Welcome to The Perfect Curve.

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www.birmingham.gov.uk Alpha project - Project product map

simon gray - 2012-12-20, 15:54:26

Back in late September 2012, as part of my work at Birmingham City Council, I instigated and led on a programme of incremental improvements to the council's website, blogging about the ideas and progress along the way, taking inspiration from Shropshire Council's Project WIP and the Government Digital Service work on www.gov.uk. The site on which I blogged has been taken down now, but I thought it worth reposting the more broad-reaching content from it here.

As part of the iterative and agile process we’ll be working under, I’ve put together the first draft of our project map, identifying the various ‘products’ which will need to be developed as we go along:

As the project progresses we’ll be colouring those red boxes yellow and green, and adding more boxes along the trees, and of course adding new boxes and branches as new products are identified.

#localgovdigital #localgov

In group Public / Third Sector Digital

www.birmingham.gov.uk Alpha project - Developing the sub-projects

simon gray - 2012-12-03, 18:05:21

Back in late September 2012, as part of my work at Birmingham City Council, I instigated and led on a programme of incremental improvements to the council's website, blogging about the ideas and progress along the way, taking inspiration from Shropshire Council's Project WIP and the Government Digital Service work on www.gov.uk. The site on which I blogged has been taken down now, but I thought it worth reposting the more broad-reaching content from it here.

In order to make this whole project manageable, we need to split it up into a number of (initially five) sub-projects, from which our agile / Scrum series of products will emerge.

The sub-projects can be broadly grouped into three categories – content strategy, infrastructure, and governance. So far we have these:

Information Architecture

This is how people will navigate through the site – not just by the menu structure, but also A-Z, related links, and search. It will be looking at how content fits into the six top levels, identifying where the possible points for confusion lay, and mitigating that possible confusion.


Relating to Information Architecture, we need to perform a content audit of the existing site and determine what pages we will need on the new site – the first pass being to establish what each page will cover, with subsequent passes being to actually write the new content based on matching and amending existing content to bring it in line with new content guidelines – which also need to be developed as part of this project stream.


Whilst we like the design we’ve created in broad terms and think it stands well against other council websites, we know there is still work to do on it – we don’t want it to look good within its own sphere, we want it to look good on the web as a whole. We know there are tweaks here and there to do with spacing which need making – which is a coding issue – but we also know the the colour scheme needs serious attention by those more qualified to design colour than we are! And of course as well as minor tweaks, we’re aware that there may need to be more fundamental changes made in the light of feedback we receive.

CMS Technology

Whilst this project is overwhelmingly a content project rather than a technology project, there will of course be technology aspects we will need to address, including possible changes we might need to make to our content management system – Fatwire – in order to realise the work on our site proper, including changes to the HTML templates and the addition of possible new functionality such as widgetised sidebars and RSS feeds.


As well as changing the content of our website, we also need to change how the content actually gets on our website! Currently we have a wider pool of approximately 300 web editors of differing skills and amount of content to manage, dispersed according to the council’s directorate structure. The governance project will look at how best to create and manage content in the future.

#localgovdigital #localgov

In group Public / Third Sector Digital

www.birmingham.gov.uk Alpha project - Project outline, scope, goals, and outcomes

simon gray - 2012-09-14, 15:43:58

Back in late September 2012, as part of my work at Birmingham City Council, I instigated and led on a programme of incremental improvements to the council's website, blogging about the ideas and progress along the way, taking inspiration from Shropshire Council's Project WIP and the Government Digital Service work on www.gov.uk. The site on which I blogged has been taken down now, but I thought it worth reposting the more broad-reaching content from it here. This is the first post, which outlined what the project was actually about:

The Alpha project, inspired by the same methodology the central Government Digital Service has used as it redevelops https://www.gov.uk/ and Shropshire council’s Project WIP (http://shropshire.gov.uk/projectwip/), was conceived in March / April 2012 as a separate website on which we can develop and trial innovative developments in how we deliver services on birmingham.gov.uk in the future. Permission to proceed with the project was granted in early May, with the purchase order for the web hosting necessary for the work being sent to Service Birmingham on 7 June, with Service Birmingham delivering the development environment hosting on 4 July. Much of the background and preparatory work has been carried out over the course of time since summer 2011, including at various GovCamps, and work-in-earnest started on 12 September 2012.

