Category: New

REVIEW: Get it On

Published on by Manmeet K WaliaLeave a comment

Rating: 3.5 out of 5.

Glamour, Groove and Whole Lotta Rock!

“Get It On – Night of Glam Rock” presents itself as a homage to an era that defined a generation. Steeped in the essence of the 70s Glam Rock movement, this nationwide tour promises an immersive experience, transporting audiences back to a time when music was more than just sound—it was a statement, a lifestyle, and a rebellion against convention.

As the first notes reverberate, the audiences are met with an ambiance that is both nostalgic and electric. The air crackles with anticipation, and the crowd exudes a sense of reverence for the music that shaped an era. From the glittering sequins to the flamboyant feather boas, every detail of the costumes of the performers pays homage to the extravagant aesthetic of Glam Rock.

Yet, beyond the spectacle of fashion lies the heart of the show—the music. Featuring the iconic hits of T.Rex, Slade, Bowie, Wizzard, Sweet, and more, “Get It On” offers a sonic journey through a time of artistic revolution. Each chord struck and each lyric sung serves as a testament to the enduring legacy of these legendary bands, reminding audiences of the power of music to transcend time and space.

One cannot overlook the gender differences inherent in the Glam Rock era, where androgynous fashion blurred the lines between masculine and feminine. This aspect of the show serves not only as a reflection of the era but also as a celebration of diversity and self-expression—a reminder that true art knows no boundaries.

As the music reverberates through the venue, attendees find themselves swept up in a whirlwind of energy and emotion. The infectious beats and catchy melodies inspire spontaneous sing-alongs and impromptu dance-offs, fostering a sense of camaraderie among strangers united by their love for the music.

However, amidst the euphoria, there were moments where the volume of the mic may seem overwhelming. While this minor flaw may briefly disrupted the experience, it was a small price to pay for the opportunity to witness such a spectacle of sound and vision.

As the night draws to a close, as an audience, I emerged from the venue with a newfound appreciation for the Glam Rock era and the artists who defined it. Their spirits uplifted and their hearts full, they carry with them memories of a night spent in the company of legends, where music served as a catalyst for joy, liberation, and self-discovery.

In conclusion, “Get It On – Night of Glam Rock” is more than just a concert—it is a celebration of an era, a culture, and a movement that continues to resonate with audiences to this day. Through its captivating blend of music, fashion, and nostalgia, the show offers a poignant reminder of the enduring power of art to inspire, uplift, and unite us all.

[Image description] A male wheelchair dancer and a female East Asian dancer are on the floor in an embrace. The female dancer is on her back, and the wheelchair dancer is perpendicular to the other dancer, but upside down as if in a head stand. His faced away from the camera. The East Asian dancer has her arms wrapped gently around the other dancer's back as if to support his headstand. Her eyes closed, hair draped gently on the floor. The image juxtaposes serenity and tension. The still wheel of the wheelchair is suspended in mid air, being a focal point of this image. The dancers are on a light coloured floor in light golden coloured costume. There is an amber light coming from behind the dancers cutting through the haze cast against the pitch black backdrop. Photography by Chris Parkes

In Conversation with Lucy Glover and Lucy Bennett 

Published on by Tabitha JamesLeave a comment

We sat down with Lucy Glover who is Executive Producer and Lucy Bennett who is Co-Artistic Director of StopGap Dance Company. Lived Fiction from Stopgap Dance Company will be playing at The Brighton Festival on 14th May, Southbank Centre as part of the Unlimited festival on 4th September, The Lowry Salford on 17th October and DanceEast Ipswich on 15th November. For more info go to www.stopgapdance.com.

How did Lived Fiction come about?

    Stopgap Dance Company is a group of Deaf, Disabled, non disabled and Neurodivergent artists who like to break with tradition when it comes to making choreography. 

