If you have missed theatre during the pandemic, you will find STEAM is worth the wait.
Steam opens with a silent tug of war between mother and daughter. The play is an intimate portrayal of family life, enhanced by the setting at Brighton Little Theatre (BLT) which oozes familiarity, charm and sophistication.
Ray, shortened for Rachel, is a qualified nurse and carer to her terminally ill mother. Kate Purnell acts as Ray in a BLT debut, offering the audience a masterful range of emotions that make us both laugh and cry in turn. Her sister, Sylvia, performed by Ellie Mason, plays a musician, arrives from a glittering career in Paris to disturb the peace. Ray asks herself whether her sister’s visit is motivated by duty or is it an act of love?
Suffused with emotion from the outset, age old family dynamics play out between the absent daughter and the one who never left home in this intimate family drama. Indifference, not anger, is the opposite of love and this play overflows with feeling – rage, bitterness, resentment and compassion. It’s about belonging or not belonging, family, life, loss, grief and the pain of letting go.
As the family gather around the dinner table, Anya who is ‘mother’, acted by Abigail Smith, offers us moments of self-deprecating humour. In spite of her illness, she is fully herself.
There is a fourth character in Ella Turk-Thompson’s masterly play – Callum acted by Joseph Bentley, a slightly diffident, yet loyal, Englishman. Both loved and hated, he supports Ray through the storm and effortlessly introduces sexual tension and humour to the drama.
STEAM is a story of love and loss, resilience, endings and the struggle to carry on. Each daughter has to battle grief and triumph over it. Ms Turk-Thompson said: “It’s about family and when you can’t hold onto them.”
Physical theatre recurs throughout, offering the audience the chance to reflect. For a moment, Ray stops being a nurse and becomes a REAL woman again. In this moment the audience can empathise with her situation of being the sacrificial carer. All three of the women, experience moments of heightened emotion and they portray this effectively through dance. Dialogue throughout the play is excellent, as is casting, the script, direction and choreography.
Within minutes, we are immersed in the lives of Ray and Sylvia, observing first-hand the way only siblings really can push you to your limits.
STEAM had me totally absorbed from the start, I identified with the emotions and it caused me to reflect on my own family relationships. The play is both provocative and soothing, broaching several difficult subjects head on with humility.
I thoroughly recommend STEAM and will look out for further work by Ella Turk-Thompson.
**** Four Stars
You can read the lowdown from Fringe Review here but beware, there are spoilers.
Colour bursts forth onto the easel of John Lowrie Morrison , Jolomo, with the painting of ‘Wet Winter Croftscape South Uist.’ The deep, iridescent, blue sky of a wet, Scottish day at dusk, merging into an orange sunset. But there is much more to this story.
As Mr Morrison explained: “In January 2005 a young family drowned in a storm that was the worst in living memory on the Islands of Benbecula & South Uist. The storm had built up a few days before as a shallow depression off America’s Easter seaboard. However it developed into a monster.
“A young family were stuck in their croft house for many hours but decided to flee. They left in two cars but as they crossed a single track road causeway the sea swallowed them up.
“A BBC Director, Neil Campbell, was reporting on the storm, not knowing his father, his wife and three children had drowned on the Benbecula – South Uist Causeway.
“I know this place well, I had to paint this tragedy at Lochdar South Uist that shocked Scotland on that stormy night – a memorial of that lovely family.”
Mr Morrison, who uses the pen name ‘Jolomo’, expresses feeling through colour. He doesn’t make photographic paintings of the West Coast of Scotland with her often drab, overcast skies and dark rainclouds. He has a catalogue of photographs and sketches that inspire him and then he paints his interpretation of the scenes – therein lies his magic.
Expressionism for Jolomo
When asked about expressionism, he said: “Impressionism is more realistic, you paint an impression of the snow or the trees. For an expressionist, you can have a red or yellow tree or snow.
“I paint my world, rather than the world the way it is. Picasso creates his own universe. I guess I do the same, really strong colour. I do try to get things looking like the place, it draws people in, not the colours. ‘Archie the Jura’ has gold and purple on the road, purple and gold in the sky, cerise green, colour brings out feelings and a sense of place.
“I hate grey paintings,” he said, “to me paintings should be about colour. First marks by cavemen who mixed red earth, spit water and spray around their horse. They always used strong colour. Their colour is still there, and it’s quite wonderful.”
Jolomo conveys mood and the beauty of Scotland in all its glorious technicolour inspired from a very young age by Soutine, Marc Chagall, Oskar Kokoschka and Andrew Wyeth.
