Synge & Byrne

Si's Sights And Sounds investigates Derry-Londonderry's latest "coffice", or "caffice" on the day of its official opening

Once upon a time, a Guardian staff writer coined a concise, catchy, crossover term – The Coffice. Half coffee shop, half office, hence the name, it is a word that now seems fitting for all coffee houses or cafes in existence. There's coffices, or caffices if you prefer, everywhere. Eateries and drinkeries, transformed into workplaces for the freelancing writers, project developers and entrepreneurs of our wired world, with free wi-fi, nice background music, a dependably delicious menu and a lovely window view.

The latest Derry-Londonderry coffice, or caffice, Synge & Byrne, has all of the above, and a little more: a friendly ambience and a unique aesthetic that blends both past and future elements of its city of residents to create a new monument to its surroundings. A trifle and a tribute can be enjoyed within brothers Damien & Adrian Garvey's "coffee kitchen", situated right at the top entrance of the Foyleside Shopping Centre, close to the historic walls and Ferryquay Gate. It's the third of its kind, following successful Synge & Byrne openings in Newry and Newtownabbey, and may well establish itself as the welcome, modernist "cousin" of the popular Legenderry coffice near the Guildhall Square.

Synge & Byrne, however? What a name, catchy yet comedic. When someone reads those words, he or she surely can't help jocularly suggesting that the food and drink in the cafe may singe and burn them. Although, according to co-owner Damien Garvey, he stumbled across the name purely by chance: "I was putting up bunk beds at home one night. My youngest daughter was bouncing on the top bunk, and my wife said, 'Be careful, your hair will singe and burn the lights!'"

Eureka. That was that. The name of Synge & Byrne had originated. Although the backstory runs deeper than that: J(ohn) M(illington) Synge was a key figure in the late nineteenth/early twentieth century Celtic Revival, and co-founder of Dublin's Abbey Theatre. Charlie Byrne was an eight foot tall man famed for parading himself in country fairs and on village greens in the eighteenth century.

An artistic giant and a literal giant, with names that wouldn't sound out of place when spoken in the food business. It really does work well.

The logo (pictured above) represents the historical Synge and Byrne as a kind of yin and yang, a two headed schizophrenic beast. "One is modern and one's traditional", says Damien. "It's like looking forward and looking back at once, and it encapsulates what we're trying to do with an artisan cafe that resembles both sides of who we are in Northern Ireland."

As owners of O'Briens, the Garvey brothers have already been operating in "Stroke City" as businessmen for nearly seven years, and they find it a fantastic city for business. To them, it is small, but very proud and vibrant, the ideal place for another “coffee corner” - for Damien, the events of the City Of Culture year and Music City attest to that.

"Each cafe must find its own environment, and here we've found somewhere to develop the musical and culture side, where everyone from the shopping centre and the centre of the town can get involved. We've opened, we look good, but that's the easy part – keeping it going for the next ten years is the hard part."

It is left for me to sit back and enjoy a Synge & Byrne coffee in the corner of this "coffice" while hoping that the Garveys' latest venture pays dividends for both brothers and this historic city. Read more...

We've Made It Happen: Our City Of Culture 2013

A message from the editor on the final night of a momentous year for Derry-Londonderry

My fellow City-Of-Culturistas...

This is the 92nd time I'm going to be posting to you from this website in 2013, and the last. The end of this Legenderry year, as we've liked to call it, is almost upon us. It has been a pleasure, a privilege, and a downright honour to be one of your "correspondents" in writing and photography in this city, this year. Many of you have spoken to me and said, "well done", but I could say as much to you, if not more. But before the year ends, I'd like to share some thoughts with all of you in relation to this lovely city we live in.

I can still recall when, as a slightly younger man who didn't quite know where his career was going, I first heard when Derry-Londonderry was up for this inaugural cultural honour. It was there when I realised, like no doubt many of you did at the time, that I could make a difference, and passions for both writing and photography that I once thought were on the verge of dying were reawakened.

We won the honour. We had our moment. And now, two and a half years later, the city's cultural landscape shines strong and tall in a Silver City Risen from darkness to light. A new vision and a new legacy, created by the fittingly titled Sons And Daughters of Derry-Londonderry, so many of whom swept us up in a tidal wave of musical glory near the start of this remarkable year.

That, of course, was only the beginning of a series of standout events that defined Derry-Londonderry, so good they named it twice, as a thriving arts and cultural landscape. But it was, and is, more than that, of course.

When watching Finding Nemo for what seemed like the umpteenth time recently, seven words in the screenplay truly resonated with me: "When I see you, I see home." Seven words that are worth a thousand in the context of Derry-Londonderry, for it might not have been, and still might not be, the best place in the world to everyone, but it is our place. We created it. We are in tune with absolutely everything about it: people, landscapes, landmarks and opportunities.

And to my pleasant surprise, that was exactly how Derry-Londonderry felt to just about every tourist and traveller I’ve met on my travels around the city throughout 2013. We are a City Of Culture, but we are also a City Of Community and Great Company.

During these last twelve months, I've made it my aim, in some way or another, to both develop as a cultural writer and bring you the best from the City Of Culture 2013. Last year, Si's Sights And Sounds was born, and continues to thrive today. But it never belonged to me. It belonged to you, the people who provided me with the material to write about. I spread the word, but you made the words. I was just the messenger, someone who was lucky enough to be in the right places at the right times. The real heroes of Derry-Londonderry 2013 are the people as a whole, the technicians, artists, actors, directors, writers, photographers, musicians, spectators and so on who made it happen, men and women who relayed a continuous cavalcade of sights and sounds to a global audience. Without the people, the cultural "delights" we praised would not have had the heart and soul that they undeniably did.

No doubt, you will ask me if I have regrets, and I do. The economy is one of them. As much as Derry-Londonderry has flourished on the surface, there is the clear and present fear that the city is, in reality, dancing on a volcano, and that the lack of job opportunities may force many of our great talents, be they newly found or established, to look elsewhere. Tonight is no night for dwelling on that, but another significant matter ought to be addressed: what will we do now our year in the spotlight is over?

With that in mind, I refer to what was done with the famous Crystal Palace after the Great Exhibition of 1851: remove the building blocks of a short-term success and relay it for the long term. Even with both Ebrington's Venue and the Turner Prize Exhibition on their way down and out, respectively, there remains the chance to cement the whole of Derry-Londonderry as a cultural city by the people, for the people. Because that is what it should be, if it isn't already. Our newly found momentum must be carried well into the future, for there remains the danger of living in the moment and not considering the long-term consequences. Even if a feeling of "could do better" exists in the Derry-Londonderry air, what also exists is a genuinely warm, winning and welcoming spirit that will surely endure.