    We realised that although our company thought a lot about access for Disabled performers working with us or experiencing our practical workshops we had not always put enough money aside to incorporate access for our audiences. Access such as captions and audio description are often tagged at the last minute to productions. We wanted to create a dance production that embedded access creatively into the choreography and artistic elements, such as music, script, lights and projections. 

    We hope that we will create a shared experience for everyone because experiencing emotions together is what connects us as human beings. 

    Tell us about the research that Lived Fiction has been part of?

    We were part of a larger project that was researching EU law and Disabled people’s right to cultural activities. The funding enabled us to set up focus groups to feedback on their experiences of our embedded creative access. We have done this in previous projects but it was particularly useful to have someone outside of Stopgap and not involved in dance leading on collecting the responses. The research team gave us the space to create the show we wanted to which organically came out of the process. The research is still ongoing as the final paper is yet to be released and features much of the dancers and access consultants interviews during the process of Lived Fiction. 

    The cast is a combination of disabled and non disabled performers, how do you go about casting your shows?

    Many different ways. We hold an audition or sometimes we will meet someone through a workshop we deliver. Sometimes people contact us to intern or observe us. Either way we like to get to know people first, so will often offer them a smaller part initially before inviting them to become a full time member with the company. 

    The show has live on stage audio captions as well as projections, why is that and how do you make sure all the technical elements balance with the choreography?

    The show has live audio description and prepared creative captions. All the collaborators were a part of a long process with myself, our access artist and the dancers. We purposefully work with collaborators who are sensitive to the work’s progression and who try hard not to overwhelm the choreography. We have kept the stage quite bare, and we have created choreography that has space (most of the time) for the other elements to be experienced. The whole process has been all about finding a balance between the many components that make up Lived Fiction. 

    Stopgap is around 30 years old now, how has dance changed over the years in terms of inclusivity from when the company began?

    In the last two years it feels as if we have made a huge leap forward or that the industry has woken up and have decided they do want to find out more about what Stopgap and Inclusive culture has to offer.  Organisations and their leaders are trying to dismantle barriers and I hope are listening to people with lived experience of those barriers. However with cuts to arts funding and the cost of living crisis it also feels like people can still use this as an excuse not to dismantle barriers. As the dance industry in the UK becomes more supportive, everyday living such as transport, accommodation when touring, equipment availability is just getting worse. 

    Twenty Five years on and we are still struggling with regular accessible space and getting to work but we have had an uplift from the Arts Council our central  funder which means we can find the time and resources to solve these challenges. 

    Artistically it is clear we have changed.  We finally realised we don’t need to imitate our non disabled peers and we have been making our own devised work for the last ten years. By creating with Disabled, Deaf, non disabled and Neuro divergent artists our work is multifaceted, unique and powerful. We are no longer an inclusive company trying to fit into an non inclusive industry. 

    What are your main hopes for the future of dance?

    That we learn to respect differences and actively pursue diversity. That we prepare for change and don’t assume because we have had the privilege of making work or performing that we will always have that. That we can remind ourselves that the dance industry is an ecology that will continue to grow after we are gone, so we can feed that ecology, learn from others and support the next generation of dance graduates. 

    REVIEW: The Opera Locos

    Published on by alexnorm14Leave a comment

    Rating: 4.5 out of 5.

    Comedy gold combined with beautiful music; the perfect beginners’ guide to opera. 

    The Opera Locos is a riotous good time! Under the direction of Joseph O’Curneen and David Ottone, five unique characters captivate the audience in this wonderfully comical presentation. Rather than using dialogue, physical comedy combines with faultless vocals to convey the characters’ stories and experiences. Featuring works from classic operas, such as Verdi’s ‘La Traviata’, alongside pop and rock like Sinatra’s ‘My Way’, this is the perfect show for those who may find a full scale opera daunting. 

