Pantomime season for me starts in the Summer

It’s been an encouraging time for me lately on the pantomime front. This year I published my first panto as solo writer – Rumplestiltskin – via Lazy Bee Press. It’s always nerve-wracking to send my work out into the world, waiting to see not only if people like it, but will some people actually put real money on the table to stage it. My last panto, a version of Treasure Island co-written with Adrian Barradell, had failed to attract much interest. So it was a pleasant surprise when I received my latest sales report and read that a Washington based group called The British Players had chosen it as their pantomime for this year and will be staging it 4 – 20 December at Kensington Town Hall. Many thanks. Back in the UK, my old comrades at Mawdesley Amateur Dramatic Society are also kindly staging a production of it too. Another community group had bought a review copy, whilst Lowdham Pantomime Group has generously chosen Aladdin the version written by Adrian and myself a few years ago.

aladdin_poster

Pantomime are curious beasts to write. On one hand they are very formulaic and indeed their audience expects them to be so. A familiar folk tale. a silly dame, heroic boy and girl, completely evil villain, usually with two useless henchmen, and a monster at some point to chase the cast around. On the other hand a good panto also surprises us with its contemporary jokes and its magic. There must be a moment where all seems lost and the bad guy will win. It must entertain children of all ages and their parents too. Plus I know I am writing for companies where not everyone is a great actor or comedian. The characters must have strong identities of their own that can support anyone brave enough to step in front of an audience. There’s real pleasure to be had when I see someone get a big laugh with a joke I wrote for them.

At the moment I am trying to write in a different genre but I may well return to panto in a year or so’s time and choose another fairytale to retell both in my own style, and also with all the trusty pantomime tools in the box too.

How To Approach Literary Agents – free seminar in Bolton

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Creative Industries Trafford have been running some excellent events for new and upcoming writers locally. I’ve been to several of their previous events and will be turning up for this one next week in my home town of Bolton. There are still places available – so book now if interested. Here’s their description:

How To Approach Literary Agents
7th July 2015 – 6.30pm – 8.30pm

The Gallery at St Georges, St George’s House St Georges Road, Bolton BL1 2DD

Free

Join Juliet Pickering (Blake Friedmman Literary Agency) as she reveals how to approach literary agents and what writers can do to stand out from the slush pile – the stack of submitted books and proposals that appears on every agents’ desk or e-reader, waiting to be read.

Juliet will outline how to give your work has the best chance of succeeding, the agent will cover everything from drafting your cover letter, to writing a synopsis, to making sure your first three chapters are edited and ready to be seen. The best written submissions often go straight to the top of the pile, and the aim of this session is that yours should too.

Book here.

For more information on CIT events, visit www.creativeindustriestrafford.org or follow us on Twitter @CITrafford

Shapeshifters and crime – “Hopcross Jilly” the first Mercy Thompson graphic novel

Mercy Thompson GN
Mercy Thompson GN

I’m delighted to learn that the first run of comics featuring were-coyote Mercy Thompson has been collected together into one hardback volume. Based on the popular series of horror-fantasy novels by Patricia Briggs, this series has been written by my good friend and in-demand comics scribe Rik Hoskin, based on a storyline by Briggs. Illustrated with marvelous artwork by Tom Garcia.

Mercy Thompson is a beautiful young woman by day, and coyote and honorary member of the Tri-State werewolf clan by night. When the pack uncover a mass grave of children’s skeletons, it leads her into conflict with a terrifying supernatural being. Worse, Mercy’s stepdaughter Jesse is now endangered.

You can find out more from the Dynamite Comics website – http://dynamite.com/htmlfiles/viewProduct.html?PRO=C1606906682

In addition to the comic strip, this collection also includes Rik’s original script for issue one, which is interesting reading for writers like me wanting to more about how storytelling works in such a visual medium and how it is formatted. Recommended reading!