It has also been asked that, as big as a certain Big Weekend was, was there really a need for it? And the answer, in my view, is a resounding Yes. Not everyone was fortunate enough to live the experience at the Prehen Playing Fields nearly a decade ago, and this truly was Big. Even the music, to me, was almost irrelevant; what we saw during those nights were unprecedented levels of confidence, light and unity spreading around the city. All may not really be hunky dory in this current climate, but for the audience on those days, all was. They wanted big moments, and we delivered. Sons and Daughters. The spectacular Political Mother. CHIC, so good he came twice. The Fabulous Fleadh. Music City, especially the Sky Orchestra. The inaugural Walled City Tattoo. The Return Of Colmcille. Lumiere. And many more. Events that told the tale of a city both in touch with what made it what it is, and the wider artistic world.

Even something as simple as a tweet or a Facebook status update could reach out and touch thousands, millions even. My own City Of Culture status updates were inspired by legendary American actor Stan Freberg, but who, or what, inspired you? You may have found such things as the cobblestones on London Street, and the views from the walls, as inspirational as anything you could read. That's a cultural strength for you; inspirations, assets, success, from the least likely of places. And there have been many of those.

It's been a year of contrasts, a year of history. And one night, as I looked across the River Foyle at the illuminated STITCH IN TIME sign, an endeavour of industrial light and magic that stands proud and tall over everything around it, I found it hard not to contrast the numerous aspects of the city. The big and the small, the past and the future, the understated and the grand.  It is not merely, as Ronald Reagan put it, a "shining city upon a hill", but a city at sixes and sevens, as skilfully illustrated on one memorable summer night at The Guildhall.

A Stitch In Time may symbolise several of the things in this city, be they factories, craft or camaraderie. But we must not allow this year to remain a mere stitch in time, a footnote to be cast away into the forgotten annals of history. Better, instead, to think of what At Sixes And Sevens, and indeed every single cultural endeavour in 2013 illustrated: we have made history, and we have history, still, to make.

There isn't one aspect of this city that I take for granted today, from the wide open space in Ebrington Square, to the numerous art galleries, to the walls, to venues both indoor and open air, to the spectacular foot and cycle bridge that has symbolised our city for more than two years. We've made it happen. We, the sons and daughters of Derry-Londonderry, have made the city what it is.

And here's to carrying our spirit and soulfulness through to 2014 and beyond.

Happy New Year to all of you. Read more...

The Walled City Tattoo 2013: A Performer's Point Of View

In an interesting turn of events, Si's Sights And Sounds found themselves backstage for Derry-Londonderry's first ever Tattoo. Our writer recounts his experience as a performer of the Londonderry Musical Society on opening night

What is the first thing one thinks about when he or she hears the word "tattoo", apart from the body marks that seemingly have little to do with the spectacle that will lie before our eyes tonight?

Well, would you believe, the Tattoo as we know it is actually derived from "Doe den tap toe" or "tap toe", which is Dutch for "last orders" or, more literally, "close the beer tap". Adopted by the British Army during the War Of The Austrian Succession as a means of signalling the closure of taverns at night, Tap-toe, later Tattoo, eventually came to symbolise not just the last duty call of the day, but also a form of ceremonial entertainment performed by musicians in the military.

This brings us to the Tattoo we all know and love... The Royal Edinburgh Military Tattoo, which emerged from "Something About A Soldier" at the Ross Bandstand in Princes Street Gardens in 1949 into a sell-out extravaganza attracting over 200,000 viewers worldwide. It's an integral part of both the Edinburgh Festival and the international cultural calendar - rows and rows of seated spectators seemingly reaching to the sky, lost in a delightful medley of worldwide culture amidst the epic background of Edinburgh Castle, The Royal Mile and the beautiful city itself. To many, something of that magnitude in Derry-Londonderry this year was more than a recommendation. It was a necessity.

And, largely through the efforts of one James Kee, it has become a reality.

I had always wanted to go to the Edinburgh Tattoo; now I'm set to experience the next best thing. Except I won't; at least not quite as I imagine. As a performer, a member of the Londonderry Musical Society (LMS) choir, I will find myself the equivalent of backstage almost all night as the citizens of our Maiden City and beyond soak themselves in the Celtic song and dance that surrounds them, a one-night cross cultural celebration to be repeated four times over.

Prior to arriving at Ebrington Square and the Venue, I deem a "private" warm up necessary, and so do up the final button up on my shirt before a thorough vocal workout with the best of - what else? - The Divine Comedy. It turns out that the pitch could be better on my rendition of "Tonight We Fly". No matter, perhaps tonight, we will be flying on stage in front of all those people.

Something's still not quite right as I stroll down St. Columbs' Road towards the now famous square. The buzz is brilliant, as it has been with all City Of Culture events, but the humidity's getting to me. Rehearsing in icy temperatures last night convinced me to put on an extra layer today. It's a decision I already feel I may come to regret.

I haven't worn a flower of any kind since my brother's wedding last year, and the flower we all must wear tonight - a red one - is as tough to put on as you'd expect. I'm almost as annoyed that I missed the BBC report on the Tattoo - still, knowing that you and your society are part of a significant event in the local news is always a major confidence boost.

If good ol' Auntie's interest wasn't enough of a reminder of what's at stake, the headline act for the night, the Top Secret Drum Corps from Basel, are battering away in the centre of the Venue as we change backstage in the giant tent. These no-longer-so-top-secret drummers - they're world famous, with a recent anniversary tour taking them to Tattoos in Quebec, Moscow's Red Square and Berlin - are tossing drumsticks in the air, testing rhythms, and above all, really enjoying themselves.

Ah, enjoying oneself. The very thing that our vice-chair Margaret McPhillips is advising every single one of us to do after our final practice rendition of the pieces we'll sing tonight. The words "cool" and "calm" seem invented for this remarkable young woman, considering the pressure that is surely on her shoulders, let alone ours.

We haven't much time to ponder our surroundings, as I'm called outside to practice the male harmonic parts of "Danny Boy" with the rest of the male choir members. Sacrilege though it may sound like, I've never fully grasped this Derry air... maybe it'll just come to me on stage? It'll have to... before we know it, it's time to march outside and get ready to enter the limelight.

The very moment I walk through the Venue's front doors and out into the open, it hits me - humidity and light has metamorphosed into cold and dark in what seems like a matter of minutes. My wisdom in wearing that extra layer has been vindicated. And... what's this I hear as I stroll down to the Square with my colleagues? It is the sound of everything I have heard, on both TV and YouTube, that has relayed the Edinburgh Tattoo to my ears. Although the vibrant movement of the dance troupe - co- choreographed by Georgina Kee, daughter of James - and the sight of all the bands are invisible to my eye, the "wow" factor remains.