    The Opera Locos featured five distinctive characters, two brilliant romances, and a good deal of fun. Washed-up tenor Alfredo and the loving soprano Maria, performed by Jesus Alvarez and Maria Rey-Joly respectively, make up one of the precious couples. Their quirky romance is fun for all, inducing many fits of laughter in the audience. The other pair, consisting of Michael Kone as the pop-loving Franelli and Enrique Sanchez-Ramos as the macho Enrique, is impossible not to fall in love with; the challenging and contrasting nature of the characters makes for a romance that you have to root for. The spunky Carmen, Mayca Teba, finds love amongst the crowds and leaves the audience blushing in her wake. 

    The Opera Locos is a truly immersive experience. It uses a great deal of audience interaction to draw the viewers into the story. Featuring a whole scene in which Enrique transforms the audience into a choir and conducts us in a sing-a-long, it forces the audience to become a part of the story. Adding to the immersive experience, Tatiana de Sarabia outfitted the characters with elaborate costumes that contrasted perfectly with the simplicity of the set she had designed. The only point of contention in Sarabia’s design being Alvarez’s fat suit which was rather poorly fitted. Pedro Pablo Melendo completed the experience with lighting that flawlessly set the mood for each scene and each song. 

    Musical directors Marc Alvarez and Manuel Coves did a wonderful job in drawing out the best of their talented casts’ vocals. Apart from wishing for a few more ensemble numbers, The Opera Locos is a wholly satisfying auditory experience. Especially  memorable were the harmonies of Rey-Joly and Teba, and the impressive range of Kone. An unfortunate issue repeated during several of the solos, were backing tracks that drowned out the vocalists. 

    The Opera Locos is a terrific show that should not be missed. It is playful, filled with beautiful music, and entirely immersive. Apart from some minor sound issues and some struggle on the part of the performers to find center stage, it is an essentially perfect show. Whether or not you like opera, this is a show that is not to be missed. If you go make sure you warm up your vocal pipes first and be mindful where you sit, you never know who could end up on stage next. The Opera Locos is the place to be for a good time.

    Categories New

    REVIEW: Futuristic Folktales

    Published on by amylwoodmusicLeave a comment

    Rating: 4 out of 5.

    A dramatic and thought-provoking performance highlighting the miracles and injustices of reproduction through dance

    Futuristic Folktales was an exploration of human reproduction through the idea of the ‘first womb’ and discussed themes pertaining to identity, life and death and reproductive rights. Choreographed and produced by Charlotte McLean, it was performed on-stage at the  

    Tramway Theatre by two highly skilled dancers, Orrow Bell and Astro Scheidegger. The title Futuristic Folktales is a strong juxtaposition and encapsulates the endless struggle of tradition and modernity coexisting together. Futuristic Folktales successfully amalgamates multiple artforms ranging from traditional Scottish dance and music to breakdance, free form, and improvisation.  

    I was initially sceptical as the production featured just two dancers for the entirety of the show. Walking into the theatre, I was instantly greeted with the sounds of birds chirping and a projection on the back wall of the stage. This could have been perceived as beads or a flower, but upon closer inspection, it  was a projection of ovum, immediately setting the tone. 

    The production began with both dancers in a foetal position on the floor in pitch black,  slowly moving to the initially sparse musical accompaniment before emerging out of each  other’s ‘wombs’ onto a fully lit stage. The composer Malin Lewis reflected the environment  of the womb with bagpipes playing short, fragmented notes. The bagpipes only formed the  iconic bagpipe drone sound once the dancers had fully emerged from the ‘womb’. After the  graphic ‘birth’ scene, the dancers broke the fourth wall and addressed the audience directly  by telling the story of the ‘first womb’, initially describing it positively with words such as  strong, powerful, and opportunity. Their movements were fluid and graceful, until they  described the womb through a more political lens. Here the dancers described the womb as  hostile, racist and penetrated by other forces including men’s genitalia and the opinions of  others. These words were reflected with much more angular, jagged movements, creating sharp contrast.  