Writing Rumplestiltskin the pantomime

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Now available for theatre groups of almost any kind is my pantomime version of the Grimm’s fairytale “Rumplestiltskin”. It has been published by Lazy Bee Scripts and I want to thank Stuart Arden for his help. It’s my first solo panto outing, having co-written versions of “Dick Whittington”, “Aladdin” and “Treasure Island”. You can take a look at all of them on the Lazy Bee website – http://www.lazybeescripts.co.uk/Authors/Author.aspx?iIA=239

Rumplestiltskin has become one of the slightly lesser known of the Grimm’s collection. In fact when I’ve been talking about, its noticeable how many people get it confused with Rapunzel. I suspect its partly because the latter has had the Disney treatment in the marvellous “Tangled”. Another reason is because its inescapably one of the darker stories, with its baby trading plot and few sympathetic characters. I mean even the heroine is someone who offers their baby away, albeit under duress. So adapting it into a frothy family show had some challenges. That was actually one of the reasons I chose to adapt it, because at the time there were no other versions on Lazy Bee’s books (Aladdin by contrast had eight different scripts at the time.) By the time I submitted it however, it was number three.

As someone who has acted in eight panto productions, my philosophy with panto writing is to keep it as fast moving as possible, with the minimum amount of sentimentality and romantic scenes. In my experience romantic duets, even with accomplished singers, can leave the audience shuffling in their seats and similarly dramatic pathos can quickly become tedious bathos. So young love and tragic events are pretty much transparent plot devices to drive the story onwards, and the story is there to hang comedy on to.

Generally I’ve been writing for amateur theatre companies who don’t have much in the way of resources. My first was written in an emergency for a largely inexperienced group of friends, so Pam Hope and I felt obliged to write something with the minimum of props and major scene changes. I’m quite proud that none of my scripts have needed more than three backdrops, as I make extensive use of the half-curtain stage space. In Aladdin, I turned the lack of ability to stage a standard flying carpet sequence into an asset with a scene where the carpet and actors stay still, whilst landmarks are carried past them by the junior chorus, a bit of lo-fi comedy which always seems to go down well.

Whilst panto plots may be more contrived that most, they still have to have internal logic. In the original tale the heroine marries the king who imprisoned her and forced her to spin gold. This struck me has hard to swallow, so I changed to an evil king and queen who had a good son, who eventually confronts them and rescues the girl. Furthermore it is the goblin who has magically made the king and queen evil, so they can freed and become good again, whilst making Rumplestiltskin even nastier. The matter of the heroine offering her first-born, without losing all audience sympathy was another tricky one. I dealt with it by really stacking the deck against her. She makes the deal as much to save her family as herself and also hopes that she may not have a baby. In the second act, she is clearly shown regretting the decision and is also the person who ultimately defeats the goblin.

At the readthrough for the play with some friends, I found that the first act was too long, pushing the whole play over my self-imposed time limit of two hours. My solution was to edit the heroine’s imprisonment from three days to two, thus cutting out two scenes, and also cutting some of the introductory dialogue which was just exposition with no jokes. The result definitely feels tighter. Some readers felt the story was still a bit too frightening, so I took out the goblin’s line – “a real live baby is more precious to me than all the gold in the kingdom.” After that it was ensuring that the jokes come thick and fast. Pantos have a definite formula, which can be helpful for writer, but I have to be careful to watch out for repetition or too many jokes of the same kind. I hope that “Rumplestiltskin” will have a good shelf life for many years to come, and that groups have as much fun putting it on as I’ve had writing. More in fact!

Watch the best of our Bolton poetry festival – Live from Worktown 2015

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So after all the stressful planning, the filming and the late nights, the second Live from Worktown festival of the spoken word is over. Well I say over, you can still buy copies of our accompanying poetry anthology with contributions from all over the UK and beyond, not to mention a long overdue reissue of Hovis Presley’s bestselling collection “Poetic Off-License”. Sometime soon the committee will have a review meeting to consider what succeeded and what could have been done better.

Plus you can watch my videos of many of the events, which I’ve been busy editing during the course of the festival. I’ve put them together into a Youtube playlist below. You’ll find local poets like Jefferama and Louise Fazackerly rubbing shoulders with major names like John Hegley and Brian Patten. I think the part of the festival I’m most proud of is the connections it makes between people, connections which might flower into new creative projects, or just make people’s lives a bit brighter.

Highlights for me have been the energy, enthusiasm and sheer quality of the performers on the INSYT Media vs Young Identity evening. John Hegley’s hilarious clever set, and the good feedback I’ve had from the Hovis Presley night. The latter was the evening I was overseeing and it pushed me into new responsibilities and has given me more confidence for future happenings.