Alpha has been conceived and designed from the ground up to facilitate an agile, iterative development process, allowing full consultation to take place and feedback to be received from key stakeholders – including members of the public – to show full transparency in our thinking, and provide an evidence base for work which will in due course become the main site.

Alpha will be the place where new designs, navigation, and content is developed and tested with customers and other stakeholders before migration to the main site, in order to allow

  • The programme of website improvements to be made clearly visible to customers, council officers, and members rather than hidden away in the respective sections of the site,
  • The programme to be a rolling, gradual series of improvements showing a constant work package delivered within an agile framework, allowing for change and evolution as requirements change in a fast-moving technology landscape,
  • Ultimate transparency in consultation with customers, officers, and members, where in addition to proposed developments being shared publicly before being adopted, the rationale behind those developments will also be shared with stakeholders being encouraged to feed back on the proposals, and
  • The minimum level of disruption caused to the main existing site whilst the development takes place.

Segmentation Portal

The proposed starting point of the alpha project shall be a new home page, building on good practice already pioneered by Liverpool.gov.uk but leading to a radical new approach in local government website architecture.

Current thinking describes 80% of our customers being interested in only 20% of our content, leading to a pressure for as much as possible of the remaining 80% of content to be culled. This however is a flawed view of who are customers are and what is important to them, and also ignores the legal and moral requirements for much of the content which is deemed to be uninteresting to the majority of customers to still be available to them in order to preserve the essential democratic accountability of the council.

Taking a quantitative analysis of access statistics rather than a qualitative one ignores the possibility that the reason some pages are accessed rarely might be because they are so poorly presented in the menu structure of the site and are so poorly optimised for search that the customers who are interested in that content simply fail to find them. Other pieces of content – such as, for example http://www.birmingham.gov.uk/transum – which might be rarely accessed by customers might indeed not be intended to be anything other than rarely accessed, but still need to be present as archive documents for the stakeholders to access at any time rather than having to make phone or email contact with the council to retrieve them. Lastly, some pieces of content might only be accessed once a year, but if the person who is trying to access that content is the chair of the Local Enterprise Partnership responsible for the allocation of millions of pounds worth of investment in the city, their inability to find that content reflects badly on the council. Regardless of the reasons some rarely-accessed content might be rarely accessed, with website access statistics of the period 1 June – 1 July 2012 being 3,134,725 page views of 2,317,162 unique pages by 460,608 unique visitors visiting the site 731,470 times, it is clear that even a removal of 50% of the site’s content, let alone 80% would lead to the removal of a significantly measurable amount of content which if not there would lead to the reverse channel shift of customers needing to make a phone call, send an email, or visit a customer service centre in order to get hold of.

It is accepted that there is redundant, out-of-date, trivial, and vanity content which serves no obvious purpose – for example, it is doubtful that any driver habits will been changed as a result of a driver happening to visit one of the pages linked to from http://www.birmingham.gov.uk/road-safety/driving-safety ; on the other hand the single page http://www.birmingham.gov.uk/highways-works-programme which at first glance appears to be a set of dry policy documents upon further analysis becomes essential information which if intelligently re-purposed and placed more sensibly in the menu structure and turned into a series 12 well-designed web pages could become a genuinely useful resource for the citizens of Birmingham, improving the reputation of the site and council itself, and contribute to channel shift by reducing the need for residents to phone up to find out when their road is due to be resurfaced.

The segmentation portal solves the problem of rarely-accessed content and frequently-accessed content competing with each other for attention in the same information space, allowing rarely accessed content which is necessary to survive by separating that content out from one single, large site into separate sites determined by a series of defined customer profiles:

  • The ‘standard’ customer – the 80% of our customers who are accessing the 20% of the content,
  • Students, graduates, and young professionals,
  • Business leaders, executives, and inward investors,
  • Small – often family – business owners and operators,
  • Politically and civically active citizens,
  • ‘Hard-to-reach’ groups,
  • People requiring care in some form, and their carers,
  • Parents,
  • Visitors and potential migrants to the city,
  • Members and council officers seeking relevant information.