    The remainder of the show was split into two main sections: the first, featured a more  positive view on the miracle of childbirth, whereby reproduction was compared to the life  cycle of a tree. Here the music featured bagpipes with a drone, sparse melodic line and  string accompaniment and the dancing remained centred around Highland-style dancing  and fluid movements. In the second section, the stage was much darker to mimic the more  unpredictable and violent side of reproduction. Lewis cleverly orchestrated the music by  maintaining traditional Scottish folk instrumentation with a more contemporary,  minimalistic approach. The dancing mirrored the music, using angular and explosive  movements. Eventually, the music disappeared completely, leaving the audience watching  the dancers scream in pain and contort their bodies unnaturally during an endless cycle of  traumatic births, until both dancers returned to a similar position to their starting point.

    I walked away from Futuristic Folktales having thoroughly enjoyed the performance and was  left inspired by the thought-provoking questions surrounding reproduction. Both dancers  excellently communicated their messages through various dance forms and played to their  strengths – Orrow Bell performed the Scottish folk dances beautifully whilst their colleague Astro Scheidegger executed break dance with passion and effortless fluidity. I felt there was  a missed opportunity to explore reproductive rights verbally: whilst the dancing was highly  communicative, the lack of dialogue in the second half left the audience’s imagination to  interpret the injustice of reproduction on their own. This production is well suited to  younger audiences with an open mind, however older audience members may find this  production inaccessible due to the fragmented nature of the music, dancing, and lack of  traditional storyline.

    In Conversation with Sally Cheng

    Published on by Tabitha JamesLeave a comment

    We sat down with Sally Cheng who is in the cast of Twelfth Night at Regent’s Park Open Air Theatre.

    TWELFTH NIGHT

    3 May – 8 June 2024

    Age Recommend: 12+

    Tickets from: £15

    https://openairtheatre.com/production/twelfth-night-or-what-you-will

    1. How did you get involved with Twelfth Night at Regent’s Park Open Air Theatre?

    I was lucky enough to audition for the play back in January. I’ve never worked with any of the cast or creative team before so its a lovely experience being in a room with a new set of people with exciting new ideas and takes on the play. I feel very lucky!

    2. What are the defining features of this particular production?

    Owen Horsley, the director, has chosen to set the play in one place-a cafe by the ocean, and without scene changes. This really allows for the interconnectedess of character relationships and dynamic shifts in scenes to shine through. His concept and direction has focused very much on looking at this classic Shakespeare play through a queer lens. It’s a celebration of queerness and difference.

    3. Who do you play? Do you identify with them personally?

    In this production I am an actor musician and play a part called Querelle. I absolutely love being in the band with such brilliantly talented musicians supporting some fantastic singers and actors. We’re performing some beautiful original music composed by Sam Kenyon especially for this production. The band are very much a ‘house band’ for the cafe but also part of Orsino’s court so it’s been integral and really interesting in the process to understand what music means to each of the characters and it’s connection to the space.

    4. How have you been preparing for the role?

    Practicing lots of violin and learning the drums mostly. But I have also looked at queer films, TV shows and books to try to really engross myself in the world in which we are setting our production. We have been in rehearsal for five weeks-working every day on text and music. It’s been an enriching and exciting process.

    5. If you had a piece of advice for your younger self, what would it be?

    Be kind, work hard and be patient, it’s a tough career but when it’s worth it it’s totally worth it. You meet some of the kindest and most creative people.

    6. Why should audiences come and see Twelfth Night?

    It’s a production with loads of heart, that celebrates queerness and difference, whilst using Shakespeare’s beautiful, robust language to explore joy, grief and love.

    ROUNDUP: Bespoke Plays at The Union Theatre 

    Published on by Claudia WestLeave a comment

    “London must welcome such well-produced events showcasing new writing”

    I must praise the venture that is ‘Bespoke Plays’. The company began in the US and recently launched their UK branch. They call themselves a writer-driven company with a mission to offer play readings for writers with diverse stories and world views. From a quick look at their website, this is their second reading at the Union Theatre. The company promise to host more playreadings in the coming year. 

