Cock, Traverse

John is in a gay relationship, but he isn't happy.  He leaves, becomes sexually and emotionally entangled with a woman, but then can't decide between what he had, and what he could have.  Bringing both his potential partners together, he tries to resolve the issue, causing much pain to the others in the process, but can he ever make up his mind?  Does John know who he is, or is that an artificial question put upon him by social mores?

A stripped back performance with no scenery or props, all is suggestion and nuance.  Other than the lead the characters are anonymous, being known simply as M for Man, W for Woman, and F for Father (the father of the Man joins the party to add his wisdom and emotional baggage to the melee).  Breaks between scenes are enhanced by dance routines that heighten the sense of insecurity and uncertainty, further revealing the gaps in understanding that the conversations throw up.

Although John's dilemma over the nature of his sexuality is a core theme, and highlights the pressures we create through binary models of expectation, and the prejudices of society against anything perceived as being outside the norm, the overall themes are more universal.  This is about the difficulties people experience in making any significant changes to their lives, the comfort of the known versus the excitement of the new, and the internal dialogues we indulge in to try and overcome our fear of uncertainty.  It's about how we form, maintain and end relationships and the hurt we can cause in the process when we blunder through our own and others emotional landscapes.  And it's about the sensation and irrationality of love and passion and our inability to make sense of what can be the most overpowering emotions we ever experience.

For such a sexually charged performance it's remarkable that only once did two actors actually come into physical contact with one another, and then only briefly.  There is one of the most erotic sex scenes I've witnessed on stage, yet both actors simply stood facing the audience, side by side, and narrated their own sensations and words during the act.  A tribute to the high quality of the acting, writing and direction.  There are four strong performances and I particularly liked Johnny McKnight as Man, with the manic intensity of a very camp Rik Mayall.

Despite the depth of the emotions on view, and the anger and frustration that's often present, there are plenty of laugh out loud moments to relieve the pressure.  I think it would have been interesting to poll the audience immediately afterwards to find which character they felt most sympathy for, with the results varying widely depending on people's own experiences in life.  A solid case could be made for any one of the four.  Personally, and speaking as a serial procrastinator, I felt for John amid the pressures from all sides telling him to decide what shape of peg he was so he could be slotted into the board of life.

Enjoyable, compelling, thought provoking, life affirming.  Highly recommended.

Rob Heron and the Tea Pad Orchestra, Traverse

An old time Country and Blues and Western and Boogie Woogie band, committed to playing the music of America's past.  And all the way over here from the North of England.  Still, the music's the real thing, isn't it?  Well, sort of....  Although there a few old-time numbers thrown into the mix, most of the songs come from Heron himself and it's the clever arrangements, and their obvious love for the genre, that give the performance a thirties sound.

Led by Rob on lead vocals and rhythm guitar, the rest of the five piece band play double bass, lead guitar, piano accordion and mandolin/banjo/harmonica (there's usually a drummer too, but he was otherwise occupied).  They look young, they look the part, and, as one of the songs states, just because they've never been to Tennessee doesn't mean they can't honky tonk with the best of them.

With two albums behind them, and another recorded and due for release this June, they have a good catalogue of songs to call upon.  There's a few slow numbers, but for the most part the repertoire is upbeat, catchy and fun.  Which sums the band up well, for it's always good to watch a group of musicians who so obviously enjoy what they do.  The lyrics frequently surprise, with modern topics addressed.  You don't expect a Woody Guthrie style protest song to be about HS2!

Heron isn't a natural raconteur, but does a good job of providing fillers between numbers that are both informative and amusing.  He's a very likeable stage presence, and has a strong and adaptable voice that fits the music perfectly.  Musically the whole band is tight, accomplished and imaginative, with solos, even from the bass, never flagging.  Whilst there were no weak links, the stand out for me was the shimmering harmonica accompaniment and solos from Tom Cronin.

Finishing on a singalong atheist gospel song was the perfect way to end the set.  If you like good-time, toe-tapping rhythms and a fresh take on some classic music styles, all delivered with exuberance and quality musicianship, then Heron and his men will not disappoint.