearly both a proud and hands-on dad.
Having grown up watching the film version, Lee was already familiar with the Chitty story and score, but he also has another link to our fine four-fendered friend; a connection that dates back to the early days of his career.

“When I was just starting out, the show was opening in the West End and I went to an open audition to be Michael Ball’s second cover. Now, I can move really well, but I’m not a trained dancer and you needed to be part of the dance ensemble to be second cover for the role”.
Game over. Footwork not quite up to scratch, Lee lost the gig.

“It makes it all the more special playing the role now,” he told me, eyes twinkling with both amusement and delight.
Talking of things being special, I asked Lee what he thinks makes Chitty such a well-loved show and why audiences of all ages are still so enchanted by Ian Fleming’s story of a magical car and a single dad.
“I think what makes it one of the most iconic shows in the world is that it has such a heart,” he answered, thoughtfully, adding:
“The relationship between Potts and the children, Grandpa and Truly are really important, but you have to hit those beats or it becomes just a show about a flying car; you need those truths. The scenes going into songs are quite tiny so you have to really work to get those transitions right and to mark those moments.
“It’s also a great story. Even as an adult you are taken on that journey; you can’t help but allow yourself to do that. It’s a very clever show with brilliant characters and brilliant songs.”
Ah yes, the songs. Wonderful they are indeed, and thanks to an ace 12-piece orchestra the impact of the music in this particular production is nothing short of spellbinding.
“It’s unusual for a touring production to have such a big orchestra and they are incredible,” agreed Lee, who shot to fame when he won the BBC talent show Any Dream Will Do, and with it the title role in the West End revival of Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat.
Leading West End roles in Wicked and Legally Blonde followed, along with the release of several solo albums, and also being cast in TV’s Casualty as Ben ‘Lofty’ Chiltern, for which he earned a Best Newcomer at the National Television Awards 2015.

Picture Alastair Muir

Not bad going for a lad whose first job was singing on a booze cruise ferry where the clientele was often so well lubricated that Lee sang from a cage in case any of them, worse for drink, took exception to his dulcet tones.
“But actually I loved it and looking back I realise that not being able to afford to go to drama school in London was no bad thing. A lot of young actors now aren’t prepared to go on tour; they just want to walk into the West End, but that’s not where you learn your craft.”
From schlepping around the country on low-budget tours to playing gigs on car ferries and doing cabaret with seasoned old-timers like Ken Dodd, Lee soaked up experience and learnt as much as he could.
“Apart from being great fun I think you have a far greater appreciation of success when it comes than if you had just walked into the West End,” he nodded, explaining that the ratio of actors out of work at any time far and away exceeds those with jobs.
“I do talks in colleges and I always advise kids to go and learn on the touring circuit.”
Starring in a major musical, being a devoted dad, talking to college kids – nobody can accuse Lee of being a slacker.
Laughing, he said: “I’ve also released a new album called Some Enchanted Evening. I wanted to do an album of songs from the 40s and 50s film era, giving them a modern twist.”
A huge hit with fans, the album smashed into the top 20 in the Independent Charts. Typically modest, Lee is quick to credit his band, but is nevertheless thrilled.

“The response has been brilliant and I’ll be touring the album in October when I finish on Chitty.”
Actors are often slightly rigid about their pre-show routines, so while I put my coat on I asked Lee if he had any such rituals.
“I like the five minutes before the show to be silent and focussed; to have that still moment before you go out on stage and it is like an express train,” he says, unnecessarily apologetically.
Wanting a bit of peace and quiet before a musical marathon hardly counts as diva behaviour, I countered.
“And I’m a bit OCD about my desk area,” he joked, in mock hopefulness of sounding like a highly strung artiste.
Sorry, fella. You’re just too much of a sweetheart to qualify as a foot-stamping prima donna. And, after an hour in his company, and later watching him in rehearsal, I can confirm that this triple threat performer and gentlest of gentlemen is also absolutely perfect as Potts.
Vicky Edwards

For more information, visit www.chittythemusical.co.uk
Facebook: Chitty Chitty Bang Bang The Musical
Twitter: @ChittyMusical / #chittymusical

Review: Travels With My Aunt – new musical opens Chichester’s 2016 season

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Travels With My Aunt
Minerva Theatre, Chichester