    Just as it is bad etiquette for the press to review shows in previews, I would feel entirely out of place reviewing a show that was introduced as ‘in the very early stages of development’. 

    However as I was invited along, I will happily comment that the night itself was slick; well produced and marketed. Mimi Collins (Director) has put together a talented cast:  Jay Faisca as Alf, Nathan Adams Stark as Mike, Deanna Myers as Cam, Patrick Shearer as Uri, Analiese Emerson as Luce, Jake Solari as Gabe, and Oliver Nazareth Aston as Em. 

    The direction of the semi-staged reading was clear and intelligent, the stage directions were used sparingly, and the actors (along with some simple set, and some well-placed lighting by Gabriel Burns) did the rest. 

    Playwrights (especially in the UK) are always crying out for more opportunities to showcase new writing (especially in Central London venues like the newly relocated Union Theatre where this was held). With funding being cut to many venues and companies, and annual events like The Vault Festival coming to an end, the need for these types of well-produced nights of new writing has never been stronger. Whilst this first piece is by an American playwright (J Holtham) who is on the board of Bespoke Plays, the company have told us they hope to open submissions to English playwrights in the coming months to give early-career writers the opportunity to hear their work aloud, see where they need to make changes, and to build a community.  

    After tonight’s particular play, ‘Creation’ by J Holtham, we were invited to stay and have a chat or give feedback to the creatives afterwards if we wished. Overall, the night itself seemed a success, and I hope that Bespoke Plays will host many more similar events with greater and greater attendance.  London seems to have a good culture around attending Work-in-Progress comedy nights, and I hope that this and other events of its kind will encourage people to attend more Work-in-Progress play nights.  

    I wish ‘Bespoke Plays’ all the best for their future endeavours. It is a great initiative done well, and I look forward to seeing their future offerings. I am also excited (now that they have made the move to the UK) to see them include new work by local writers.

    REVIEW: Three Queens

    Published on by nancynewberryLeave a comment

    Rating: 5 out of 5.

    Perfectly balanced dynamic contrasts across the performance to portray this complicated tale.

    Whilst the conversations that happened the night before Lady Jane Grey’s death will always be lost to history, Rosamund Gravelle manages to capture a totally realistic retelling of what occurred that night. Striking the balance between the struggles of having power, the influence of men, both past and present, and the all-important religious control of the time, Gravelle has written a script that puts the audience right in the centre of the conflict. As a history nerd myself, I knew I would likely enjoy the content of the play, but the performance was what really drew me in.

    The performance felt factual in nature and not over dramatised as so many modern retellings can be. The tempered nature of the acting and natural emotion that went with the script was artfully portrayed. Huge credit should be given to the thoughtful casting, with each member of the cast capturing their character perfectly.

    The performance started with a harrowing scene of what was to come, the beheading of Lady Jane Grey. This clever piece of scene setting meant that the sense of foreboding hung over the rest of the play as the characters debated Lady Jane Grey’s fate. 
    Whilst every actor felt a natural fit for their character, Becky Black’s performance of Mary must be called out as truly outstanding. It was so easy to see and feel the turbulent emotions she was going through that night. Black portrayed well the weight of a huge decision, as well as capturing Mary’s known strength and vulnerabilities.

    I was grateful for the scenes with the male characters as well, played excellently by Les Kenny-Green and Sushant Shekhar. It would have been easy to write this play about historically strong female characters without men, but the addition of these male characters added another layer of the battles that these women had to face with the men of the time trying to influence their decisions. Kenny-Green and Shekhar both sensitively embodied the different styles of influence and manipulation that these women could have been grappling with on that fateful night.