Jolomo’s High Key Colour
As a young man, he was inspired by oil paintings in L’Abri, a theological centre in Switzerland, with high key colour and sharp, clean air. He said: “The keys got higher and brighter. High key colour got better and better. I layer colours. I’m still learning even although I’m in my 70s. Even today I found out new techniques that I will use again.”
Jolomo’s trademark is high key colour which means you paint at the lighter end of a value scale which is a continuum from pure white to pure black. He paints the scene lighter than it is and his dark colours (blue and orange for example in the South Uist storm) become more vibrant because most colours reach a peak saturation around the mid-tone range. The skill is to compress the colour range and ensure the values on the scale still relate the same way to each other.
Impressionists used high key colour to great effect but it’s what Morrison does with the mid-range and darker colours like his blue that sets him apart.
He carries this control over colour into his more recent work and introduces ever higher keys, a taste of heaven perhaps. The deep, dark colours of his early days and the associated heaviness have to some extent receded. They have been replaced by lighter blues, purples and lavender, suggesting that he has found his peace with the world.
Jolomo and Faith
Asked to explain why he paints, Mr Morrison said: “Painting is breathing, that’s it, it’s there inside me, it’s the gift that God has given to me.”
“For me, as a Christian, I believe we create because God created. God’s spirit is with me. I don’t always find painting easy.
“I invite the Holy Spirit to help me, every time I paint. You have to tune in. The Holy Spirit is always around us but you have to connect with it or it won’t connect with you.
Jolomo was converted while at Glasgow School of Art when he was 21, after seeing the ‘Life of Christ’ enacted. He said: “I gave my life to God. That’s when the bright colour came in: a spiritual expression.”
He painted ‘A meeting with Christ’ which was inspired by a photograph a friend sent him a few years ago. The photo was of very large and gnarled olive trees, the trees were well over 2000 years old and in the Garden of Gethsemane.
He said: “My immediate thought when seeing the photos was that my Lord must have walked under these trees or sat below them or even prayed there. I quickly made sketches and executed a painting later.
“The images I painted are of Christ meeting a woman. She could be anyone – you or I. We could meet Christ anywhere but although He is always looking for us, we need to be looking for Him.”
The result: An array of colour and the landscape resplendent with light, hope and joy.
For 25 years, Mr Morrison taught art regionally in Argyll and became the art adviser to the Scottish Office. Now he dedicates himself almost entirely to his painting from his two studios in Tayvallich and Ardnamurchan.
In the 1980s he became a lay preacher after deputising for the local minister. He enjoys travelling the length and breadth of the Western Isles, speaking of God’s love as a supply minister for the Church of Scotland.
Jolomo said art is very therapeutic, it gives people confidence – kids struggling with maths or French would come to art class and gain confidence to tackle the subjects they found difficult.
He is inspired by Phineas Taylor Barnham who said: “The greatest thing you can do is make people happy.” Jolomo said: “I try to lift people’s spirits. I give loads of prints to hospitals.
“There was a man sitting in a waiting room. Twenty years ago he moved to the Cairngorms from Tayvallich, to work with huskies. I knew him. His Dad was dying.
“He sent me a lovely email saying, ‘I saw you in the Coop: it made me think of your paintings. The prints really lifted my spirits, then I was in hospital with my Dad and I saw one of your prints, I felt an inner peace.’ That’s worth more than money.”
His legacy might be the Jolomo Awards and Foundation created to highlight the painting of the Scottish Landscape in the 1990s when he felt conceptual art was taking over. He feels the award has reversed this trend and there is now a “massive” number of landscape painters in Scotland.
Mr Morrison’s earnings are significant because he is prolific and he wants his art to be accessible – you can buy one of his canvases for between £2000 and £2500 and his prints for much less. He paints to bring joy.
His high key colour opens people’s eyes to Scotland at her magnificent best. Few would question the fact that John Lowrie Morrison has become a national treasure.
You can see Jolomo exhibiting throughout July and August in a retrospective exhibition at the MacLaurin Gallery & Museum in Ayr. You can also find him at the Archway Gallery in Lochgilphead on 14 August, the Torrance Gallery in Edinburgh on 25 September and he will exhibit at the Glasgow Gallery on 13 November.
When asked how to prevent suicide, Roz said: “Sometimes it’s very hard to know how to carry on. But if you talk to someone, you may just manage to turn a corner.”