From this we can extrapolate six distinct segmented sites:

  • My local area – a site not only responding to the emerging localism agenda, but also providing other information about services directly in, around, and related to the area in which the enquirer lives,
  • Residents – where the bulk of the 20% content will be,
  • Business – for both the small family business owners and the leaders and executives,
  • About the city – transcending all the defined customer profiles containing information necessary to all, including transport information, history and demographics of the city, and information relevant to potential investors,
  • The council – for the citizen activists, members and council officers, and to a certain degree the inward investors,
  • What’s on and leisure – similarly to About the city, containing information which transcends the uniquely defined customer profiles.

At the heart of the six chosen segmented sites lies the principle that the customer must not be made to feel like they have been segmented according to a customer profile, rather that whatever informational or transactional need has brought them to birmingham.gov.uk site they should be able to immediately see in which of the six segments their need will be fulfilled.

The global navigation of the Local Government Navigation List will be dispensed with entirely, however a form of global navigation – successfully adopted by the bbc.co.uk website estate for a number of years – will be preserved in the shape of the links to the six segmented sites appearing in a horizontal bar at the top of each page, with traditional local navigation on the left hand side, curated service-related cross-sell links appearing where relevant at the bottom of each page (eg the page giving information about cycling in Birmingham under About the city containing a ‘see also’ link to the Cycling Strategy policy document in The Council, or information about premises licenses which have been applied for under Residents linking to information about how to apply for a premises license in Business), and targeted channel shift and marketing and communications links in a column on the right hand side.

Design principles

There are two major principles which need to underpin the design of a new site – (a) the need for absolute simplicity, whether the audience is a digital native or a nervous computer user, and (b) the need to deliver a modern, fresh look unencumbered by the complexity of the conflicting needs and demands of the various diverse stakeholders.

By starting off with a simple, bold, and accessible home page, which should scale gracefully to fit any screen regardless of it being desktop, laptop, tablet, or phone, the customer can instantly see that their needs will apply to one of the six chosen segments, and follow through with their task without being confused by the presence of information which is irrelevant to their needs. Aesthetically, the design will need to be simple, bold, elegant, and uncluttered; a combination of the modern with the timeless principles of Swiss design – big headings, finger-friendly for touchscreen devices, and bold iconography.

Planned approach

The timescale for the complete package of work, from first release of the starting point of the proposed alpha designs to the completion of the work with all the old content and designs having been replaced by the new content will be up to two years.

Clearly, for two years worth of work to be carried out entirely in the background with no public deliverables along the way – even with full public consultation on the work in progress – would be unacceptable. Therefore, a phased release approach will be necessary:

  1. Suggested main home page and segmentation home pages, with links from those home pages to existing pages delivered in alpha,
  2. Prioritisation of detailed content by service area to be determined, balancing the need to show visible improvements to what are objectively the most popular service areas with what are subjectively the worst areas of the current main site,
  3. Development of initial new top-level content in alpha,
  4. Creation of seven new sites (six segments plus extra Webteam site) in Fatwire as beta.birmingham.gov.uk
  5. Detailed content development to take place in alpha,
  6. Phased migration of content from alpha to beta,
  7. Final cutover from beta to www.birmingham.gov.uk

Although the above depicts a sequence of events, in actuality much of the work will be done using an iterative approach with some tasks been carried out simultaneously with others; a detailed timeline will evolve during the course of the project.

Transparency and consultation

Fundamental to the project is a desire for the whole process to be carried out in the open, allowing internal stakeholders and external customers access to the work in progress in order to comment and shape the developing work. As well as the alpha site being a publicly accessible site, there will also be the facility on the site itself for customers to offer feedback, both in free text format and through structured questionnaires. In addition to online consultation, offline consultation will also take place by way of focus groups, userlabs, and service location specific activity (such as eg consulting on library pages in an actual library). Further transparency of the process will be ensured by the process itself being blogged along the way – again, on the alpha site itself.