And why shouldn't it? The sound alone creates the images of bagpipes, dancers, even guitars in the brain; a visionary spectacle one can only look forward to seeing, a stunning fusion of Irish-Scots culture with a bit of popular music tossed in the mix... which includes the theme tune from, of all films, Police Academy. Opinion is divided on the puerile comedy in the film series, but few doubt that Robert Folk's composition is a classic.

Corniness nearly gets the better of me, as I am overcome by the temptation to salute the musicians around me backstage. Although, with military marching songs being played, and the Hymn To The Fallen from Saving Private Ryan in my head, can you really blame me? John Williams' tune is, after all, the song we're about to sing. Despite the enormity and importance of the occasion, everyone in the LMS is very composed. Some take a chance to sit down and catch their breath, others gossip amongst themselves... we know all we have to do is get up on that stage and perform, and then we can look forward to returning for the finale.

I feel that when performing the more classical pieces in a choir, the focus must be on getting them exactly right - concentration, thoroughness, pitch and level of sound must be paramount. I think it is safe to say that everything goes according to plan as Hymn To The Fallen, conducted and arranged by Noel Barr and also featuring the St. Joseph's Brass Band as well as the LMS, starts and ends quicker than expected. The weather is dry. St. Columb's Cathedral and the Peace Bridge are lit up in the distance. The Square, which represents more of an arena tonight, is bathed in red and violet light. The stands are packed. But I've barely time to take it all in as my concentration must be on Barr and Barr only. We do have our music to fall back on for the song, but light is strangely absent on stage, making it very, very tough to read it. It matters not, though... it looks like everyone is pleased with the performance, and now we've some time to kill before the finale!

Some immediately turn their attention to the crepes stand, some hop to check out the merchandise. Personally, I sort of regret that I'm not able to stay behind on stage and enjoy the firecracker that is Zara Montgomery... seconds after Hymn To The Fallen dies out, she launches into a version of Proud Mary that couldn't be more of a contrast to the song that preceded it. At least I can take in the sound of it all while enjoying the company of friends.

For the uninitiated, Montgomery is one of the multi-talented Sontas, a ten-piece group of singers, dancers and musicians that have earned a reputation around Ireland for turning Irish-Scots trad on its head. They have infused bagpipes, keyboards, guitars, dancing and vocals with contemporary spirit and remarkable energy levels. In many ways, their success is the epitome of this Tattoo - if the pipe bands, military drummers, choral singers and Irish dancers and so on provide the bedrock, Sontas provide the vitality. And despite the wonderful athleticism of the Afrikan Warriors, and the extreme professionalism of the Hardly Top Secret Drum Corps, it is Sontas' vocalists that are to linger longest with me at the end of the night.

Montgomery and fellow Sontas singer Karol Harvey do more than bring poignancy and energy to John Farnham's "You're The Voice" and Stephen Foster's "Hard Times Come Again No More" respectively. They take the songs and make them their own; Montgomery has the poise, presence and precision of a human dynamo, and Harvey's take on Stephen Foster goes as far as bringing a tear to the eye.

Better still, the LMS has the privilege of participating in "You're The Voice" - even if we only get to sing the chorus. By this stage, it is more about "letting yourself go" in the atmosphere, losing yourself in what by that stage amounts to a certified level of hysteria. A steady rainfall is forgotten about as Culture Company CEO Shona McCarthy acknowledges me, delighted at how well the evening has gone so far. She's right to be optimistic - I suspect the evening has gone so well that there's some kind of "magic" in our voices. What other reason can you offer for the rain stopping the very moment Montgomery begins to sing?

Our full concentration is called for again sooner rather than later as the opening chords of "Danny Boy" are heard. No excuses now - we must sing it without the words. And sing it we do. What I find most remarkable about singing with accompaniment - singers, instruments or both - is that your colleagues play an invaluable part in removing all fear of forgetting the music or lyrics. Their voices and presence guide you along, allowing you to coast swiftly and smoothly throughout your performance without feeling a twinge of intimidation from the potentially spectacular sights around you.

As "Auld Lang Syne", fireworks, and a touching voiceover signal the end to the evening, we can rest well in the knowledge that we have played a major part in Derry-Londonderry history. Like the first ever UK City Of Culture, the first ever performance of the Walled City Tattoo has set a high benchmark for future Tattoos, and future Cultured Cities, too. The "great sea change" that Seamus Heaney hoped for no longer seems a pipedream.

The Walled City Tattoo continues until Saturday August 31. Tickets are still available for Saturday's performance. For more information, visit www.walledcitytattoo.com. Read more...

The Wile Big Derry Phrasebook - City Of Culture Edition

A guide to Derry-Londonderry lingo gets revised and updated to coincide with the 2013 celebrations. Read and hear all about it

The Wile Big Derry Phrasebook is a rib-tickling cross-section of the many colourful words, sayings and expressions to be heard in the Derry area, all captured lovingly by social historian, musician, songwriter and proud Derryman Seamus McConnell, who sadly passed away in 2010.

A new revised and updated edition is to be launched this week as "the definitive compilation of the wit and wisdom of generations of Derry wans" in the City Of Culture, presented in a lavishly illustrated book for all to share and enjoy.


In the original foreword to the last edition, Seamus McConnell wrote:

"About 1981, because of my general interest in the history of Derry and its people, I got the idea to jot down some of the very humorous sayings unique to our city.

"As time went on, I began to take seriously the idea of compiling some sort of 'dictionary' of Derry words and phrases, with the vague hope of having it published some day. So around 1984, I got down to some serious research: eavesdropping on people's conversations, skulking around crowded places like supermarkets and football matches, notebook at the ready, picking up phrases here and there (wakes turned out to be a rich source of material). Talk of the Town, first published in 1989, was the end result of all that nosing around.

"For a while I believed that I had published the cream of local expressions, but I kept hearing more and more. One day I was sitting in a local café and I couldn't help but overhear two ladies 'discussing' a neighbour's little boy and because it sounded so funny I decided there and then that a second book was a must. So The Folly Up was published in November 1990.

"That had to be it, I thought at the time. But there was still so much out there, I couldn't help writing it all down. Collecting local patois had become almost an obsession. Every time I left the house, I found myself seeking out more. I wanted to produce a definitive 'Derry Dictionary' – The Wile Big Derry Phrasebook – the complete collection of Derry’s very own words, phrases and linguistic peculiarities. Except, of course, for those held back for the special millennium edition in 2000."