Photo:Tristram Kenton

FestivalTheatre'sTravelswithMyAuntPhotobyTristramKenton
When retired bank manager Henry Pulling attends his mother’s funeral the idea of globetrotting couldn’t be further from his mind. But finding himself embroiled with his extraordinary Aunt Augusta, of whom prior to his mother’s send-off he knew nothing, the squarest bear that ever there was suddenly finds himself on an extraordinary international schlep.
Following where auntie leads, in quest of the mysterious Mr Visconti, Henry is soon hanging out with hookers, getting comprehensively searched by customs officials and smoking dope aboard the Orient Express with a hippy chick several years his junior. Travel certainly broadens his mind, but for a man better used to the tranquillity of the potting shed it’s all a bit too much of an eye opener.
Christopher Luscombe directs this new musical, based on Graham Greene’s novel, with pep and panache. The late 1960s setting is beautifully realised in Colin Falconer’s effective set and costume designs, aided and abetted by Nicholas Skilbeck’s orchestrations and choreography by Ewan Jones.
Patricia Hodge is on sparkling form as Aunt Augusta, a game and feisty aging beauty with the heart of an adventurer and an insatiable lust for life. If she is occasionally a tad stretched in the musical numbers, Ms Hodge is nevertheless impressively nifty in the dance stakes.
Steven Pacey as Henry is adorable. From nervous hiccupper who would do nothing more reckless than prune his prize dahlias with slightly blunt secateurs, his gradual blossoming is a joy to witness.
Haley Flaherty is in sweet voice as Tooley, the flowers-in-her-hair youngster who brings out Henry’s protective instinct and with it a tenderness he finds both unfamiliar and giddy-making.
Hugh Maynard as Wordsworth is infectiously ebullient (if somewhat clichéd) as Augusta’s toy boy, while Jack Chissick, Sebastien Torkia and Jonathan Dryden Taylor each bring their own gifts to this enchantingly bonkers family party, ably supported by a terrific ensemble.
The Minerva is the perfect space for summer froth and Travels With My Aunt is as elegant and effervescent as the champers being served in the Theatre’s newly renovated restaurant.
Until 4 June at the Minerva Theatre. www.cft.org.uk Box office: 01243 781312

Do you know any small packages that contain some real treats | Litfest 2016

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three-grannies-words-for-the-wounded-literary-festival

Well, I do. On Saturday was a case in point. In Downley, High Wycombe on 16th April I was speaking at the Words for the Wounded Literary Festival and what a fabulous day it was – yet again. I attended the event last year and was amazed at the quality of the speakers on offer. This year, small continued to be most definitely perfect.

It’s all very well going to these huge week long events on offer throughout the year but your chances of getting up close and personal with authors and agents is severely limited.  At the Words for the Wounded LitFest you won’t have to compete with hordes of people waving their hands to attract the attention of the speaker when it is time for questions. There is time enough for everyone here and you obtain one to one advice that you wouldn’t receive at other festivals. And it’s such fun, and so informal.

Normally waiting your turn is a game of chance – your turn may not come. Not so with Words for the Wounded.

elizabeth-buchan-margaret-graham

This year’s programme kicked off with the wonderful No 1 Sunday Times bestseller Elizabeth Buchan in conversation with bestselling author, Margaret Graham, who is administrator and founder of WforW. Paul Vates, professional actor, read excerpts from the works of the speakers throughout the day, and chose the first few pages of I Can’t Begin to Tell You. These two old friends talked about this novel, which is Elizabeth’s latest. If you haven’t read  I Can’t Begin to Tell You do seek out a copy, it’s absolutely gripping. Elizabeth Buchan talked of her inspiration for the story, of meeting with Noreen Riols of the SOE, and why she came to set her book in Denmark. She chatted about the writing process: getting to grips with the spine of the story, drafting and redrafting – and moving on to the next idea. Elizabeth signed books during the break and had time for a word with everyone.

jemima-hunt-penny-deacon

Penny Deacon interviewed Jemima Hunt, Writer, Editor and Agent at The Writers’ Practice. Jemima explained what a good editor can do for your book. Jemima is particularly interested in memoir and brought along a few of her authors’ books. She gave an overview of their initial approach and how she worked with them to bring the story to a better shape. She works with fiction and non-fiction and guides her writers towards the best platform to develop their writing career. You can find out more at www.thewriterspractice.com

By this time we were ready for lunch, accompanied by lashings of wine (all part of the ticket price), as was copious amounts of tea, coffee, cake and biscuits throughout the day. I cannot overstate what fantastic value it was.