#localgovdigital #localgov

In group Public / Third Sector Digital

Gil Scott-Heron, 1949-2011, and the best concert I’ve ever been to

simon gray - 2011-05-28, 18:10:24

It’s not my custom to publicly mourn the death of famous people; generally, it’s a thing other people do which makes me feel a bit icky – I didn’t know the famous person, and the famous person didn’t know me, so whilst it’s always sad when anybody dies it seems pointless to outpour grief for somebody one didn’t know and who didn’t know you.

I’m not going to break that habit and publicly mourn the sad death of Gil Scott-Heron, but instead I’m going to talk about the best concert I’ve ever been to in my 41 years of life, and what perhaps will remain the best concert I’ll ever have been to in what remains of my (hopefully at least another 41 years!) of life.

It’s a story I’ve told people in person more times than I care to count; there’s some people who’ve heard it more times than they’d care to count. I tend to present a fairly robotic, sentiment-free face to the world, but telling this story is one of only two (and you can read the other one on birmingham-alive!, if you want) which genuinely brings an emotional tear to my eye, rather than just my allergies to the many airborne particulates where I live.

I can’t quite remember if it was late 1989 or early 1990 (it was definitely that academic year, because I was in my second year as an undergraduate at Birmingham Conservatoire) that I went to a concert at the Birmingham Hummingbird. Myself and my best friend at the time arrived at 8pm, the doors open time printed on the ticket, got a drink each, and waited. And waited, and waited, and waited. It’s fair to say after that we waited some more, followed by some more waiting.

Eventually at about midnight(!) a band came on – it was the a-capella group Black Voices, doing what I think might have been their first ‘proper’ concert in a big venue. They sang for about 40 minutes, and it’s fair to say that considering the ticket price, we felt we’d got our money’s worth just for that.

Then, at about 1:00am another band came on – Microgroove – who played for about an hour. Unquestioningly, it was easily worth the ticket price just for them – so much so, by about 2:00am when they finished we assumed the concert was over, since back the Gil Scott-Heron had a particular reputation for not turning up (or rather, being detained by airport security…). But the stage manager announced over the PA that we should rest assured, the concert we were going to see was going to happen.

Then about 2:30am, the man himself came on to the stage, sat in front of his Fender-Rhodes electric piano, leading us in what was his at-the-time concert opener, Five Miles Down. And then the rest of the band came on, treating us to at least two and a half hours of the most amazing concert ever, including a 30 minute version of the song Angel Dust. At the close of the concert, myself and my friend walked back home to our flat in Kings Heath.

I’ve not told you how much the ticket cost yet.



Bullring Open Market, 1154-2010, R.I.P.

simon gray - 2010-08-31, 14:47:51

Today I officially pronounce the Bullring fruit and vegetable market to be dead.

It had a good innings – nobody can complain about a run of 856 years and it being curtailed; I remember when plans to demolish the 1960′s market and shopping centre area were being consulted on how most of the traders predicted the market wouldn’t survive, but – the soul having been ripped out of the place notwithstanding – most of the stalls made it through that redevelopment.

Then there are the current fears that the move of the Wholesale Markets from right next to the Bullring Market will cause major hassle – Jon Bounds has commented on the silliness of the image of traders wheeling trolleys full of cabbages half way across town half way through the trading day, but there’s the very real concern of how produce will be then transported, coupled with the new uncertainty surrounding when the move will actually happen.

But to me, what has finally killed the market is the combination of the serious drop in quality of the produce on sale, combined with the scourge of the man from the weights and the measures, the Poundabowl.

Now don’t get me entirely wrong – where the typical shopper might think more in terms of a number of items rather than a weight of items, there’s nothing wrong with it; but it still makes price comparisons difficult, because you don’t know how much you’re getting for your pound from different traders – you may well even be getting a different amount from the same trader each time you buy!

Until recently, produce from the market always tended to have what supermarket fruit and veg well and truly lacked – flavour. I still remember like it was yesterday my reintroduction to the market (after being horrified by reading Felicity Lawrence’s supermarket exposé, Not on the Label) and rediscovering that an onion is an actual real vegetable with a texture and a flavour, rather than some white thing which goes in the dinner for I’m-not-really-sure-what-it’s-adding. The market produce was the blemished, funny shaped stuff which the supermarket bland-o-matic rejected as being Not Possible To Bland.