Here's additional input from McConnell's brother, Hugo, and daughter, Rachael:

"...Or that's what we believe Seamus would be saying if he was still with us. He never did lose that obsession of eariwiggin' on people's conversations. And if he'd been around to welcome the inaugural City of Culture 2013, along with the rest of us Derry wans, he would have considered it his civic duty to ensure that all visitors to our great city would have an updated, ultimate (plus one), definitive (perhaps) Wile Big Derry Phrasebook. 'Cos that's just the sorta person Seamus wuz.
           
"A naturally modest and quiet man (well, in comparison to the rest of the McConnells anyway), few are aware of the wealth of talent possessed by Mr Seamus McConnell. Not only was Seamus a prolific writer (much of his work never seen by the public eye), he was first and foremost a very gifted musician and featured heavily on the music scene in Ireland and beyond, from Showbands to Blues, from Skiffle to Jazz, from the 1950s through to the 1980s.

"Slowing down in his, dare we say it, more mature years, concentrating more on recording, arranging and producing, he amassed an extensive back catalogue of songs and instrumentals across all genres, again most of which has never been heard by the public ear. Indeed, one of his secret ambitions was to have some of his music used in soundtracks on the big screen. He left behind a formidable legacy, a lifetime's work.

"We feel that this legacy should be preserved and made available for all to enjoy. So with this in mind a website, www.seamusmcconnell.com, archiving Seamus's work, is planned. In the meantime, however, a small sample of his music and both published and non-published works can be enjoyed at www.springtowncamp.com.
           
"We sincerely hope you enjoy this book and it gives you as much laughter reading it as Seamus had writing it and as we had updating it. On behalf of Seamus, we would like to thank the people of Derry who were the main contributors to this book.

"So put a bush in thon gap, get a wee sope in yur han' and enjoy!"

The Wile Big Derry Phrasebook - City Of Culture Edition will be launched on Thursday August 1 at 7 pm in Derry-Londonderry's Central Library. Published by Guildhall Press, the book is available from all good bookshops, and direct, from www.ghpress.com. Read more...

We Have Made History... And We Have History Still To Make

Si's Sights And Sounds reflects on Derry-Londonderry 2013 to date, hailing the city's achievements, identifying areas for improvement and looking to the future. Featuring Highlights Of The Cultural Year So Far

It's been said that the strength of a person, or people, is not defined by how he, she or they prepare for everything to go right, but by how he, she or they stand up and move. And that is exactly how Derry-Londonderry is being judged just over half way through the City Of Culture year.

Watching that Voices video (below), which never gets old despite the Peace Bridge being far from complete at the time, reminds one how full of hope and ideas we Derry citizens seemed to be at the time of our City Of Culture triumph back in 2010. As I noted last New Year's Eve, we were basking in an optimistic glow akin to Obamamania. Just Say Yes was our Yes We Can, except No We Hadn't. Not then.

But today, we can take much more than mere comfort in looking back at the numerous positive experiences of Derry-Londonderry 2013 to date.

The New Year fireworks were suitably spectacular. Three times, the city was a record breaker, firstly with the BBC Red Button on Sons & Daughters, secondly with the numerous Annies who packed Ebrington Square, and thirdly with the Brides Across The Bridge. Political Mother blew our minds. The Music Promise has benefitted, and is continuing to benefit, many young people. Almost 40,000 lined the streets for the Return Of Colmcille. The Royal Ballet and the London Symphony Orchestra performed to sell out crowds. Both TV and the naked eye bore witness to iconographic imagery and numerous popular musical genres at Other Voices and BBC Radio One's Big Weekend. And there's still Lumiere, The Turner Prize and The Fleadh to come, among other things.

Everything up to and including City Of Culture 2013 has given many, including this writer, vision and drive; the chance to, as Fleadh volunteer Sheila Kearney put it, rekindle creative energy and explore new possibilities. Previously lesser known artists like Tommy Long have had the chance to exhibit, and pass on their skills to the next generation. John Peto's Digital Book Of Kells has been a valuable historical and technological learning tool for children all over the city. Entrepreneurs like Joanne Doherty of Piece Makers have told stories about the city through their products and technology.

Clearly, a lasting communal and cultural impact has already been made, stretching beyond sight and sound, and begging to be strengthened and cemented.

It is how we strengthen and cement this impact that will shape the legacy of 2013. We've created energy, an archive that will be with us forever – but what will we do with it? And how will we build on it?

To these eyes, Derry-Londonderry's maximum potential has yet to be fulfilled. An improved transport system, despite the reopening of the train line, is still called for. Some events have been better publicised than others. And I retain my belief that we can more than take a leaf from Our Friends In The East and encourage the many musicians who play in Belfast to also play in Derry-Londonderry. Venues such as the Nerve Centre, Masons and Sandinos are more than capable of regularly exhibiting the best in popular music to all of us. The Jazz Festival is proof of this.

Furthermore, we all know that Ebrington's Venue will not last beyond the end of the year. So how will we go about continuing its success? While a permanent arts venue of similar size would be ideal, it's also a pipedream in today's economic climate.

The multitude of memories and monuments, including the Peace Bridge and the new Guildhall, have been major steps in the right direction, but more needs to be done if the pleasures of the City Of Culture are to become truly substantial. Derry-Londonderry is full of dreams and possibilities, but not everyone has been or will be fortunate enough to experience these.

As convincingly illustrated in the above video, City Of Culture 2013 has given something to believe in, creating and highlighting the undeniable talent, sense of life and potential the city possesses. Whether we choose to create anything lasting with this potential is what will ultimately define us both as a city and as a cultural hub.

We have made history... and we have history still to make.

* * * * *

HIGHLIGHTS OF THE CULTURAL YEAR SO FAR...

FILM

Jump: A highly effective, unpredictable mood piece where the "buzz" and "excitement" surrounding our protagonists, (a suitably world-weary Nichola Burley and an excellent Martin McCann) isn't enough to drown out the lifelessness and soullessness they clearly feel.

Good Vibrations: Glenn Leyburn & Lisa Barros D'Sa's chronicle of Belfast punk Godfather Terri Hooley. A well-paced, consistently riveting and at times bitingly funny tale about chasing one's aspirations in extremely turbulent times, featuring a powerhouse performance from Richard Dormer in the lead role.

THEATRE

Annie: The extraordinary talented leads and ensemble of the Londonderry Musical Society sing, speak, shout and scene-steal their way to success in Deigh Reid's highly enjoyable take on a classic show.

Re-Energize: Playwright Gary Mitchell, director Conall Morrison and their cast play with and subvert a cliché-ridden scenario, creating a "rock play" worthy of its title. This one's less about the band and more about the bond.

LOCAL MUSICIANS

Excluding the more established favourites like Paddy Nash, Neil Hannon, Paul Casey, Bronagh Gallagher and The Undertones, here are a series of local singers/artists who have really caught the eye so far this year.