World Suicide Prevention Day is an annual event on Monday 10 September led by the International Association for Suicide Prevention (IASP) and the World Health Organisation. The emphasis this year is on the role that communities and individuals can play in helping to prevent deaths by suicide in their communities and the theme is ‘Working Together to prevent suicide.’
Grassroots Chief Executive Stella Comber said: “Many people fear talking about suicide in case they get it wrong or even put the idea in a person’s head. Talking about suicide needn’t be confronting, it can be gentle and reassuring but more importantly it could help save a life. Our Real talk workshops are designed for everyone, they use clear and simple language to help reach out and support a person who might be struggling.
“It’s important that we understand how common these thoughts are, so that we start to break down the stigma and the fear of talking. We need to get right away from the belief that somehow talking makes it worse. Talking about suicide is OK. Yes, it takes courage but its courage that we all have
Brighton & Hove City Council’s Public Health team support the work of Grassroots Suicide Prevention, a Brighton-based charity, through their public health programme. Grassroots will be marking World Suicide Prevention Day with a range of awareness raising activities across the city. These include a number of public stalls, a photography exhibition at Brighton Station, and delivering a Real Talk workshop with the simple aim to get people talking about suicide in an open, safe and honest way.
Grassroots invite members of the public to come and find out more about how they can get involved and mark suicide prevention day on Monday (10 September:)
An evening ‘Real Talk’ workshop in Brighton followed by a screening of a short film about Grassroots’ volunteer Change Makers – 6.30-8pm at 68 Middle St. Brighton, BN1 1AL Click here to book your place.
An information stall at Jubilee Library to support starting conversations about suicide prevention work in the city, and encouraging engagement through a variety of means, such as, downloading the app, attending training and taking the ‘Tell Me’ pledge. You can read more about the stay alive app here. It gives local contact details for concerned residents and a gallery to put photos that give you a reason to stay alive.
An information stall at Brighton Station with a similar focus to the library stall
A photography exhibition at Brighton Station, running September 9th – 18th, using the long wall along the wooden walkway at the back entrance. Following the theme of ‘Working Together’ this will include portraits of local people who care about suicide in the community and are taking action to prevent it.
Grassroots Suicide Prevention was established in 2006, to use education and innovation to help make communities safer from suicide. They provide mental health and suicide prevention training courses and expertise to large and small organisations both locally and nationally.
Grassroots is not a crisis service, it trains people to talk about suicide and seek help. If you’re feeling like you want to die, it’s important to tell someone. Help and support is available right now if you need it. You don’t have to struggle with difficult feelings alone. You can call the Samaritans at any time, day or night, Tel: 116123 or email email@example.com.
Singer and actor David Essex is the virtual star of a family pantomime playing in Brighton over Christmas this year.
The 1970s pop star will appear on an LED video wall as Baron Hardup in Cinderella at the Hilton Brighton Metropole from Friday 22 December to Wednesday 27 December.
And he will be joined by a string of West End performers including Joseph Peters and Alasdair Buchan.
The cast also includes a number of Brighton personalities. They include David Hill as one of the ugly sisters, Lou Nash and Alex Baker from Juice 107.2 and Dean Kilford from Latest TV and BBC Sussex playing Buttons. Keris Lea will play the Fairy Godmother.
Cinderella is the brainchild of Mr Hill who “fell into” pantomime in 2001 while sharing a flat with the comedian and novelist Julian Clary.
He said that his travel business was in difficulty after the 9/11 terror attack because people were afraid to fly.
Mr Clary suggested that he audition and Mr Hill found a second career as a pantomime dame.
A countywide search for Cinders was mounted a month ago resulting in 300 applicants.
The show’s writer and co-producer Tim Newman said: “Hannah Bailey, who will be playing Cinderella, offers us everything we were hoping for in this part and I know that every young girl in the audience will fall in love with her.
“I’m not sure what Hannah is more excited about, playing Cinders or having David Essex as her father in the show!”
Cinderella is being produced by Brighton Premiere which is a collaboration of event company E3 and the Brighton Academy of Performing Arts.
The show will be directed by Mr Newman and Stuart Dawes from the academy.
Mr Newman said: “It is so important to have children in mind. Like Pixar, the pantomime should be enjoyable for kids and parents.”
Ticket holders will enjoy free entry to a Christmas Fayre with food, dodgems, face painting, charity stalls and a chance to meet Santa.
Each performance will raise money for the three biggest children’s charities in Sussex – the Chailey Heritage Foundation, Chestnut Tree House and Rockinghorse.