But of late I’ve noticed that the flavour is less noticeably different from the supermarket, but more critically, the quality has gone right down the pan. It’s no use buying four or five peppers for a pound rather than three or four peppers for £1.50 if you only get to actually use two of them because the rest have become a putrifying blob of mush after a couple of days. I already decided a couple of weeks ago to stop getting my onions from the market because basically half of them were rotten even on the day I bought them.

Today, when I went to my usual stall for getting peppers, I was saddened to see they too have gone over to poundabowl. Rather than hand-picking the precise peppers I wanted (ie, the ones which looked the least off) I would have been forced to accept the ones in the bowl. I usually get a mix of colours, but these bowls were all monochrome – when I asked the assistant for a mix, her reply was “no, I’m not allowed to do that”. So I walked away and found another stall.

The other stall was also poundabowl, but at least when I asked if he could do a mix he said yes. When I checked in the bag to see how mixed he’d done it (just one red to five greens – I wanted three reds and three greens), I saw that two of the peppers were a putrifying blob of mush already.

If I can’t even rely on what I buy being of merchantable quality on the day I buy it, I’m not sure I can be bothered going all the way down there to buy in the first place. So for that reason, I’m out.


In group Birmingham

Zakir Hussein and the Masters of Percussion - Town Hall, 02/07/2008

simon gray - 2008-07-02, 14:30:37

Mention the words 'Indian Music' to the man or woman on the Northfield Omnibus, and the chances are the first person who will come into their heads will be Ravi Shankar. Which is understandable really, since it's fair to say he above anybody was chief in popularising Indian classical music to western audiences. However, if you were to find a member of the world music cognoscenti and say those words to them, there's a good chance the thought will come back as tabla player Zakir Hussein

And rightly so - whereas Ravi Shankar is, as they say, a master, Zakir Hussein is the master. But more to the point, whereas Ravi Shankar in his high profile collaborations with western musicians has largely done his own thing bolted on to the side, Zakir Hussein has very much been much more devlopmental in the field of Indian / western musical fusion, going back as far as the 1970s with the band Shakti with John McLaughlin, through working with straighter jazz artists such as Airto Moreira and Pharoah Sanders, and through to the more techno sounds of Tabla Beat Science

After a vocal beatbox introduction by percussionist Taufiq Qureshi the concert proper opened with a blast from the Dancing Drummers of Manipur; the programme described them as 'dazzling and athletic', which was no word of a lie as gymnastic backflips were in full evidence - simultaneously to the actual business of drumming! The Dancing Drummers then left the stage not to return again until the very end of the concert, which did seem somewhat of a shame, leaving me feeling they were participating as some kind of token gesture rather than being properly included. 

After their stint Hussein and sarangi (a kind of Indian style violin) player Dilshad Khan took the stage for a traditional raga performance; Khan opened with the introductory alaap solo, then becoming the accompanying instrument for the rest of that half after first Hussein joined in for the jhor section, with then Bhavani Shankar (no relation) adding - often perfectly synchronised with the tabla - to the drumming mix with his sideways drum, the pakhawaj. There's the old cliché in the rock music world of 'boring us to death with a drum solo', but in the Indian music world, nothing could be further from the truth, especially with drums in the hands of greats such as these. And in an amusing twist to the bol, or 'tabla speech' (where the drummer speaks the rhythms as well as playing them - used as a teaching method rather than performance itself in its proper setting) feature which we are used to getting in concerts here, it was likened to a proper conversation: 'come in, sit down, enjoy the concert; dha ti-ki-taah tun ti-re-ki-ta dha ghe dha ghe KHAT!'. Well it amused us in the hall, anyway. 

As the first half was quite firmly traditional classical Indian music, knowing the performers' pedigrees I assumed the second half would be much more fusion-based, especially since all the way through the first half there was set on the stage a western drum kit (minus kick drum) left unused. But instead when then musicians returned to the stage the sarangi was replaced by a sitar, which this time continued to take the lead as the solo instrument in a traditional raga performance. 