Honorable mentions: Intermission, John Deery And The Heads, We Are Aerials.

GRIM: Otherwise known as Laurence McDaid, his brand of quiet punk reminds one of an angst-ridden Ian Curtis and the surreal humour of Thomas Truax. It's not for everyone, but it makes a strong impression.

Our Krypton Son: Composed, dependable and accomplished musicianship, a deceptively sullen demeanour masking the versatile and sometimes upbeat blend of rock, jazz, country and pop that Chris McConaghy, aka Our Krypton Son, is capable of.

Little Bear: They got their big chance at Other Voices Derry and grabbed it with both hands. Grounded, eclectic, easy to listen to and positively entertaining, Steven McCool and his no-longer-so-little bears are deservedly set to continue making waves on the local music scene and beyond.

The Clameens: Pete Doherty's a fan! And when you listen to single "She's Got My Heart" and watch them perform live, it's easy to see why. Their catchy riffs and inspiring on stage chemistry remind you of Franz Ferdinand in their pre-fame prime, and is tailor made for both clubs and arenas.

SOAK: Both charming and surprising in her graceful simplicity, sixteen-year-old Bridie Monds-Watson has already proven herself capable of providing something for everyone; pleasant, delicate, clear & unforced vocals, remarkably mature guitar playing, and a close-to-home, easy-going sense of humour.

Best Boy Grip: Not just an accomplished pianist, Eoin O'Callaghan is also a terrific songwriter, repeatedly matching catchy and/or entrancing melodies to risque, devious and intelligent lyrics worthy of one of my (and surely one of his) idols, Neil Hannon.

Mairead Carlin: Her vocals and stage presence are impossible to forget. The words that I used to describe her performance at Sons & Daughters still stand today: "Pitch perfect... sweet without being syrupy... powerful without being overbearing... optimistic... humble... genuinely spellbinding. Honestly, what is not to like?"

EVENTS

Music City: The Sky Orchestra: The sight and sound of six balloons on my doorstep that Saturday morning was truly something to behold.

North By Northwest Festival: One of two festivals (the other being The Big Weekend) that gave Derry-Londonderry's music lovers something to believe in again, providing a vast array of local folk, indie and rock talent for all to enjoy.

Home Grown: Three of the city's best known musicians - Paddy Nash, Bronagh Gallagher and Paul Casey - kicked off the City Of Culture year in style. What better way to crowd and energize the Millennium Forum than with a concert that both brings people together and embraces local roots?

Columba Canticles: This quietly uplifting, exquisite and melodic narrative concoction will probably be best remembered for the version of Jerusalem that preceded it; but the stellar musicianship on show at St. Columb's Cathedral that night should not be forgotten either.

Other Voices: Opening Night featured SOAK and Neil Hannon; Night Two featured Bronagh Gallagher and Marina & The Diamonds; and the Final Night featured Little Bear and Beth Orton. What an interesting, eclectic and sometimes exciting mixture of talent we were treated to at the Glassworks. We were lucky to have it.

Macklemore (One Big Weekend): This was awesome. Need I say more?

At Sixes And Sevens: A lively musical chronicle of Derry-Londonderry's past, present and future that offered excitement and elegance in equal measure.

Elvis Costello: The English crooner rolled back the years with a seasoned, slick and stylish Derry debut. Who will forget "She"?

Neil Cowley (City Of Derry Jazz & Big Band Festival): The UK City Of Culture's musician in residence, and his band, provided a thunderous euphony of contrasting jazz styles. Cowley may not quite have the musical reputation of Billy Joel, Bruce Hornsby and Sir Elton John, to name but a few, but his tempo, commitment and humility surely exceed them all.

Pink Martini: Again, sheer awesomeness; and it wasn't just the cinematic and televisual musical storytelling of China Forbes and her ensemble. It was the sight of everyone wanting to conga in the aisles of the Millennium Forum.

Sons And Daughters: Much more than a concert; a stylish celebration of musical talent both young and old, an artistic exhibition for both the Maiden City and Ebrington's Venue on both the national and international stage.

Political Mother: Original, innovative, multi-layered, consistently kinetic and, above all, exciting, Hofesh Shechter's piece drew upon a series of cultures, instruments, voices, movements and beats to create a music and dance spectacle worthy of the status Derry-Londonderry has achieved. It was an audio-visual treat, a series of stunning sights and talented artists that were impossible to look away from, where numerous cultures intersperse with one another to create a sometimes haphazard but overall unforgettable kaleidoscope. In other words, it was the perfect fit for these turbulent times, and it set a standard for entertainment in this cultural year that has yet to be equalled at the time of writing.

Read more...

Welcome To Colmville!

For one day only, Derry-Londonderry gains a new name...

The sound of roaring thunder is heard from behind the front of a large wooden "box" outside the entrance to the Guildhall. The mood of the numerous crowd members scattered around the square is as eager and excitable as it is impatient, with curiosity about the contents inside "the box". The joyousness is matched only by the slight discomfort caused by the sweltering conditions, with the need for ice creams, cold drinks and sunburn avoidance at what seems like an all time high.

We, the people of Derry-Londonderry, are not used to this. Not just the weather, but also the publicity. Amateur and professional photographers are searching for the best spots near the box. A BBC presenter and her cameraman have travelled from Nottingham to be part of the occasion. Forget One Big Weekend, this is the event that the first ever UK City Of Culture has clearly been waiting for.

Then, it happens. The Josef Locke tenors rip off their security jackets and burst into quite a special mix of song and mild dance. Part operatic, part Fred Astaire (top hats and all), their rendition of "Hear My Song" elicits loud cheers from everyone. Not quite as melodic, but equally as pleasing, are the antics of the two workmen who try to open the box with a hammer and drill, that is, when they're not improvising with those tools. Eventually, the lid of the "box" slowly comes down to reveal... a book? The cover of a dusty book, with large cobwebs all around it?

But this is not just any old and dusty book. It's the Book Of Kells, an illuminated Latin manuscript Gospel book created by Celtic monks. Or so history would have us believe. When a little girl and a monk open this particular Book Of Kells in front of us, it is revealed to be empty.

"There's nothing in the book", a woman next to me says. "Not - yet..." I smile, knowing that the best is definitely yet to come. And that is indeed the case. Jaunty Irish music starts to play as the monk begins to draw a large map of Derry on the right-hand page of the centre of the book. The Guildhall Square, The Walled City, the River Foyle, the Peace Bridge, the Loch Ness monster, the Gasyard, the Railway Station, the Long Church Tower, Ebrington Square... a cheer is reserved for every single recognisable landmark that appears on the map as the crowd relish both the temporary "transformation" of the city and the excitement that lies ahead.