Low-lights have been the problems of finding good venues for our festival programme, money worries when it looked like our Arts Council grant application had failed and trying to think of new ways to promote the festival at the eleventh hour.

However I think Live from Worktown as a brand has definitely raised its profile and reputation significantly this year. Most of the credit goes to Dave Morgan, Scott Devon, Paul Blackburn and Louise Coulson for all their hard work. Now its time to put some of my other projects back on the table and get them completed. Hopefully I’ll have more to tell you about soon. Thanks for reading.

For more information about the festival, or if you want to buy a copy of the anthology, please visit http://livefromworktown.org

Brian Patten and John Hegley are coming to Live from Worktown

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Live from Worktown 2015 has begun, with three well received social events, including the launch of the Anthology, an evening with Flapjack Press and a debate on which famous poet to throw out of a balloon. I’m gearing up to film several of the coming events and put edited versions online. Expect a compilation post once they are up. But I just wanted to take the time to recommend two of our flagship events.

John Hegley

JohnHegley

As well as running an afternoon workshop which is nearly sold out. John Hegley is presenting his marvellous combination of poetry, comedy and music on 18th May at the impressive theater space of Bolton College.
A favourite on the radio and music festival scene he first came to prominence on John Peel’s radio show. Hegley’s poem ‘Malcolm’ is one of the nation’s most popular comic poems. Mandolin-playing Hegley delights in audience participation.

Brian Patten

BrianPatten

Brian Patten came to prominence, along with Roger McGough and Adrian Henri, in the 1967 best- selling Mersey Sound poetry anthology. Since then he has performed at the world’s leading literary festivals and has published several very award winning collections. He also writes for children and is a highly engaging performer. On 21st May he will be sharing the performance space of Bolton Central Library with another award winning poet – Mandy Coe.

For tickets and more information, please visit http://livefromworktown.ticketsource.co.uk

You can also follow the event on Twitter – @fromworktown

Thanks for reading.

Live from Worktown 2015 Festival is nearly here

Bolton’s festival of art and the spoken word is coming in May. I’ve edited a brand new trailer to promote it, which you can watch above.

Amongst the festival highlights:
18th May John Hegley Workshop and Show
19th May Hovis in Wonderland – A play for voices, celebrating the life of Hovis Presley
20th May Jackie Hagan and Open Mic
21st May Brian Patter and Mandy Coe
30th May John and the Baptists free concert

For more information visit http://livefromworktown.org and you can order tickets online from http://livefromworktown.ticketsource.co.uk

Doctor Who – Deep Breath reviewed

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One of my little side activities is writing reviews for the consumer site Ciao.co.uk, mostly on DVD’s. Unusually one my most recent submissions was rejected because the DVD in question “Doctor Who – Deep Breath” featured an episode I had previously reviewed as part of the Series 8 box set. Although as you’ll read the DVD also includes material not included in box set. Anyhow it seems a shame to waste the article, so my blog seemed an ideal home for it.

With the release of the complete Series 8 on DVD, is there any point buying a separate DVD of the first episode? Well it all depends on whether the chance to own its two exclusive extras is enough of an incentive.

    Feature

There’s a Tyrannosaurus Rex on the banks of the Thames, multiple cases of spontaneous combustion amongst Londoners, and a brand new Doctor for the Paternoster Gang to take care of. Clara thought she knew who the Doctor was, but she is finding it hard to relate to this strange older man. Can the regenerated Doctor stabilize himself in time to stop the terrifying Half Faced Man and his gruesome plans for London?
Matt Smith’s first adventure “The Eleventh Hour” felt wonderfully fresh and different. It was not just the lead actors who had changed, there was a new production team installed down in Wales, led by Steven Moffat, who wrote the story too. Aside from the TARDIS, everything else was original. By contrast in “Deep Breath” only Capaldi is new and he is surrounded by Matt Smith elements like Victorian London, the Paternoster Gang of Vastra, Jenny and Strax, a continuing companion in Clara and eventually an old enemy from even further back. Steven Moffat’s still in charge as well and writing again. So there is initially a sense of business as usual. Yet as the Twelth Doctor begins assert himself, a change can be felt.