Finally percussionist Qureshi joined the ensemble on stage, when I realised actually we were being treated to something more interesting than the straight fusion I was expecting. As Qureshi was clearly playing western (and African, as at one point he was playing a djembe simultaneously with the rest of the kit) drums but according to Indian tala principles it occured to me that for the second half we were getting neither traditional Indian music nor 'fusion', but something best described as Indian contemporary classical music - showing that the forms of Indian classical music can, and indeed have, developed over the years just the same way as western classical music forms have changed. 

Building through we had a fitting grand finale as the performers from the first half returned to the stage to close what was a fine concert - a concert where I didn't get what I was expecting, but instead was treated to much, much more. 

#birmingham #reviews #TownHall

In group Birmingham

Portishead - Wolverhampton Civic Hall, 13/04/2008

simon gray - 2008-04-14, 14:23:35

When Portishead first hit the record shops in the mid-90s, I have to admit I was initially a little underwhelmed. That all changed with the release of Roseland NYC Live (and the accompanying concert video) when I discovered just how artistic their music can be; if you're the kind of person who likes contemporary classical music as might be played by B.E.A.S.T. or the Birmingham Contemporary Music Group, or alternatively if the arthouse flicks of the Electric Cinema might make that venue your second home, then Portishead are the band for you. 

After a gap of some 10 years since that album, the band have come together at last to release a new studio album, the imaginatively titled Third(released on 28 April 2008), together with a European tour to promote, which reached the West Midlands last night.

Unlike many rock reformations, where it feels like the spark had long gone and has barely been rekindled to pay an unexpected tax bill, the return of Portishead shows a group of true dedicated and accomplished musicians demonstrating as much skill and energy today as they did on the album which converted me. The opening track included loud heavy guitars demonstrating them to be so much more than the label 'trip hop' leads one to assume, but the intimate numbers are still there with the band gathering around close in to each other sitting in a huddle. 

Importantly, each song blended perfectly with the one preceding and following, and the sudden endings - a feature which often irritates me in a band - in this case were just 'right', an important part of the music rather than laziness. The Lalo Schifrin-esque melodies which wouldn't be out of place in a James Bond soundtrack are still occasionally there along with the live turntablism (I do often wonder, does it matter what records they're playing when they're scratching?), together with a more classic analogue synthesisor soundworld - I counted at least two Minimoogs on stage. 

Unless you can make a trip to Paris or Brussels early next month you've missed your chance in the UK on this tour, but if you fancy a Bank Holiday Eurostar trip you could do no worse. Hopefully we won't have to wait another 10 years to see such a truly great band.

#birmingham #reviews

In group Birmingham

Mahabharata - Alexandra Theatre 26/06/2007

simon gray - 2007-06-26, 13:21:46

If I were to use all the superlatives I'm minded to in writing this, you could probably be forgiven for wondering if I was related to a member of the cast. 

Mahabharata is, for Hindus at least, the 'Great story of India', at 100,000 verses the longest epic poem in world literature, and dating from at least 500BC one of the oldest. Alongside the Ramayana it forms one of the cornerstones of Hindu scriptures, and its scope is best summarised by one of its beginning passages - "What is found here, may be found elsewhere. What is not found here, will not be found elsewhere". 

In essence, the story centres around a family feud between two sets of royal cousins - the Pandava brothers and their common wife Draupadi, led by our hero Arjuna and the Kauravas, headed up by the villain Duryodhana. I say villain - the philosophy of the epic tends to present a universe where all are governed by destiny, unresponsible for their actions, and Duryodhana was "born to hate the world and all that is in it". In the west most people might be more aware of the Bhagavad Gita, the discourse within it where Krishna teaches Arjuna the nature of dharma, or duty, on the eve of battle as Arjuna has doubts about what he is about to embark on, ending here with the famous quote "Now I am become death, the destroyer of worlds". 

As with any great epic, there's love, deceit, and a great battle in which hundreds of thousands are slaughtered, with it being highly debateable whether there were truly any winners at the climax, and ultimately Draupadi, who is a perhaps surprisingly modern woman for the time the story is set (5000 years ago) makes the decision to end the pointless cycle of revenge and counter-revenge. 