A door - yes, a little "door" - is then drawn at the bottom of the page for the monk to literally cut open. Through the paper door, children emerge from the book to distribute maps of "Colmville" to every spectator.

Ah yes - Colmville. What is Colmville? Why, it's Derry-Londonderry, of course, for one weekend only! And for the next few hours, monks and guidebooks are to lead the people of the city through an afternoon of music, movement and the spoken word. Local history lessons, medieval food, medieval fashion and even contemporary rock are to highlight what promises to be a memorable afternoon.

As I leave everyone to enjoy themselves, I wonder what everyone's favourite memories of Colmville will be by the end of the very long day... Read more...

A New Guildhall: A New Beginning

The long awaited restoration of Derry-Londonderry's premier building is complete – and with it will come a newly engaging and interactive historical experience

One feels like a new beginning is on the cards the very moment he or she steps inside the Guildhall in Derry-Londonderry.

There is a real buzz everywhere in this old-new building, the centrepiece of the Maiden City. Project team members, contractors and city representatives have gathered to preview the restoration of the iconic structure ahead of its official re-opening to the public in less than two weeks' time.

A classical version of Snow Patrol's "Chasing Cars" is among a series of tunes heard from a quartet of violinists prior to a succession of speeches from numerous dignitaries. It's a suitably soothing and uplifting atmosphere for the end of one project, this three year, £9.5 million development, and the beginning of another.

For many a surprise awaits us when we step outside the main hall. To our left lies the new council chamber, which features a slightly-frosted glass window view overlooking The Peace Bridge. It’s a sight to behold. I am also informed that the old council chamber downstairs has been transformed into a small exhibition room, with the former mayor’s parlour almost resembling a designated tourist information point. ("Almost", in that its interactive 3-D map of the city is not yet in situ, but when installed, it will be a welcome orientation tool for visitors and tourists.)

What has happened to Derry-Londonderry's most famous building? What, indeed?

Five years ago, Derry City Council had decided that the Guildhall needed "recapturing". In their words, it needed a "bit of TLC". The chance to re-orientate the building as a function to serve both the people and the tourists was too good an opportunity to miss.

"What we’ve really tried to do", says Derry City Council's Heritage & Museum Service's Education Officer, Margaret Edwards, "is put the Guildhall back at the heart of the city."

The idea is that the Guildhall will now take its place as a key historic and civic building that will have something to offer for everyone, tourists or residents. For a long time, the Guildhall had been seen simply as a function room, a place for registering a birth, booking a marriage or holding a council meeting. But perhaps now, the building can return to what it used to be, especially in cultural terms.

"Back in the 1980s, the Field Day company were established here, and the Londonderry Amateur Operatic Society (now Londonderry Musical Society) used to perform here too – and I think that's important to remember, because the place's cultural identity has been sort of lost along the way", Edwards explains. "The building still has a civic function as both an event hub and an exhibition centre, and we're aiming to recapture that."

The new exhibition space downstairs (above), which aims to put the building's heritage to good use, is ample evidence of this, as is the new entrance and the not-yet-finished cafe area facing the Riverfront. It is hoped that such amenities and innovations will help overcome the "not really for me", "closed" and "inaccessible" impressions people have of the building, and will open more eyes to both the beauty of the structure and its standing as a musical events venue.

With that in mind, I journey to the downstairs exhibition area and am greeted by an innovative interactive debate. Three different character actors, playing an Irish woman, a planter woman and a London merchant, are speaking to me from a video screen.

It turns out they are all giving us a human perspective of the Irish Plantation Process, and then inviting the viewer to choose which particular view is the most relatable. In true Who Wants To Be A Millionaire? Fashion, every viewer gets a set amount of time to cast their vote – ten seconds – and the results of the day are recorded in an ongoing tally of votes. "It's a bit of a census, but a good natured one", says Edwards. "We see it as a way of measuring the opinion of the city and raising awareness of what the Plantation was about."

This is one of several ways of Plantation education in the entire room. One can also use building blocks to learn more about the land allocated to the colonists during the period, or put together a magnetic jigsaw of 16th century Ulster. It's local history for all ages, from a contemporary perspective; re-living a journey back in time with modern day tools. There’s much promise in this educational, communal and interactive exhibition.

"There is indeed", smiles Edwards. "We put much thought into making it interactive and educational because the Ulster Plantation is quite a dry subject. It goes on for a long period of time, and it's not like a big battle, or a siege. We wanted to find ways of enlivening and animating it."

She concludes: "I think everyone will find something they can really relate to."

And one certainly hopes that everyone will concur about the entire Guildhall once it re-opens its doors to the public on June 10. Read more...

The Great, The Good, And The Not-As-Great-As-We-Thought

On the eve of One Big Weekend's return to Derry-Londonderry, Si's Sights And Sounds looks back at its first visit... and provides some words of wisdom for up-and-coming journos

(Photo: Getty Images)

I still remember it vividly.

Around 3 am on Friday April 16, 2004, I stood huddled in a long queue featuring numerous sleepy twenty somethings and countless hyperactive teenagers. The queue had begun at the Guildhall Square and ended up on Waterloo Street. There was no big screen down in the square below, and no one thought about the multi-million pound foot and cycle bridge that would become a 21st century Derry-Londonderry landmark, or anything called Ebrington Square.

These were the days when merely having a colour screen on your "cell phone" (how ancient does that sound today?) and a broadband connection were enough to make you feel hip. Facebook, Twitter and YouTube had yet to appear, let alone take over our lives. Long before smart phones had become commonplace, long before Derry-Londonderry had even applied for the City Of Culture award, our little city had something to prove. We needed something to truly raise our profile as a cultural hub. And in the One Big Weekend experience of 2004, we found it.

Back then, ordering free tickets via the internet wasn't an option (it would be another two years before the online lottery system was brought in). No, if you wanted a free ticket for One Big Weekend that year, you had to queue outdoors. You had to wait until you arrived at a special ticket booth in the Guildhall Square. Once you reached your destination, either Colin Murray (in his pre-Match Of The Day 2 days) or Edith Bowman, if you were lucky, would give you your ticket; your free pass to a feast of musical fun in the Prehen Playing Fields.

Of course, with the event running over two days – one for dance, one for live artists and bands – there had to be two ticket collection times. The tickets me and my friends were looking for, the "artists and bands" tickets, weren't due to be distributed until 8 am that Friday morning; hence why so many were already out queuing for the 10,000 tickets at 3 am, if not earlier.

But no one cared how early in the morning it was. Hearts and minds seemed solely concentrated on the possibility of a free ticket for one of the biggest musical events in the BBC's calendar year. The tantalising sight and sound of either Murray or Bowman with a ticket in their hand, at the end of the queue, was motivation enough in itself.