    Personally, my favourite scenes were those with the three queens. Martha Crow’s stern portrayal of Lady Jane offset by the outbursts of grief at battling over her religion or her life gave depth to this intense subject. Eliza Shea’s fun but stoic Elizabeth was also brilliant, she really portrayed the many layers of this complex character. All of the women seemed to naturally slot into the complex dynamics of this family which was really engaging to watch. Again, Black as Mary showed the variety of her mood swings and turbulent emotions, and Crow and Shea complemented this perfectly. The dynamic contrasts of the characters and the different scenes across the performance were perfectly balanced to portray this complicated tale, absolutely brilliant! 

    REVIEW: Sacred and Profane

    Published on by Antonia ConstantinLeave a comment

    Rating: 4 out of 5.

    A hilarious take on the modern dating scene that is also a thought-provoking exploration of the ways in which technology shapes our relationships and identities. With its sharp wit and charm, this production is surely not one to miss.

    Samantha Gray’s latest comedy at The Space, “Sacred and Profane,” invites audiences into the tangled web of online dating, where love and deception collide in hilarious fashion. Set against the backdrop of modern romance, Gray deftly navigates the complexities of finding love in a digital world, delivering a witty and insightful commentary on the traps of online relationships.

    Lad, brilliantly played by Stanley Karikari, is a hapless but not a 100% innocent romantic trying his luck in love with online dating. Lad’s quest for love takes an unexpected turn when he falls victim to an online scam. In “Sacred and Profane,” Lad emerges as the embodiment of the in between space of what is sacred and what is profane in the realm of modern romance. At first glance, Lad’s promising relationship with Mary should epitomize the sacred. However, as the story unfolds, cracks begin to appear, and the couple’s shortcomings and vulnerabilities come to light. At the same time, Lad’s encounters with Nancy, despite their initially profane nature as part of an online scam, gradually evolve into something unexpected. 

    Gray’s script masterfully weaves together multiple storylines, offering a nuanced portrayal of the characters’ motivations and the consequences of their actions. Central to the scrip and in contrast to Lad’s internal struggle with the sacred and profane, Cash emerges as the personification of the aggressive marketing campaigns that inundate our online experiences. Ben Felton’s portrayal of Cash is nothing short of fascinating with each charismatic pitch and persuasive manoeuvre he delivers in a preacher like manner. 

    I was impressed by all standout performances, including Athena Zacharia as the duplicitous Nancy and Jazzie Ricks as the scheming Stella. The chemistry between the actors is palpable, adding depth and authenticity to the production.

    One of the play’s strengths lies in its clever set design, which allows for seamless scene transitions and enhances the thematic exploration of the sacred and profane. Against a backdrop of dynamic projections and evocative music, the action unfolds with a quick pace that keeps audiences engaged from start to finish. The comedy never loses its pace. 

    “Sacred and Profane” is not only a hilarious take on the modern dating scene but also a thought-provoking exploration of the ways in which technology shapes our relationships and identities. With its sharp wit and charm, this production is surely not one to miss. 

    Photo by Marc Brenner

    REVIEW: I Should Be So Lucky

    Published on by roisinlystLeave a comment

    Rating: 3.5 out of 5.

    Camp, contagious and hilarious: a musical full of energy and iconic songs

    I Should Be So Lucky is a musical which centres around a young bride named Ella, jilted at the altar, who decides not to waste her honeymoon but instead takes her family and friends to the lovers’ paradise in Turkey. The plot was ridiculous, and became increasingly so as the show went on, but the show was undeniably packed with energy, glitter and fun.

    The whole cast were fabulous and played their roles to the maximum, even Kylie Minogue herself, who appears on a screen as a figment of Ella’s imagination. She acts as a sort of fairy godmother to Ella throughout the story, which added yet more cheese to the storyline, but for all the Kylie fans in the audience was probably a great addition. For me, the stand-out actor was Giovanni Spanò, who played Ash, the best man. His charisma, comedic timing and mannerisms had the audience howling with laughter – but he wasn’t the only one. The whole show was funny from start to finish and there was never a dull moment, which can’t always be said of other musicals. Jamie Chapman, portraying Spencer, the fussy, camp manager of the resort, was also a favourite, and Kayla Carter, who played Bonnie (Ella’s best friend) was the stand-out singer, bringing the house down with ‘You’ll never stop me loving you’. 