Not every member of this cast could quite handle all of those aspects themselves, but all were highly capable in at least three of them each, and as an ensemble cast achieved the goal admirably, seemlessly integrating as they moved about all three dimensions of the stageset so you would be hard pressed to work out who was better at what.

Categorising the genre of this production is less than straightforward for those used to standard western performing arts; it is a piece of Kathak, which at its heart is a work of dance, but is so much more than that - a true Kathak performer must be able to dance, sing, act, mime, speak, play percussion instruments, and work puppets. 

Ensemble is certainly a key word to describe the production as a whole, in fact. Often in musical theatre or dance one is left with the impression that the creators of the choreography, music, and text will have occasionally spoke on the phone together, but essentially worked in isolation leaving it to the director to finally bring the components together, but in this production there was an overriding sense of genuine collaboration between all concerned, working together to produce a united whole as a production from the outset. On the credits page Nitin Sawhney was listed first as composer for his fine music, but perhaps an alphabetical credit listing would have been more appropriate. Amongst the musicians the ethereal bansuri (Indian flute) playing of Lisa Mallett must be given special mention as it floated throughout the theatre, and Natasha Jayetileke's Draupadi was every bit the strong-whilst-feminine woman of the story. 

In staging and set design, less is more was clearly the operative thinking - which is by no means to say it was minimal or sparse, but instead well judged, tastefully designed, and effective. The most complex visual effects were executed by means of pieces of cloth, lights, and mesh screens, proving that lasers and video screens are rarely necessary to create the magic of the stage. 

It may just have been because it was Tuesday night, but sadly the Alex seemed to be barely half-full - if you have no evening plans for any night the rest of this week, you could do little better than to catch it whilst you can.

#birmingham #reviews #AlexandraTheatre

In group Birmingham

misty's big adventure + restless list + kategoes... - jug of ale, moseley, 22/11/2006

simon gray - 2006-11-22, 13:15:28

If you like your popular beat combo concerts to feature fresh, genuinely original, and slightly off-the-wall music performed by bands who are accomplished musicians, composers, and songwriters, and where you can tell their reason for performing is the shear joy they feel in playing together and for you (rather than the band being a vehicle for satisfying egos, like so many rock-legend-wannabes), then last night's packed out upper room at the Jug of Alewas certainly for you, and certainly for pretty much everybody there as well. For me it was without doubt the best pub gig of the year, and almost certainly one of the best for a long time. 

Normally when reviewing I treat each band individually - and certainly each of these three bands could have made a good show if it was they who were headlining - but in this instance as well as credit to the acts, credit is also due to Arthur from the Catapult Club for putting together three bands which, each very different in their own way, complemented each other perfectly to make a show which was even greater than the sum of its parts. 

KateGoes... have only been together for about a year, were breaking in a brand new bass player last night, and are probably the youngest group of musicians I've seen play together since my youth orchestra days - and showed all the musical maturity and performance flair you would expect to see in a band on the main stage at the Academy. The stage look is quite (and I hope they're not cross with me for saying this - especially the blokes...) 'girly hippy', but the music combines elements of punk with primary school nursery rhyme with ballad with complex (for rock) rhythms and time signatures, incorporating instruments as diverse as a squeaky dog toy and a violin as well as guitars and keyboards. The songs were a perfect combination of funny with serious, and the occasional bit of sad, displaying the kind of child-like humour which if you're a fan of David Mitchell and Robert Webb will be right up your street. A nice touch was the way they set up the stage with living room / den paraphernalia such as beanbags, photographs, table lamps, and flowers - after a long tour, KateGoes... Home!

Restless List were last night a duo, having come all the way up from Brighthelm, Sussex on the Megabus (reminding me of one of my old band's fortnightly residency many years ago at the Sir George Robey in Finsbury Park where we travelled down on the train and the underground carrying the entire band's equipment in a shipping trunk!). Their genre is what used to be fiendishly difficult to pull off live (especially in a pub setting) but is now becoming gradually doable, electronica / 'laptop sounds' combined with live action, fully interactive rather than the karaoke you often get with this kind of thing. The pair of them between them produced a massive sound, crossing trip-hop without the hop (or should that be trip?) with the raw energy of The Prodigy, layered with the orchestral collages of a James Bond soundtrack. My only criticism of them would be that when they thought they'd fluffed a song, they didn't need to tell us about it - we didn't notice, and if we had we didn't need reminding about it... 