There were slight fears of not getting a ticket; even in a city as small as Derry-Londonderry, you would be surprised at how quickly freebies are snapped up. But you didn't really have time to feel fearful, because everyone else in the queue made you feel so at ease. For students like me, it was a welcome break from the pressures of their forthcoming exams; a chance to enjoy the company of people who loved music as much as they did. Better still, the weather was dry. The time of day – or night, take your pick – was irrelevant when there was so much goodwill in the air.

At least until the ticket booth opened.

From then on, comfort turned to commotion. The rush to get through a securely-guarded barrier and onto the pathway leading to the booth almost felt like being a packed sardine. My feet were briefly hoisted off the ground as I became trapped in a tight, excitable huddle. To date, I like to think that the firmness of that small crowd of people – tight, but not suffocating – kept us safe, as did the watching security guards. Still, I was thankful to be let through the barrier sooner rather than later.

Before I knew it, me and several others were walking freely, safe in the knowledge that the tickets we craved would be waiting for us. While I can't quite remember picking up my ticket, I do remember the sound of Bowman’s speaking voice and the recorded sound of her fellow Scot Fran Healy. "Sing... sing... sing..." sang the loudspeakers near the Guildhall. Well, sing I did, very loudly. And I don't even like Travis. And I didn't want to leave, for the buzz in the air that morning was unrecyclable. I couldn't recall an event of this magnitude coming to Derry before; and I did wonder whether the Prehen Playing Fields would be big enough for it.

Fortunately, such fears were unfounded on the day itself, Sunday April 25. The long walk down Victoria Road didn't feel like a long walk at all. You were in the company of so many friendly people that it couldn't be anything else but enjoyable.

And this was before a multitude of musical memories were made inside a Tardis of a tent in a field by the River Foyle.

(Photo: BBC)

We sang and swayed to Keane's music when it was still a novelty to us and not processed piano pop. We jumped up and down to Alex Kapranos and company long before the thinness of their debut album became apparent. We marvelled at Kelis' stage presence. We rejoiced as Tim Wheeler, Mark Hamilton, Rick McMurray and Charlotte Hatherley nearly brought the house down. We were overjoyed at the sight of Avril Lavigne performing on stage in Derry-Londonderry.

For a dreamy teenager or twenty something student, this was near heaven.

But the more pessimistic thirty something sitting here today cannot help but recall AU Magazine's comments about the Sk8er Girl's performance:

"I always thought Avril Lavigne only existed in a marketing man's wet dream. But today, there she is on stage. Kinda. The pint-sized pop princess is having trouble filling the tent with her presence. And she doesn't seem to have the songs to compensate for this lack of impact. Tunes like Sk8er Boi... get lost in their own indifference... Only the crowd, who are almost determined to like Avril, stop this from being a complete run through the motions. But even they are beginning to see the cracks at the end. If you're going to go through the motions, do it in a recording studio rather than in front of thousands of people."

Nowadays, I have a sneaking feeling that had Lavigne performed her bubblegum pop in a similar manner in the United States, or near her home town, audiences would have been disappointed. It’s quite probable that her set at One Big Weekend set attained gravitas it didn’t deserve because we were all amazed that a city as small as Derry-Londonderry could attract such a high-profile name.

It's not just about Lavigne, of course. I disagreed with punters who called Pixie Lott's performance at last year's Peace One Day concert "mediocre". But was she really as vibrant and radiant as I had made her out to be, or was I just carried away in the atmosphere of a city made to feel important by a full house and the appearance of stars such as Jude Law?

I don't mean to demean 2004's event or Peace One Day. Nor do I mean to bring a dampener on the excitement surrounding 2013’s event. But, after years of reviewing, I have learnt that when surrounded by huge uplift and celebrity names, the fine line between critic and PR machine is a very easy one to cross.

Hence I will be viewing One Big Weekend 2013 through more cynical eyes. As appealing as waxing lyrical about the mere presence of Biffy Clyro, Ellie Goulding or Bruno Mars in Derry-Londonderry might be, it is the reviewer's job to keep their head screwed on and appraise them as performers. This, if anything, is a major step in the evolution of an arts critic.

(Photo: Getty Images)

Then again, if they really do put on a great show, I could be wrong... Read more...

All That Jazz In Derry-Londonderry

The 12th City Of Derry Jazz Festival is almost upon us

In just a couple of days, the opening notes will sound to usher in the 12th City Of Derry Jazz Festival.

Pubs and clubs all over Derry will be throwing open their doors to the thousands of revellers making their way along the Jazz trail over the weekend. From jazz to jump, from soul to swing, there isn't a box unticked when it comes to music.

Speaking ahead of the festival, which kicks off on Thursday May 2, Mayor Of Derry Cllr Kevin Campbell urged everyone to jump on the jazz bandwagon and enjoy the entertainment.

"If there's one thing people in Derry love, it's music,” he said. "And this weekend is the perfect excuse to get out there and take a musical tour of the city.

"We will be welcoming thousands of visitors to our streets to enjoy all Derry has to offer when it comes to entertainment, and it's a great opportunity to remind the world why we are the current City Of Culture.

"I would like everyone to get out there and support the festival, and do so in a responsible and exemplary way. Let us be ambassadors for our city and be proud of all that we have to offer."

Over eighty venues are included in this year’s Jazz Trail which is sponsored by Guinness, and over 200 events will take place over the course of the four day Bank Holiday Weekend.

The fun begins on Thursday evening with the Mayor's Charity Event in aid of Foyle Search & Rescue, featuring Derry Soulseekers, The Red Stripe Band and of course the Jive Aces (above, featuring Holby City's Rebecca Grant), setting the tone for the rest of what promises to be an amazing festival weekend.

Among the highlights this year are of course the sensational Overtones, making their first visit to the city amidst much critical acclaim. And, for the first time, the city's newest concert arena, The Venue at Ebrington, will be hosting a Grand Vintage Ball on Saturday evening with music by the Puppini Sisters, for fashionistas with soul.

But also look out for The Dark Energy Trio, David Lyttle & Jason Rebello, Brass Impact Big Band, Dana Masters Band, Ben Klock (Celtronic), Beverley Craven, Neil Cowley Trio, Pink Martini, The Stars From The Commitments plus so much more!

Local talent will as always be out in force with performances by some of the city's finest musicians, including local jazz icon Gay McIntyre, who celebrated his 80th birthday at the weekend, and over 60 years in the business. He is joined by son Paul McIntyre, as well as the Derry Soulseekers, The Foyle Showband, Ursula McHugh, John Leighton and a whole host of local bands.