    Alongside this were dozens of iconic Stock Aitken Waterman songs impossible not to sing along to, including ‘Never gonna give you up’, ‘You spin me round’ and ‘Love in the first degree’, which the audience of course lapped up. By the end, everyone was up singing and dancing. I thought the choreography was extremely well-done and certainly one of the reasons this show was full of energy, which made sense when I read it was choreographed by Jason Gilkison: the lead choreographer of Strictly Come Dancing. The band too were faultless, and both the costumes and the heart-shaped set were perfectly suited to the show, with no shortage of pink and sparkles.

    I felt the characters were all written taking stereotypes to the extreme: the fussy mum, the wild child Grandma, the flamboyant gay friend and the ‘always the bridesmaid’ best friend were all clearly defined. The zest of all the supporting personalities made the actual bride and groom quite boring characters in comparison. There were many little storylines branching off from the main story which were all somehow predictable, cliché and over-the-top, which was a clear theme to this musical. I wouldn’t describe it as well written, but I can’t deny, I had a great time watching it.I can’t recommend this show to everyone: I know my dad would be rolling his eyes. But while it was mostly middle-aged women in the audience, I would recommend it to anyone who loved ‘Mamma Mia’, is a Kylie fan, or just wants a fun night out and doesn’t mind a bit of cheesiness.

    REVIEW: SoundWalk: A City Full of Stories

    Published on by Ben BreenLeave a comment

    Rating: 3 out of 5.

    A pleasant half hour exploring a small pocket of the West End

    A soundwalk is a guided walk exploring the intersection between location and sound. In this case, landmarks around Charing Cross are paired with orchestral music and lyrics. Starting at St. Martin in the Fields, A City Full of Stories takes participants around the hustle and bustle of London’s West End, and shows how quickly this can transition into serenity when you know the perfect side street to duck into. The resulting half hour provides a nice walk alongside a pleasing musical accompaniment.

    Having been designed in collaboration with people experiencing homelessness, alongside members of the academy at St. Martin in the Fields and the Royal Academy of Music, the map takes in several key areas for the homeless in the Charing Cross area. At each new location, a track is triggered which prompts the listener to view their surroundings from a different perspective. As the walk winds on, these nudges become more explicit, focusing on the hidden lives of the people and places around you.

    Initially, the soundwalk is easy to set up, downloading the free Echoes app uses your phone’s GPS to cue in the music when you reach the appropriate location. I found this quite unreliable, however, and resorted to looking at the map and manually selecting which track to play – an experience made harder by one track being out of place on the playlist (the fourth track hides at the end).

    Even with this immersion broken, however, the musical backing affects the ‘feel’ of the walk more than I was expecting. Walking down Henrietta Street to a rousing score felt like it was ripped straight from cinema, even if it was disrupted by a pedicab rider blaring out Britney Spears not 30 seconds later! The walk returning to St. Martin in the Fields swells with a wonderful hopefulness that rounds out the narrative to a nice conclusion.

    Many of the spoken sections focus on imagining the stories of the buildings and people around you, but this seems to fight against, rather than embellish, A City Full of Stories’ engagement with the homeless experience. This second theme is the more compelling, and it’s nice to have locations I predominantly associate with food drops and rough-sleeping recontextualised, but it would have been more effective to dwell on these ideas for the full walk rather than pivoting to consider “hidden lives” every few tracks.

    Overall, if either the “sound” or the “walk” element of A City Full of Stories appeals to you, then combining them for a “soundwalk” does make them feel more special. The result is a pleasant way to kill half an hour in the West End, if nothing else.
    A City Full of Stories is free to complete, via the Echoes App, and more details can be found here. NOTE: Completing the walk before 5:30pm gives a more scenic walk through St Paul’s Churchyard.