tracy-baines

I kicked off the afternoon session with a talk on how to write short stories for competitions and magazines. Paul read aloud one of my stories and it was great to hear the audience reaction – positive I’m pleased to say. I sell my stories, I see them published but I’ve never known what the audience thinks of them and it was a superb confidence booster. The audience were a delight and asked lots of great questions that thankfully, I was able to answer.

catherinebalavageandmargaretgraham

The day was rounded off by the amazingly talented Catherine Balavage, proprietor of Frost Magazine. Catherine gave an insight to the trajectory of her career from actor, theatre critic and from there, establishing the magazine. She gave an overview of the pros and cons but also the relentless hard work that goes into creating a magazine in the digital age. It certainly gave me food for thought as I drove home that evening.

Margaret’s stalwart family were, as usual, beavering away in the background making sure that the event sailed along without a bump.

The grannies, led by Margaret Graham, provided us with yet another fascinating event and the lovely thing was, that while we were sat on our bottoms, drinking wine and having fun we were helping raise money for wounded troops. Now that’s my kind of fundraising.

www.wordsforthewounded.co.uk

www.elizabethbuchan.com

www.thewriterspractice.com

www.margaret-graham.com

www.tracybaines.co.uk 

www.frostmagazine.com

 

Not just a pretty ‘chu-chi, woo-chi, ooo-chi, coo-chi’ face

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Kicking up her heels in Vulgaria rather than kicking people out of The Rovers, Michelle Collins tells Vicky Edwards how she loves playing alongside the most famous flying car in history…

Photo: Alastair Muir

Michelle in Chitty Chitty Bang Pic: Alastair Muir

Michelle Collins should be in a musical about an express train, not a flying car. Currently on tour with a brand new production of the family favourite Chitty Chitty Bang Bang, in which she plays Baroness Bomburst, her passion for the show and life in general is so animated that it’s hard to keep up.

“The Baroness is such an iconic role, but initially I wasn’t sure,” admitted Michelle, as we chatted in her dressing room. “But it is a really great fun part and I see myself more of a character actress now, so it was a chance to reinvent myself a bit.”

Any concerns she had about the show “going down the panto route” were swept away when Michelle discovered who the production’s creative team and other cast members were. A co-production between Music & Lyrics Limited and West Yorkshire Playhouse, the show had already been a smash-hit in Yorkshire. With Phill Jupitus, Martin Kemp and Jason Manford (and Lee Mead in Jason’s place for a section of the tour) also signed up, Michelle was instantly reassured and set about throwing herself into the role. Or rather roles. Plural.

“In the first half I play Mrs Phillips, secretary to Lord Scrumptious,” explained Michelle. “She’s quite passive-aggressive and is secretly in love with him, I think. The Baroness, in the second half, is quite clever. I’m not going to tell you who I based her on, that would be unfair, but it’s someone in the public eye,” she teased, adding: “To me the Baroness and the Baron are George and Mildred [of 70s TV sit com fame], but she’s always got the upper hand. He’s just a child who abuses his power and wants to be mothered.”

Agreeing that Chitty bears all the hallmarks of a traditional musical, for Michelle there’s a particular ingredient that makes it extra special.

“It’s the wonderful songs,” she sighed. “Some musicals don’t have memorable songs, but in Chitty every single one is unforgettable.”

But song and dance is not something she has huge amounts of experience in.

“I am definitely not a West End Wendy type,” she laughed. “I did a few tap classes as a kid but I gave it up because I didn’t like it that the lessons took place above funeral directors in the Holloway Road.”

Even though her CV includes a couple of musical credits (Daddy Cool and The Take That Story), for Michelle, neither entailed the epic, high-octane production numbers that Chitty demands.

“I have had to work really hard and I’ve found joints in my body that I never knew I had,” she said, with a playful grin. “But I’m 53 years old and I’m prancing around the stage in my fishnets and heels, so life could be a lot worse.”

When it comes to having sufficient stamina for a show like Chitty, an experience earlier this year made her realise that she’s tougher than she thought: the TV show Bear Grylls: Mission Survive.

“It was seriously hard-core,” she said of her time in the South African Bush. “It was beautiful, but weather-wise it was extreme and we lived off soldier’s rations. For me to even be in it was a challenge, but I definitely found out that I am more courageous than I thought I was.”