Juice 107.2 is the pantomime’s headline sponsor. Others include Sussex Life, Visit Brighton, Hilton Brighton Metropole, Oliver and Graimes, Donatello, City Cabs, Glencairn Consulting, E3, Brighton Academy and McKenzie Associates.
Cinderella will run twice daily from Friday 22 December until Wednesday 27 December with no shows on Christmas Day.
Another overcrowded dinghy drifts off Europe’s coastline. Another group of faceless migrants. Are we becoming immune to the suffering felt by those with little choice but to leave their homeland? Hong Dam asked.
In this context Hove artist and sculptor Hong’s work is a timely reminder of the emotional reality of living in exile.
Hong left Vietnam for Hong Kong on a junk in 1978, and did not return until 2012, 34 years later.
She studied fine art sculpture in 1994 but found she was naturally good at visualising in three dimensions.
Hong said: “I found the art world of the West too pretentious and too intangible for me; especially in the 1990s for a refugee girl. I needed to earn a living. Without money you have no status and no pride. I don’t see money as the answer to everything, but we all need it.”
Hong therefore took a masters in computer animation and visualisation at Bournemouth University before working in the special effects section of the film industry. She has been accredited for her work in the films Gladiator, Babe 2 and 10,000 BC.
However, it is since having her children that Hong has documented her own childhood in Vietnam and contrasted it with western industrialisation, using digital imaging techniques.
She said: “Having my own children brought me back to my own childhood. I start to feel that my daughters and I live in two parallel worlds – the contrasts and conflicts of East and West – the wants and needs are so different. I decided to document a visual diary for my two daughters and hopefully they will understand why I am saying no to gadgets and material things.”
Hong’s personal work is a journey of self-discovery, exploring the universal themes of love, loss, separation and hope. She said: “I have tried not to do art, but I always find myself going back to it. The passing of my father last year has made me realise that life is impermanent and intangible, perhaps what I am doing is documenting a small part of history, of many unsung heroes who sacrificed for their loved ones unconditionally in times of adversity.”
She has produced a painting called the “Promised Land” where she superimposes images on top of each other in layers. The painting has a turbulent skyscape, a dragon, a combination of the ramparts from the Great Wall of China and Hadrian’s Wall with the rushes of Vietnam.
In the foreground is London, the Gherkin and BT Tower are clearly visible but Hong has superimposed one of her sculptures and an image from Earnest Haeckel. She has added an alien dimension because this is how she feels. She said: “As a refugee, I am always searching for the promised land.” Hong’s late father was Chinese, making the dragon an important symbol in her art: she is a child of the dragon.
She left Vietnam in 1978 and did not return until 2012, 34 years later. Hong spoke of the iconic image of the girl running naked and without clothes along the road during the Vietnam War. She said: “I recognise it and it made me shiver.”
Some of her art contains explosions and bombs but she said: “When there is destruction, there is new life. People had to start again. There is always a positive among even negative events.” In January 2013 Hong Dam wrote a visual diary called “Dreaming of Home.”
Scenes of the West are often dark and polluted, contrasting with the lush purity of nature in Vietnam, particularly in the painting “Childhood Memories.” Yet Vietnam has also now developed and is no longer the place of Hong’s childhood.
In her own words Hong describes her most recent work: “Trapped between the invisible glass of a fragile, expensive bottle; wanting to break free. The sea, the sky merged into one; a big crash of explosion forces the migration of 1000s of butterflies. A message in a bottle drifting across derelict lands in search of a new life. Change, adapt I will – in order to survive.”
“The Butterfly’s Dream is about a little girl living in a fragile world, that is, the glass bottle, the changes and adaptations she has to make after migrating. The fragile beauty of the perfume bottle versus the ordinary lives of another world: two parallel worlds of East and West.”
The perfume bottle is significant because Hong said: “In the West women are conditioned to feel less capable. Some women feel fragile. In poor countries women do everything. There is a limitation here.” She said that in the film industry in 1990 men and women would do the same job but they would not get the same pay.
She thinks the conditioning is ingrained and asked: “Was it really worth the price?” Hong said there is a perception of worth and a vanity about being beautiful and elegant among western women. She thinks women use this to their advantage.
Hong’s mother blew up rocks and then shovelled them onto a truck in Vietnam. The rocks were then made into tarmac. Conditioning means that western women put limitations on themselves.
To conclude Hong said: “I always see the sky as the limit. It is how determined you are that matters, even if you don’t get there, you get further than you would if you didn’t have that dream. We should continue to dream, be content with the love, do not be afraid to dream but understand the present, the people you love where you are.”