Lastly, Misty's Big Adventure, the band my friend in London has been urging me to see for getting on for two years - and like all her musical recommendations, turning out to be a thoroughly reliable one. The choppy rhythms and the sax and trumpet give them a bassline sound which recalls the ska beat of The Specials, but well updated for the noughties, but the tuneful sonorous baritone voice of lead singer Grandmaster Gareth recalls more The Divine Comedy; the comparison goes further with each of the songs being mini stories to be told, observations on life, the universe, and everything. Each song was relatively short, but in those 3 minutes nearer ten minutes of music were packed, with plenty of mayhem and jazz to be added to the lyrical melodies. Like Restless List and KateGoes..., any attempt to draw comparisons with other more famous artists just seems inadequate - really, they're in a class of their own. 

Finally a word has to be said about the sound engineer for the evening - every note of every instrument and every word of every song could be heard with total hi-fi crystal clarity; difficult enough at the best of times mixing keyboards with guitars with vocals where the words matter, but especially tricky with such complex multilayoured sounds from three entirely different bands. This was truly an artist of the sliders at work. 

I look forward to following the inevitable rise of all their careers in due course.

#birmingham #reviews #JugOfAle

In group Birmingham

pravda - a fleet street comedy - birmingham repertory theatre, 03/10/2006

simon gray - 2006-10-03, 13:09:04

First written and performed in the mid-80s, Howard Brenton & David Hare's Pravda is a newsroom satire, focussing on both the journalists themselves and their newspaper proprietors; it's not hard to see at the front of the authors' minds was the still-relatively-recent takeover by Rupert Murdoch of The Times, and the concerns many had about that of whether he would send it downmarket in the direction of The Sun

The story proper opens in the editor's office at the Leicester Bystander, with the staff, in the middle of trying to put the paper to bed being sent into turmoil at the news they are about to be bought by South African media magnate Lambert LeRoux (Roger Allam). Our 'hero' Andrew May (Oliver Dimsdale) is immediately promoted to editor, and LeRoux marches onwards. 

As a journalist reviewing a satirical play, one almost feels on slightly dangerous ground when the play is a satire on journalists - especially when one of the cameo characters in the play is the drunken theatre critic who writes his review without actually seeing any of the performance! It's analogous to the situation of those who write letters to the paper prefixed with the comment "I know you won't print this but I'm sending it anyway", in order to try to shame the editor into printing it. By being critical of a play critical of journalists, you're almost inviting a response of "well you would say that, wouldn't you". 

And, I have to say, I wasn't that impressed with the play. Sure, it had its amusing moments, but the satire was no near as biting as it was in Drop The Dead Donkey (which surely must have taken some inspiration from Pravda). There were dodgy accents abound, with Michael Begley's Eaton Sylvesterbeing just about the worst attempt at Australian I can remember for a long time, and although John Woodvine demonstrated his acting skill by playing a number of small roles throughout, it did set the audience up for confusion, because we couldn't be sure when other actors appeared in a different scene whether or not they were going to be different characters - especially when their accents slipped! At times the action became confused, either because things happenned too fast or because a new character's equally speedy introduction and departure wasn't properly explained. Most surprisingly, given the impressive CVs of nearly all the cast, some of the movements were a little on the wooden side, and right from the opening scene I was reminded of the school play instructions to never turn your back on the audience. 

Perhaps that paragraph above is a little over-harsh, though maybe not as harsh as other reviewers were during its run in Cheltenham, and although I couldn't recommend it I certainly wouldn't say it's not a fun night out. My thinking is perhaps best summarised by the words of a former colleague I bumped into on the way out - "I'm not sure what I was supposed to be learning from it". 

I can't say whether I would have thought it funny or relevant had I seen it in its day, but 20 years on, I don't think it has dated particularly well.

#birmingham #reviews #theRep

In group Birmingham

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