Best known on TV as conniving Cindy Beale in EastEnders and feisty landlady Stella Price in Coronation Street, Michelle also has a clutch of impressive film and theatre roles to her name. Not bad for a girl who at 17 was turned down by every single drama school in London.

“I went to quite an academic grammar school. My mum was a single parent and we didn’t have much money, so stage school was out of the question. I started at the Cockpit Youth Theatre when I was 15. That’s when I realised that I really wanted to act.”

Joining the pop group Mari Wilson and the Wilsations at 18, Michelle hasn’t looked back. Of being rejected by drama schools she shrugged. Having achieved success under her own steam it’s not something that troubles her and, typically, she uses the experience as a silver lining to encourage others.

“I always tell young people that positives can come out of failure and not to let it put you off.”

That determination and focus is still much in evidence.

“With two shows a day I have to conserve my energy, but I’m trying to use the time when I’m not on stage constructively,” she said. “I’ve just produced a short film which I’ve written and I’m acting in, and I’ve written a kids’ book that I hope will come out later this year.”

There’s also her ‘Women in Media’ networking group that she created and runs with comedian Brenda Gilhooly. “We set it up as a forum where women can share ideas, inspiration and expertise. We meet monthly and have breakfast, listen to a guest speaker and chew the fat,” she told me.

A real no-nonsense grafter, given her schedule there’s not much time for relaxation, but when she does snatch some free time her needs are pretty low maintenance.

Michelle reflects that touring does bring home how much she misses her daughter, now away at university, her mum, her boyfriend and little pooch, Humphrey.

“Walking my dog in the park with my boyfriend, seeing my mum and catching up with my daughter – simple pleasures are what I love most,” she said.

“I thrive on being busy and being busy makes you appreciate the simple moments more.”

Putting the finishing touches to her make-up ahead of curtain up, we returned to chatting about the enduring success of Chitty Chitty Bang Bang.

“It is a show that has heart, honesty and truth,” she declared, giving a smile as wide as Chitty’s wingspan. “I’m so excited by how popular it is – we have packed houses at every performance!”

The success is well deserved. The entire cast and crew work their socks off.

As for the Baroness, she’s marvelously minxy. Michelle, on the other hand, with her infectious enthusiasm, husky laugh and determination to work hard but enjoy the ride, is a delightful tonic.

For more information, visit www.chittythemusical.co.uk
Facebook: Chitty Chitty Bang Bang The Musical
Twitter: @ChittyMusical / #chittymusical

Vicky Edwards

Words for the Wounded Host Their Annual LitFest Literary Festival

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Words for the Wounded Host Their Annual LitFest Literary Festivallogo

Great excitement – Words for the Wounded which raises funds for wounded troops and veterans by creating  opportunities for aspiring writers and readers is holding its annual LitFest again on April 16th.

The WforW LitFest Day will be held as always at the lovely Downley Community Centre, School Close, Downley, High Wycombe HP13 5TR
10.00am to 5.00pm.

As everyone knows by now, the three grannies, Margaret Graham,  Jan Speedie (both Frost Magazine writers) and Penny Deacon absorb all the costs of the charity and therefore 100% of everything they raise goes to where it should.

Words for the Wounded Host Their Annual LitFest Literary Festival

The speakers this year are:  Sunday Times No 1 bestselling author and a patron of WforW –  Elizabeth Buchan talking about her work.

Words for the Wounded Host Their Annual LitFest Literary Festivalelizabeth buchanan

Jemima Hunt, editor and literary agent, and director of The Writers’ Practice with advice on editing your work and attracting an agent.
Tracy Baines, successful women’s magazine  short story writer with tips about getting published.

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Further excitement as Catherine Balavage, blogger and editor of Frost Magazine will be joining the day to talk about blogging, running a magazine, and her various successful books.

Paul Vates, the brilliant actor, and friend of Words for the Wounded, will be reading from the work of our speakers.

Sharon Bennett will be displaying her art.

Cost £35 (which includes lunch with wine, morning coffee and afternoon tea)

For Tickets, send a cheque or postal order to: (cheques payable to Words for the Wounded)
Words for the Wounded
12 Woodcote Green, Downley, High Wycombe, HP13 5UN
Please include a SAE

Trains from London are frequent, and there are taxis for the 10 minute journey.

www.wordsforthewounded.co.uk