For an obvious start there’s Capaldi’s less immediately appealing Doctor. He’s erratic, more vulnerable, wilder, more alien. It is too much of a cliché to say he is “darker” but his greater age and presence gives his Doctor much more gravitas once he has recovered. His final confrontation with the villain is laced with sadness and a grim determination. Not that he can’t be funny, but a lot of that humour is unintended on his part, it’s just in the way he sees the world and his casual rudeness toward Clara. Clara too is developing, becoming a more complicated and interesting person. However her difficulty in accepting a new older Doctor seems odd given all she has seen of other Doctors lately. It’s a thread that seems contrived and imposed on her by Moffat, who seems worried that the audience too won’t like having an older gnarly hero. This nervousness leads to an unexpected cameo by Matt Smith to give his “blessing” to the new Doctor, a moment that actually seems rather insulting to Capaldi’s efforts.

There’s plenty of good set pieces in this busy story. The tyrannosaurus opening, the Doctor’s conversation with it across the rooftops later, a restaurant filled with the living dead, Clara having to hold her breath whilst surrounded by monsters and the Doctor’s final confrontation with the Half Faced Man. Who incidentally is a great villain with a memorable look, and it’s a shame we do not see more of his than we do. Good jokes too, such as the cockney smugly telling his wife that the dinosaur is just a special effect, the Doctor’s reaction to his new face “Don’t look in the mirror, it’s furious!” or Strax’s examination of Clara. “You have an excellent spleen!”
“Deep Breath” has a few clunky moments but it’s definitely one of my favourites of Peter Capaldi’s first season. It benefits from it extra-long running time of seventy minutes to tell a rich story.

    Extras

There are three special features accompanying this story. “Behind the Scenes” is exactly what you think it would be, footage of the filming and interviews with some of the cast. It was originally shown on BBC iPlayer and the red button. This season’s behind the scenes series has been a lot better than the increasingly indulgent and samey Doctor Who Confidential of previous years, more focused, benefiting from its shortened running time of fifteen minutes.

I thought the exclusive prologue for “Deep Breath” rather disappointing. Hoping for more about the Doctor and Clara’s encounter with a tyrannosaur, or more of the Half-Faced Man mystery, instead we have Strax making a video log about the previous Doctors, whilst the gang are on a crashing spaceship that has nothing to do with the rest of the story. It’s essentially a remake of a previous Strax online video about the many Doctors filmed for the 50th anniversary. Dan Starkey is an entertaining as ever playing the Sontaran but the whole sequence feels superfluous compared to previous prologues.

There used to be a time when the announcement of a new Doctor was reserved for the “And finally…” spot on the evening news and perhaps an interview on “Blue Peter”. But it’s a sign of the importance of the show to the Beeb that Peter Capaldi’s unveiling qualified for a half hour live show on BBC1, which is available only on this DVD. Celebrity fan Zoe Ball hosted “Doctor Who Live: The Next Doctor” a shiny floor show and interviewed a few old cast members including ex-Doctor Colin Baker, introduced a video message from Matt Smith and finally ushered in Capaldi amongst a blaze of dry ice and lasers. It’s nice to have this bit of Doctor Who television preserved on DVD/Blu-ray for nostalgia but whether it is worth buying the DVD for depends a lot on how much you see this disc on sale for.

If you haven’t bought the Series Eight box set, which is already being reduced to a very reasonable price on some sites, I’d still say go for that. This disc is more of a novelty, designed for a moment in time in 2014. It has nostalgic appeal to fans but otherwise it’s an inessential release, despite the strengths of the story.

Live from Worktown poetry/comedy/music festival in Bolton

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Whilst I’m not intending to spam the timeline with Live from Worktown notices, I’d be remiss if I didn’t put up links to both main webpage http://livefromworktown.org and the online box office http://livefromworktown.ticketsource.co.uk
Especially since I’ve just been putting a lot of work into the latter, listing all the events the organisers have planned for April and May. We’ve really got some big names coming to my home town of Bolton, UK, including one of the original Merseybeat poets – Brian Patten, and poet, comedian and singer John Hegley. Plus workshops, debates and a one-night revival of Dave Morgan’s play for voices “Hovis in Wonderland”, celebrating the work of poet Hovis Presley.

I’m currently editing a big launch trailer, so expect that to be posted here soon.

The weird thing about all this is, I couldn’t write a poem myself to save my life!