Over 90% of the performances are free thanks to sponsors Guinness, and a full jazz programme is available at www.cityofderryjazzfestival.com.

To find out all the latest festival gossip over the weekend check out City Of Derry Jazz Festival on Facebook. Read more...

Five Reasons To See "Annie" At Ebrington

The next big event at Ebrington's Vital Venue in Derry-Londonderry is fast approaching. Si's Sights And Sounds offers five reasons why you should go and see the Londonderry Musical Society's production of "Annie"

You'll get to see and enjoy a show in the small but massive Vital Venue

Don’t be fooled by the slightly unflattering exterior – Ebrington's pride and joy only looks like a tent with a bit of colour splashed around it. Inside, it feels like an internationally renowned cultural arena, a cauldron of excitement brought to life by whoever is performing on stage. At best, its atmosphere feels worthy of any concert or theatrical venue in the world. Those who experienced the memorable Sons And Daughters extravaganza, the indelible kinetics of Political Mother or the intimate, welcoming energy of Primal Scream, not to mention the music of John Williams, can and will vouch for this. "Annie" is a community event in every sense of the word, another chance for the populace of Derry-Londonderry to "come together as one" as a certain Bobby Gillespie might say.

It is a hugely popular show, with lots of famous tunes and a good story

As Dominic Kearney pointed out recently in a piece for Culture Northern Ireland, the "Annie" bug is contagious at present. It's spreading throughout the city. And why shouldn't it be? The recent successful bid to break the World Record for the largest song and dance routine was built on not only the strength of the community, but also the strength of the show itself. Tunes such as "Maybe", "It's A Hard Knock Life" and "The Sun'll Come Out Tomorrow" have earned their place in musical history, as has the spirited and heart-warming nature of the musical's take on the traditional "rags-to-riches" narrative that everyone is so familiar with.

The crew are a bunch of professionals, dedicated to making your experience a memorable one

Director Deigh Reid, choreographer Venessa Chapman, musical director Jim Goodman and accompanist Ben McGonigle are among a handful of committed crew members that helped make last year's Londonderry Musical Society (LMS) Production of "The King And I" such an enjoyable, award-winning show. All four return this year along with new stage manager Caroline Gilliland, whose literally Legenderry experience with Bang On The Door and her own business could help inspire everyone backstage a step further.

Annie herself is a national star

In Lauryn Mulholland, the LMS have found an Annie with music in her blood. At the age of just fourteen, Buncrana-based Mulholland has sung the national anthem at the Donegal v Down match in Ballybofey and competed in the finals of the Childline All Ireland School Talent Search Competition. Recently, she told the Inish Times that getting the part of Annie ranked at the top of those achievements. Click here to watch her sing at the Helix in Dublin.

 
The talent of the whole cast is beyond reproach

Whether you choose to focus on Muire McCallion wailing about her "Little Girls", the graceful vocals of Katie Patton's similarly named character, the spirit of the award-winning Kate McCafferty's Molly, or the scene-stealing of the likes of Kris Doherty's Daddy Warbucks, David Keown's Rooster or Aoibheann Biddle's Lily, to name but a few, there really is something for everyone to watch here. And with an extraordinarily dedicated cast of all ages behind them, ready to sing their hearts out for the City Of Culture, we truly could be in for something special.

The Londonderry Musical Society's production of Annie takes place on Friday 12 and Saturday 13 April. Book your tickets online at www.millenniumforum.co.uk. Read more...

Laura Douglas Gets An Encore

The Musical Theatre Tutor chats to Si's Sights And Sounds about reprising her first proper lead in a musical – Maria from The Sound Of Music

During the Easter Break, Letterkenny's Encore Performing Arts Academy will perform at Strabane's Alley Theatre for the first time with a four-night run of The Sound Of Music. Encore PAA's musical theatre tutor, Magee College graduate Laura Douglas, will be playing the role of Maria Von Trapp for two nights.

We catch up with her in advance of the performances...

Was singing and acting always for you?

I didn't actually consider it until about 5th year in school! I can still remember when the careers advisors came in to discuss possibilities with our year, and telling the woman advising me that maybe, maybe, I wanted to go to drama school. Out came this huge book full of careers and where to train for them, and up went my hopes. Then, not long after she flung it open and began searching, she announced, "Here. Law. Lawyers act in court all the time."

Surely not the reaction you were expecting...?

Yeah, I doubted law was the career for me. So the "A"-Levels I chose were English, ICT, Performing Arts and French. In my final year, I played Aunt Eller in the school production of Oklahoma! – and that's when I realised I had to perform. But with no prior training, I decided to go to university and complete a degree in Drama with Music.

During that time period, I made my own opportunities to sing, act, direct and produce... Delving into other aspects of theatre was just terrific. And in final year I got my first proper lead in a musical – Maria in The Sound Of Music.

The same role you're playing this week!

Indeed! The first time I played Maria, it was with the Ballywillan Drama Group. It was an honour to work with such an established group, and as an aspiring performer, it felt brilliant to get an extended run. Ballywillan currently produce the longest running amateur shows. It all gave me a good idea about what "performing for real" is like!

How does it feel to be involved in The Sound Of Music?

It's just a great family show, and I love working with the groups of children playing the Von Trapps. You grow so close to everyone in this show because it's such an intimate production.

Have you ever drawn inspiration from any famous singers or actors when playing Maria?

I have seen the show performed professionally six times, both on tour and in the West End, and each time, Maria has been so different. When I play her, though I always try to put my own spin on her; it's such an iconic role, but it is nice to be able to play her the way I want. This time, I went into rehearsals already knowing the lines I would speak and sing; I feel my acting has come across as much freer and more spontaneous as a result. I'm also fortunate to be working with Rebecca Thompson, the producer, director and choreographer; being a performer herself, the unique insight she gives is invaluable.

What are you looking forward to most about this production?

Getting up there and performing alongside my little troop of Von Trapps! It is a really beautiful musical, and to me, nothing can beat the feeling of the nuns singing "Climb Every Mountain" in four-part harmony while the Von Trapps are on their way to a new life together. It’s extremely moving.

What kind of experience can the audience hope for?

A "family show", a classic musical for all ages, as The Sound Of Music always has been and always will be just that. But I think Rebecca's own spin on the show will make it even more fresh and exciting.

What does the future hold for Laura Douglas?

During my final year at university, I auditioned at two schools for Masters in Musical Theatre, and got into AMTA in London and AMDA in New York with a $10,000 scholarship. I am currently still auditioning. Watch this space...

Laura Douglas will play Maria in The Sound Of Music at Strabane's Alley Theatre on Wednesday April 3 and Thursday April 4, with the show running until Saturday April 6. To book your tickets, click here. Read more...